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FEBRUARY 2013

TESLA QUARTET

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FEBRUARY 2013

INTERMISSION MAGAZINE

Steve Fenn

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16

features

departments

10 Q&A: Ann Compton

7 Directions

The longtime ABC News White House correspondent details the challenges, responsibilities and perks of covering Presidents and First Families for almost 40 years Interview by Nancy Bizjack

Broadway’s Brightest by John Scott

13 Straight From the Heart Composer Carter Pann will be here when the young and talented Tesla Quartet performs his “Love Letters,” along with works by Mozart, Webern and Debussy by Nancy C. Hermann

Brent Fuchs

16 Grand Opera Meets Broadway

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Tulsa Opera continues its commitment to perform one American work each season with a production of Broadway composer Frank Loesser’s operatic musical The Most Happy Fella by Kostis Protopapas

9 Bravos

Red Othello Strange Planet

23 Spotlight

Particular Of Mice and Men 24-Hour Play Festival Oliver! Violet Quartetto di Cremona Dual Pianos Ragtime Step Afrika! Brown Bag It

26 March Events

in the gallery Faculty Art Show February 1-27

Michelle Cantrell

18 Love Bares All

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The heart and soul of Playhouse Tulsa — artistic directors Courtneay Sanders and Chris Crawford — star in Neil Simon’s charming romantic comedy Barefoot in the Park by Natalie O’Neal

Turner Goodrum

21 Radio Golf Progress and country club ideals clash with history and tradition in the final installment of August Wilson’s celebrated Pittsburgh Cycle, staged by Theatre North by Barry Friedman Cover photo: Misha Handschumacher

Mark Lewis Peoria Avenue #2 Powdered graphite and paper collage 61" x 40"

Work by artists on the faculties of the University of Tulsa, Rogers State University, Tulsa Community College and Oral Roberts University will be on display this month. The PAC Gallery is free and open to the public Monday through Friday from 10 a.m. to 5:30 p.m. and during Chapman Music Hall events. IN TERMISSION Febru ar y 2013

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There’s a reason why the 2013 NatureWorks Art Show & Sale is one of the most anticipated fine-art events in the country. Actually, there are over 1,000 reasons. Over 50 nationally-recognized artists will bring more than 1,000 pieces of amazing art ranging from miniature paintings and wood carvings to larger than life oils and monumental bronze. Come see them all at the 31st Annual NatureWorks Art Show & Sale, a spectacular two-day, fine art event at the Renaissance Tulsa Hotel & Convention Center. NatureWorks, a 501(c)(3) nonprofit organization, is the primary benefactor of hundreds of local, regional and national wildlife conservation and education projects, donating well over $1 million since its beginning.

Join Us Saturday, March 2: 9 a.m.–5 p.m. Sunday, March 3: 11 a.m.–5 p.m. Renaissance Tulsa Hotel & Convention Center 6808 South 107th East Avenue Tulsa, Oklahoma 74133 (71st & Highway 169)

Featured Artist: Matthew Higginbotham

Encore Artist: Jerry Ricketson

Guest Artist: Jeff Ham

www.natureworks.org

the

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{ad}program

TheUniversityofTulsa

INTERMISSION

director’s page

is the official magazine of the Tulsa Performing Arts Center.

PUBLISHER Jim Langdon EDITOR-IN-CHIEF Nancy Bizjack, PAC CONSULTING EDITOR Nancy C. Hermann, PAC CREATIVE DIRECTOR Amanda Watkins

