With so many components to the revival of the Rodgers and Hammerstein classic “Oklahoma!” at Goodspeed Opera House — this is the first time Goodspeed has done the show — let’s break the analysis down into segments.

Leading light

Lighting isn’t the thing that makes or breaks a show, but, with “Oklahoma!,” it’s a wonderfully evocative presence. The lighting, designed by Philip S. Rosenberg, makes its impression immediately, as the scene behind a scrim slowly becomes illuminated, revealing shadows of laundry on a line, a windmill looming in the background against an idyllic sky, and Aunt Eller churning butter. It’s a stunning portrait of turn-of-the-century Americana.

The lighting doesn’t overwhelm the action, rather working in concert with the rest of the production, and occasional elements — shafts shooting through the slats of a smokehouse, for instance — make a crackling theatrical impact. It and Wilson Chin’s scenic design, with its suggestions of rustic buildings and wild expanses, give the small Goodspeed stage an Oklahoma feel.

Another oft-overlooked element is very effective here: the sound design, by Jay Hilton. The noises of the plains inform the piece. Crickets and birds provide their own symphony at certain times. As an ominous moment looms, dogs bark in the distance.

A dream of a dance

This show’s highlight? The dream ballet. Agnes DeMille created the ballet for the 1943 original “Oklahoma!,” and Katie Spelman did the choreography for it at Goodspeed, with additional dance arrangements by David Chase. The dream ballet is where “Oklahoma!’s” lead female character, Laurey, struggles with her feelings for charming cowboy Curly and for dangerous farmhand Jud. Samantha Bruce, who plays Laurey and resembles a younger Keri Russell, watches plaintively as her dream self, danced with physical eloquence by Madison Turner, interacts with Curley and Jud. Turner and Rhett Guter, who plays Curly, sway and whirl and create romantic magic together. Things turn sinister, and one of the most visually striking images comes when male characters pull on ropes tied around the women’s waists, as the women, in slow motion, struggle to lunge away.

Young guns

For her rootin’-tootin’ production of “Oklahoma!,” director Jenn Thompson has gathered a cast led by a group of young, enthusiastic actors. They lean into the comedy part of “musical comedy,” and they portray a certain gee-whiz bubbliness, even if they don’t always capture the subtleties of their characters.

Guter brings a boyish playfulness to Curly (and does a fine job with “Oh, What a Beautiful Mornin’”), and Bruce infuses tomboy Laurey with strength, a hint of petulance, and an underlying soft heart. The relationship between these two, of course, is a classic case of bickering-but-really-in-love, and the actors play the give-and-take well. Their duet on “People Will Say We’re in Love” shows just why this ballad remains a standard.

The secondary courtin’ couple is Gizel Jimenez and Jake Swain as Ado Annie and Will Parker, and they play things broad. Jimenez is all big eyes and "Cain’t-Say-No" glee, with Swain matching her energy as her smitten beau.

Matt Faucher glowers onto the stage as Jud Fry, conveying immediately that this is a character beset by dark impulses. Although Faucher — who sings with a striking, full-bodied voice — gives Jud layers of angst, making him a little more sympathetic, the character is still what he is; what woman would give Jud, as written, anything but the cold shoulder? The fact that Laurey accepts a date with him to get under Curly’s skin makes little sense.

While we’re talking about Jud, we have to say: it’s more than a little disturbing that Curly essentially encourages Jud to kill himself (noose helpfully tossed into place) while singing “Pore Jud is Daid.”

Finely tuned support

As Ali Hakim, the peddler who wouldn’t mind some romantic interaction with Ado Annie but definitely wants to avoid marrying her, Matthew Curiano gives a gem of a performance. When the character gets dragged into what he fears will be more of a commitment to Annie, Curiano masters an entertainingly beleaguered affect, with a defeated wave of his hand here and a half-hearted response there. (Curiano’s Ali Hakim looks, by the way, a bit like a much-cleaned-up version of Daniel Day Lewis in “Gangs of New York.”)

Laurey’s Aunt Eller isn’t a huge part, but Terry Burrell is memorable as a strong heartland heroine. You’d want her to be your aunt, too.

Music matters

Did we mention the magnificent score? “Oh, What a Beautiful Mornin’.” “I Cain’t Say No!” “People Will Say We’re in Love.” “The Surrey with the Fringe on Top.” And, of course, “Oklahoma!” Those Rodgers and Hammerstein fellows sure had a way with showtunes, didn’t they?

If you go

What: “Oklahoma!” 

Where: Goodspeed Opera House, 6 Main St., East Haddam

When: Through Sept. 27; 2 and 7:30 p.m. Wed. 7:30 p.m. Thurs. (with select performances at 2 p.m.), 8 p.m. Fri., 3 and 8 p.m. Sat., and 2 p.m. Sun. (with select performances at 6:30 p.m.)

Tickets: Start at $29

Contact: (860) 873-8668, goodspeed.org