You walk into Trinity Rep’s huge upstairs Chace Theatre and are greeted with a mile-high backdrop that says, Oklahoma Territory-No Trespassing. The stage is bare. There are four smaller platforms scattered throughout the audience and a bandstand with six marvelous musicians.

The lights dim and two dancers twirl across the stage. And suddenly, with true theatre magic, the twirling uncovers a clothesline with the wash hanging out to dry.

Right from the start, you know you are in for something special: Theatre Magic in the trusted Trinity tradition.

Trinity’s production of 1940’s Rodgers and Hammerstein’s classic musical, “Oklahoma!” is filled with magical moments, thanks to the magnificent direction and choreography by Rhode Island treasures Richard and Sharon Jenkins.

Many credit Richard with saving Trinity. One thing is for sure, the Oscar-nominated actor has never forgotten his roots. Nor has oft-awarded set designer Eugene Lee, whose minimal approach to designing and lighting works perfectly.

There are so many positives to this production, I could fill this page with its praises. Let’s start with the two latest additions to Trinity’s acting company.

Charlie Thurston plays Curly, the hero of the musical who is courting the reluctant Laurey, played by the always-reliable Rachael Warren. We know from past performances that Warren has a great voice, and are not surprised when she gives us goose-bumps singing “People Will Say We’re in Love.” When Thurston joins her, we are treated to more theatre magic.

And then there’s Rebecca Gibel, playing Ado Annie, the girl who “Cain’t Say No.” Gibel chews up what little scenery there is as she tries to decide between Ali Hakim, the shady peddler (Stephen Thorne, at his best in this hilarious role) or Will Parker, the local rodeo rider (newcomer Jude Sandy, one of the best new actors to come along in a long time).

Add the always dependable Janice Duclos as the wise Aunt Eller, Tom Gleadow as the father with the shotgun, and Joe Wilson Jr. as the antagonist Jud Fry, plus an ensemble of singer/dancer/actors, and you have a winner of a show.

We knew Joe Wilson Jr. could sing, but wait until you hear him belt out “Lonely Room.” Plus, he makes one heck of a believable villain.

They don’t write musicals like they used to. And that means long. I saw my first “Oklahoma!” back in the ’50s at the Shubert Theatre in New Haven. It was three acts. Trinity has condensed it to two. The musical is still long, but it grabs you and never lets go, taking you from hilarity to tragedy to poignancy and back again.

The songs are an integral part of the story and not randomly thrown in. The lyrics are clever and, thanks to the actors and sound system, easily understood. Sharon Jenkins’ choreography is the best we’ve ever seen on a Trinity stage. She has added some professional hoofers who blend perfectly with the rest of the cast, providing first-class production numbers.

If you think this is Trinity reaching back to the ’40s for the sake of nostalgia, think again.

“Oklahoma!” is fresh and vibrant and filled with wonderful moments. From the closing ballet number in Act 1 to the entire cast singing the title song as more theatre magic happens at the end, “Oklahoma!” is a musical for the ages. Don’t you dare miss it!

“Oklahoma!” is at Trinity Rep through June 5. Call 351-4242 for reservations.