BROADWAY’S BRIGHTEST WHAT WITH THE PAC having John Scott hosted the touring Broadway revival Jekyll and Hyde last month, and given the nomination for Best Picture of the movie adaptation of Les Misérables for this month’s Academy Awards, I thought I would take the liberty of giving you my five all-time favorite Broadway productions. At number five and for sheer spectacle, it’s hard to beat Disney’s The Lion King. Add the score by Elton John and Tim Rice and the creativity of director Julie Taymor, and this 1998 Tony Award winner for Best Musical is a feast for the eyes and ears. A more recent winner of the same award is 2011’s The Book of Mormon at number four. Okay, it’s crass and crude, but it’s also hilarious and clever. Perhaps a surprise, the 2012 Best Musical Once is my number three. Tender and simple, this story with its signature song “Falling Slowly” is as touching as it is original in its approach. My number two spot is a tie between The Phantom of the Opera and Wicked. Phantom has been here twice (I saw it 22 times on its first visit) and I’ve seen it twice on Broadway. Any questions? I include Wicked because I think it has absolutely the best combination of all the different elements of a Broadway show, including music, sets, lighting, costumes, choreography and, of course, the story itself. Finally and probably no surprise, I put Les Misérables at the top of my list. The story is compelling, the action continuous. It has heart, it has memorable songs (“Bring Him Home”) and as many times as I’ve seen it, I still get goose bumps during the finale of both acts. Honorable mention goes to Jekyll and Hyde, Jersey Boys, Aida, Passion, Parade, Ragtime, Avenue Q, Spring Awakening, The Color Purple, Rent and too many others to name. Please, no slights intended. Tulsa is fortunate to have local arts organizations that offer Broadway-level performing quality. See what I mean as you take in presentations by Tulsa Ballet, Tulsa Symphony, Tulsa Opera, Chamber Music Tulsa, Playhouse Tulsa, Living Arts and Theatre North this month. Thanks for all your support. And you can tell me your favorite Broadway shows when I see you in the lobby.

GRAPHIC DESIGNER Brooke Lawson ADVERTISING SALES Jim Langdon, Rita Kirk INTERN KariAnn Sexton

110 E. Second St., Tulsa, OK 74103 918-596-7122 • TulsaPAC.com A department of the City of Tulsa

DIRECTOR John E. Scott ASSISTANT DIRECTOR Steven J. Fendt TECHNICAL DIRECTOR Pat Sharp MARKETING DIRECTOR Nancy C. Hermann TICKET OFFICE MANAGER Terri McGilbra TULSA PERFORMING ARTS CENTER TRUST CHAIR Ken Busby VICE-CHAIR Glenda Silvey TREASURER Michael P. Kier SECRETARY Robyn Ewing ASST. SECRETARY John E. Scott TRUSTEES Mayor Dewey F. Bartlett Robert J. LaFortune Kristin Bender Rodger Randle Stanton Doyle Jayne L. Reed William G. von Glahn Kitty Roberts Jenny Helmerich M. Teresa Valero John H. Williams PAC TRUST PROGRAM DIRECTOR Shirley Elliott PAC TRUST MARKETING & PR Chad Oliverson OFFICE ADMINISTRATOR Carol Willis I N T E R MI S S I ON is published monthly by

1603 S. Boulder, Tulsa, OK 74119 For advertising information, Tel. 918-585-9924, ext. 217, Fax 918-585-9926.

JOHN E. SCOTT Director, Tulsa Performing Arts Center

No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2368, nhermann@cityoftulsa.org. IN TERMISSION Februar y 2013

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eat better. move more. be tobacco free. Interested in making Oklahoma a healthier place to live, work, learn and play? Consider joining a coalition in your area. AtokA And CoAl Counties Atoka/Coal Partnership for Change 580.889.5193 BeCkhAm And RogeR mills Counties Oklahoma Unified Resources (OUR) Turning Point Coalition 580.225.6247 BRyAn County Bryan County Turning Point 580.924.4285 ext 253 CARteR County Carter County Turning Point 580.223.7075 ext 314 ClevelAnd County Cleveland County Turning Point 405.307.6602 ComAnChe County Fit Kids of Southwest Oklahoma 580.585.6686 JACkson County Jackson County Community Health Action Team 580.482.7308 kiowA And CAddo Counties Kiowa Coalition and Caddo County Interagency Coalition 580.726.3383 logAn County Logan County Partnership 405.282.3485

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love And Johnston Counties Fit Communities – Love and Johnston Consortium 580.371.2470 mcCuRtAin, ChoCtAw And PushmAtAhA Counties Tri-County Consortium 580.298.6624 muskogee County Muskogee County Turning Point 918.683.0321 oklAhomA County Wellness Now Coalition 405.425.4315 okmulgee County Okmulgee County Wellness Coalition 918.633.3202 tulsA County Family Health Coalition 918.595.4039

No coalitions in your area? Find your local Turning Point Partnership and learn more at shapeyourFutureok.com.

