“His (Justin Bohon) exuberant rope dance in “Kansas City” is a highlight of the first act, and his joyous effervescence tends to draw the eye in the rest of Stroman’s athletic hoedowns, too… These do not disappoint, and when the show hits its stride in the big dance ensembles, it is impossible not to be swept up by the juicy vernacular movement that Stroman integrates into her dances. Stroman mostly eschews Agnes de Mille-style stylization, and places classical ballet movement in perky contrast to more rough-hewn choreography in her version of the show’s big dream ballet, which begins enticingly with Laurey waking to find a chorus of fingers poking through corn stalks, beckoning her into her dream world.”