Background: Oklahoma! is the first musical written by the team of composer Richard Rodgers and librettist Oscar Hammerstein II. The musical is based on Lynn Riggs' 1931 play, Green Grow the Lilacs. Set in Oklahoma Territory outside the town of Claremore in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancee, Ado Annie.
Context: The following year, James Hammerstein directed a production at the Haymarket Theatre, Leicester, in January 1980, produced by Cameron Mackintosh. The De Mille choreography was again adapted by de Lappe. A UK tour followed, and it eventually settled in the West End, opening at the Palace Theatre, London, on September 17, 1980, and running until September 19, 1981. This production starred John Diedrich as Curly and Alfred Molina as Jud Fry, both of whom were nominated for Olivier Awards. Rosamund Shelley played Laurey, and Madge Ryan was Aunt Eller. The production was Maria Friedman's debut in the West End, initially in the chorus role of Doris, but she was eventually promoted to the leading role. John Owen Edwards was the musical director. He would later reprise his work for Mackintosh's 1998 London revival. A cast recording of this production was issued by JAY Records and on the Showtime! label. A new production of the musical was presented by the National Theatre in London at the Olivier Theatre, opening on July 15, 1998. The production team included Trevor Nunn (director), Susan Stroman (choreographer) and William David Brohn (orchestrator). The international cast included Hugh Jackman as Curly, Maureen Lipman as Aunt Eller, Josefina Gabrielle as Laurey, Shuler Hensley as Jud Fry, Vicki Simon as Ado Annie, Peter Polycarpou as Ali Hakim and Jimmy Johnston as Will Parker. Musical director John Owen Edwards, Brohn and dance arranger David Krane adapted Robert Russell Bennett's original orchestrations and extended some of the dance sequences. A brand new Dream Ballet was composed for Susan Stroman's new choreography and the dances to "Kansas City", "Many a New Day" and "The Farmer and the Cowman" were all radically redesigned. The overture was also altered, at the request of Nunn. The production received numerous Olivier Award nominations, winning for Outstanding Musical Production, supporting actor (Hensley), set design (Anthony Ward) and choreography (Stroman). According to the Rodgers & Hammerstein Organization, the limited engagement was a sell-out and broke all previous box office records, and so the show was transferred to the Lyceum Theatre in the West End for a six-month run. Plans to transfer to Broadway with the London cast were thwarted by Actors' Equity, which insisted that American actors must be cast. Eventually a U.S. cast was selected. The production was filmed and issued on DVD, as well as being broadcast on U.S. Public Television in November 2003.
Question: did they have any problem with production?
Answer:

Problem: Background: Geraldine Anne "Gerry" Ferraro (August 26, 1935 - March 26, 2011) was an American attorney, a Democratic Party politician, and a member of the United States House of Representatives. In 1984, she was the first female vice presidential candidate representing a major American political party. Ferraro grew up in New York City and worked as a public school teacher before training as a lawyer. She joined the Queens County District Attorney's Office in 1974, heading the new Special Victims Bureau that dealt with sex crimes, child abuse, and domestic violence.
Context: In February 1996, Ferraro joined the high-visibility CNN political talk show Crossfire, as the co-host representing the "from the left" vantage. She kept her brassy, rapid-fire speech and New York accent intact, and her trial experience from her prosecutor days was a good fit for the program's format. She sparred effectively with "from the right" co-host Pat Buchanan, for whom she developed a personal liking. The show stayed strong in ratings for CNN, and the job was lucrative. She welcomed how the role "keeps me visible [and] keeps me extremely well informed on the issues." At the start of 1998, Ferraro left Crossfire and ran for the Democratic nomination again in the 1998 United States Senate election in New York. The other candidates were Congressman Charles Schumer and New York City Public Advocate Mark J. Green. She had done no fundraising, out of fear of conflict of interest with her Crossfire job, but was nonetheless immediately perceived as the front-runner. Indeed, December and January polls had her 25 percentage points ahead of Green in the race and even further ahead of Schumer. Unlike the previous campaigns, her family finances never became an issue. However, she lost ground during the summer, with Schumer catching up in the polls by early August and then soon passing her. Schumer, a tireless fundraiser, outspent her by a five-to-one margin, and Ferraro failed to establish a political image current with the times. In the September 15, 1998 primary, she was beaten soundly by Schumer by a 51 percent to 26 percent margin. Unlike 1992, the contest was not divisive, and Ferraro and third-place finisher Green endorsed Schumer at a unity breakfast the following day. Schumer would go on to decisively unseat D'Amato in the general election. The 1998 primary defeat brought an end to Ferraro's political career. The New York Times wrote at the time: "If Ms. Ferraro's rise was meteoric, her political career's denouement was protracted, often agonizing and, at first glance, baffling." She still retained admirers, though. Anita Perez Ferguson, president of the National Women's Political Caucus, noted that female New York political figures in the past had been reluctant to enter the state's notoriously fierce primary races, and said: "This woman has probably been more of an opinion maker than most people sitting for six terms straight in the House of Representatives or Senate. Her attempts, and even her losses, have accomplished far beyond what others have accomplished by winning."
Question: Was she popular on CNN?
Answer:
The show stayed strong in ratings for CNN, and the job was lucrative.