ENTERTAINMENT TO APPLAUD

RED

Ian Douglas

TYPICALLY associated with energy, passion, love and intensity, the warm color red is an excellent backdrop for guest artist Mark O’Connor, who will perform his energetic, jazzy and swinging Double Violin Concerto for Two Violins and Orchestra. Hailed by the Los Angeles Times as “one of the most talented and imaginative artists working in music — any music — today,” O’Connor is a product of America’s rich folk tradition as well as classical music. His first teacher was Texas old-time fiddler Benny Thomasson, and later he was mentored by famed French jazz violinist Stéphane Grappelli. Now, at age 51, O’Connor has melded and shaped these influences into a new American classical music and a vision of an entirely American school of string playing.

LIVING ARTS OF TULS A

NEW GENRE FESTIVAL: STRANGE PLANET INSPIRED BY the experience of acculturation to a new home and characterized by disorientation and a pervasive undercurrent of aggression, Strange Planet is a dance theatre work that disperses choreographic power to

PL AYHOUSE TULS A

OTHELLO

Mark O’Connor

Jim McGuire

TULS A SYMPHONY

Also on the program are Michael Daugherty’s Route 66 and Charles Ives’ Symphony No. 1. Timothy Myers is guest conductor. February 9 at 7:30 p.m. CHAPMAN MUSIC HALL Tickets are $15-$70.

the performers, who are able to direct the work and each other from within the performance. As the past, present and future comingle, the six performers struggle to navigate a world disintegrating around them, trying to remember what must happen, recognize what has already happened, and be ready for what has never happened before. Strange Planet is performed by the Jordan Fuchs Dance Company, a collaborative, project-based dance company directed and instigated by Jordan Fuchs, assistant professor of dance at Texas Woman’s University. The company seeks to extend the expressive possibilities of live performance through explorations of form and formlessness, physical relationships at close-quarters, and through experiments with staging and technology. February 22-23 at 8 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $20; $10 for students and seniors.

OFTEN CALLED Shakespeare’s most intimate tragedy, Othello’s realm is not of great kingdoms lost and won, nor of courtly politics. Othello, an esteemed general in the service of Venice and a Moor, has recently wed Desdemona, the daughter of a senator. When he promotes Cassio to be his lieutenant, the ambitious Iago is enraged. Othello aspires to belong to Desdemona’s world and instead becomes victim to its bigotry and his own monstrous terrors. Playhouse Tulsa will tell this tragic tale with a cast of only six actors. Carl Collins (Doctor in Playhouse’s TATE Award-winning production of The Unmentionables) stars in the title role. Rounding out the cast are Shannon Garcia as Desdemona, Chris Crawford as Iago, Courtneay Sanders as Emilia/Brabantia, Tyler Humphries as Cassio/ Ensemble and Brittany Hamilton as Bianca/ Ensemble. Chris Crawford will direct Othello. February 13 at 7:30 p.m. February 16 at 2 p.m. J OH N H . W ILLI A MS T HE ATRE Tickets are $10 in advance, $15 at the door.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM IN TERMISSION Februar y 2013

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Q+A Ann Compton Interview by Nancy Bizjack

In 1974, 26-year-old Ann Compton became

Steve Fenn

the first woman ever assigned to cover the White House full time for a network TV news organization (ABC). Twenty-seven years later, she was one of only two journalists allowed to remain onboard Air Force One after President George W. Bush addressed the nation from Barksdale Air Force Base in Louisiana on 9/11. Compton’s first-person reporting was cited in ABC News’ Emmy and Peabody Awards for their coverage of that day. Compton has been inducted into the Society of Professional Journalists’ Hall of Fame and the National Radio Hall of Fame, and has served as president of the White House Correspondents Association. But she says her most valued award is the Mother of the Year statuette she received from the National Mother’s Day Committee in 1988. Currently the White House correspondent for ABC News Radio, Compton spoke to Intermission from her office in the West Wing. When you joined the White House press corps in 1974, how did the male reporters treat you? The men I worked with side by side in the White House press corps could not have been more supportive. My greatest handicap when I arrived was my youth. I was sitting alongside reporters who had been in Panmunjom for the signing of the armistice ending the Korean War. There was somebody who was in the motorcade when John Kennedy was shot — I was a schoolgirl then! So I think the difference in age was my biggest hurdle. I simply didn’t have the experience or the institutional memory that so many of the men had. Which press secretary have you had the best relationship with and why? I’ll tell you which kind of press secretaries are the best: the ones who are very close to the President, who are part of the decisionmaking team at the White House. I’ll give you an example: Mike McCurry for Bill Clinton. He was clearly part of the inner circle. Robert Gibbs for President Obama, Marlin Fitzwater for President George [H.W.] Bush. All of them were trusted and well liked by the President. It was never, with them, a matter of being handed talking points and being told to go out and make a statement on behalf of the President. They were at the table as decisions were being made in the West Wing. 10

Feb r ua r y 2 01 3 I N TE R M I S S I O N

What are the relationships like within the White House press corps? You know, it’s interesting. I have stayed here on the beat at ABC’s request since I was 26 years old, and I can honestly say that I have spent far more time in the White House press room than I have at the ABC News Bureau here in Washington. So my closest journalistic friends and my most constant colleagues are the ones here from the other networks and the other newspapers. We are friends. We are colleagues. We are also competitors, but not in a hostile sense. And we spend 24 hours a day together on things like Presidential campaigns. We see each other groggy and half-dressed in the morning, sleepy and exhausted at the end of the day. We brush our teeth together on the planes on overnight flights going places, so we know each other well, and there is a sense of camaraderie. On 9/11, why did you get to stay onboard Air Force One until it returned to Washington, D.C., and what did you witness that day? In my remarks when I get to Tulsa, I am going to tell the story of what happened that day, but… when all hell broke loose, several of us in the press made the case that you can’t throw the press off the plane, you need us there. It is important to tell the world what’s going on in a moment of crisis. … And I think [Bush’s

Chief of Staff] Andy Card must have thought, well, Ann has covered this beat a long time… I’d like to think that’s why he allowed me and one print reporter [Sonya Ross of the AP] to stay onboard. On more routine days, what’s the best thing about flying on Air Force One? The seats are big and comfortable, the staff onboard — the stewards and the military staff — are first-rate, and I’ve always thought it is the safest plane ever. We have flown through really bad weather, we have flown out of the path of volcanic eruptions, we have flown in and out of places like Baghdad and Bagram Air Force Base in Afghanistan in almost combat conditions, and I’ve always thought it was absolutely the safest plane in the skies. The worst? You’re always working. I remember we had been on a very long foreign trip and we had a long, eight-toten-hour flight home. Everybody was exhausted, except the President of the United States. Bill Clinton came back to the press cabin, sat on the floor, and talked for three hours. Nonstop. There went my overnight! So the downside is that you’re never off-duty on the plane. You always have to be ready. If the press secretary comes back to make any announcements, if the President comes back to talk, if guests on the plane, members of Congress

Q+A or White House aides come back, you always have to be ready and at your best, so there’s no rest on Air Force One! You were a presidential debate panelist in 1988 and 1992. What did you think of the formats, moderators and questions asked in the 2012 debates? I served on two panel debates and those are now dinosaurs. We will never see those again. Why not? Because the tendency now is to favor more reality-based questions from voters at town hall meetings or from the Internet, taking the questioning out of the hands of journalists and into the hands of voters… The problem with citizens’ questions is they may ask something very generic: “What are you going to do for public education?” Every candidate has talking points out there miles long. What you want to do is give them something specific, so they will answer beyond what’s already on the record. And I think journalists do that better than citizens, but the current trend is citizens’ questions. How has covering the White House changed through the years you’ve been there? The biggest change for all of us in reporting is the digital age. … We don’t spend two or three days doing interviews and putting a long story together. Everything we report has an immediacy and instant impact, and that has just kind of rewritten all the rules of Washington. Do you think that hurts the news? It’s a double-edged sword. It is great that Americans get their information as fast as the politicians get it, as fast as the journalists get it. I think it’s very exciting that we live in times when Americans have so many choices about how to get their information and how quickly they get it. The downside is the exactness, the correctness, the fact-checking, the standards, the sourcing — all of that suffers. There are too many people on the Internet who do not hold to the same standards of checking their sources, double-checking their facts, letting an editor screen and perfect their copy. So it does have its drawbacks, but I think, on balance, we

have no choice. We live in a very immediate world. How often do you actually get to talk to the President? Oh, not as often as I’d like! It’s the way in which I get to talk to him that is sometimes so unusual. I remember times when the Bush Presidents would be playing golf, and I could chat with them on the first tee as they’re teeing off or on the last tee when they’re coming in. President Obama has invited me to three or four events where it was just private social time with him. One was a private lunch in that little dining room right next to the Oval Office. It was my colleague Jake Tapper and me, and we had a whole hour, off the record, sitting with him and talking about everything under the sun. You really get a sense of a person that way. On another occasion, he invited a few White House reporters — and their spouses — to come into the beautiful, candlelit White House on the state floor, you know, the State Dining Room, the East Room, the Blue Room, one cold winter evening. They had cocktails set up in the marble foyer, and he just stood around with us for 90 minutes talking. And I could ask him anything! … It doesn’t mean we’re friends, it doesn’t mean we’re buddies, but it does mean I have a chance to get to know, a little better, the man behind the public face. What are the rules for covering the First Lady and the President’s children? We see her a lot less. One of the most interesting rules at the White House is not written down anywhere. It’s the realization by those of us who cover the White House, who often are parents ourselves, that we need to respect some privacy for the First Family. The kids weren’t elected President. The kids sometimes do dumb things; they sometimes do awkward things. I’m not saying we cover up for kids’ behaviors, but from Susan Ford, who was 16 when I first arrived at the White House, through the Clintons, whose daughter, Chelsea, is the same age as my kids — they went to school dances together, they went to football games together — you learn that it’s

okay to let the President’s wife and family have a degree of privacy. And I think that’s one of the unwritten rules about covering the White House that most mainstream journalists have respected. It is their home, after all. It is! You know, they live in a three-bedroom apartment over the store. They don’t have a big mansion with a big backyard that they can go out and play ball in any time. They’re living in a public museum, so they are entitled to a little bit of privacy. Speaking of family, how many children do you have? We have four children. Bad “mommy-track” planning! I had my first baby between the Iowa caucuses and the New Hampshire primary in the 1980 election. At that point, I was covering all of the Republican candidates, of which there were like 12, so I took off 28 days for maternity leave… I actually was in maternity clothes with my second child on election night the same year. So I got two babies into the 1980 election cycle. We’re constantly hearing that Washington is broken. What is right about our political system these days? What is right is there are so many talented, intelligent, honest people who go into public service for all the right reasons. They’re the ones I admire — the ones who could be making bigger bucks or having easier lifestyles doing other things in the private sector, but they choose to work for the government and for the American people, because they think there is value in public service. Now those people aren’t always in the majority of getting things done. Sometimes it is a very broken process in Washington, and some of those with the best intentions aren’t able to push the ball all the way down the court. But there really are good, honest people who take part in government, and they deserve our thanks.

ANN COMPTON

“UP CLOSE AND VERY PERSONAL” Presented by Tulsa Town Hall February 8 at 10:30 a.m. CHAPMAN MUSIC HALL Tickets are sold by subscription; call 918-749-5965. IN TERMISSION Februar y 2013

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CMT to develop an umbrella of events. “It seemed like a great opportunity for us to have a composer in our midst who is currently very active on the music scene,” recalls Sorrell. While in Tulsa, Pann will speak about his work, including “Love Letters,” and spend time coaching young composers at the University of Tulsa. His pre-concert lecture at the PAC on February 17 is free to all concert ticket holders. At that program, along with “Love Letters,” the Tesla will perform Mozart’s String Quartet in D Major, K. 575; Webern’s Six Bagatelles, Op. 9; and Debussy’s String Quartet in G Minor, Op. 10. The latter is a piece that Sorrell is very much looking forward to hearing, and one that has drawn international acclaim. The Tesla performed Debussy’s Quartet for the 2012 London International String Quartet Competition, where it walked away with a hard-won third-place prize. Strad Magazine said of their performance, “The Tesla was technically superb in Debussy’s Quartet, its performance full of urgency, colour and subtle dynamics. This was a master class in quartet technique….” And, noting that the Quartet should have taken First Place honors, the London Evening Standard wrote, “This was a subtly

Misha Handschumacher

OU HAVE TO ADMIRE a chamber music group that will play a gig at a bus terminal, and then follow that with mini-concerts at a soup kitchen, a children’s hospital, high school and elementary classrooms, a couple of retirement centers, and more, spread out over a single week. Hosted by Chamber Music Tulsa, the youthful Tesla Quartet plans to make their seven days in Tulsa a love fest for their art form. “They are very comfortable doing this kind of ‘find-us-a-music-stand-and-we’llplay-for-you’ work in the community,” says Chamber Music Tulsa (CMT) Executive Director Bruce Sorrell. “They are evangelists for taking music to the people.” CMT has likewise taken to heart a need to extend the reach of chamber music beyond the concert hall. Earlier this season, its “Beer, Brats and Bartók” event, showcasing the Zodiac Trio at a downtown beer hall, was a move in that direction. The performance schedule of the Tesla Quartet will be even more ambitious, with numerous appearances culminating in an afternoon concert at the PAC on February 17. “We are always scouting for young talent that will likely have big chamber music careers,” explained Sorrell of the Tesla’s inclusion in his organization’s 2012-13 series. A CMT board member had spotted the group at the Aspen Music Festival and thought they would be a great fit for several reasons. Tesla Quartet had held a fellowship as the Graduate String Quartet-in-Residence at the University of Colorado at Boulder and been mentored there by the highly prestigious Takács Quartet. In addition, the Tesla had included in their repertoire composer Carter Pann’s “Love Letters,” a piece commissioned by the Ying Quartet. Tesla had worked with the Grammy-nominated Pann at the University of Colorado, where he teaches music composition. Getting Pann to join the Tesla in Tulsa allowed

coloured performance that balanced confidently between intimacy and extraversion.” Comprising former Juilliard students (Class of 2008 violinists Ross Snyder and Michelle Lie, violist Megan Mason and cellist Kimberly Patterson), the quartet earned the gold medal at the 2012 Fischoff National Chamber Music Competition. Yet, Tesla members would be the first to tell you that winning prizes is secondary to their main objective. They love sharing the music they make with the widest possible audience. “The opportunity to hear great music performed live is one of life’s most wonderful experiences,” says Sorrell. “By taking it to the streets, we hope to really make an impact in Tulsa, not just with traditional patrons, but with everyone.” That “everyone” includes Tulsa bus riders and soup kitchen clients on Valentine’s Day, treated to music that comes straight from the heart.

TESLA QUARTET

Presented by Chamber Music Tulsa February 17 at 3 p.m. J O H N H . W I L L I A M S T H E AT R E Tickets are $25; $5 for students MyTicketOffice.com and 918-596-7111

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T NI

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Celebrating 20 Years!

Tulsa Oratorio Chorus 20th Anniversary Gala and Performance March 9, 2013 • 7:30 pm Lorton Performance Center, TU

Great Choral Moments from Stage and Screen In collaboration with the Department of Film Studies at University of Tulsa’s School of Music, TOC presents favorite selections from the stage and screen, and Henry V. including

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IN TERMISSION Februar y 2013

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I

Grand Opera Meets Broadway

n 2010, Tulsa Opera made a commitment to include an American work in each season. Last year’s production of Dead Man Walking, which the Tulsa World recently named Best of the Year in the Tulsa Arts Scene, was the first installment of that commitment. The adventure continues in 2013, with a choice that will surprise many. Frank Loesser’s The Most Happy Fella has been called “the most operatically ambitious work written for Broadway.” It is surely the most ambitious work of a composer whose songs (“Baby It’s Cold Outside,” “On a Slow Boat to China,” “Standing on the Corner,” “Luck Be a Lady”) have been heard in virtually every living room in America, and whose Guys and Dolls and How to Succeed in Business Without Really Trying are among the most frequently performed musicals. With music far outweighing spoken dialogue, The Most Happy Fella rises above its two famous siblings both musically and dramatically. Side by side with Gershwin’s Porgy and Bess, it forms the twin peaks of the summit where classic Broadway and opera meet. The analogies with Porgy are countless: both take place within a community

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by Kostis Protopapas

drawn in vivid detail and populated by memorable characters. Both are stories of romance between an older man and a younger woman. The protagonists of both speak and sing in dialect, and the sound of that dialect is a calling card for the entire work. Most important, both works fuse disparate musical styles into an astonishingly coherent whole that makes the listener equally comfortable with each of its components: melodies of Puccinian sweep, rich orchestral writing, folk tunes and rousing production numbers. The Most Happy Fella is based on Sidney Howard’s Pulitzer Prize-winning play They Knew What They Wanted. Set in Napa Valley in the 1920s, it is the story of

Side by side with Gershwin’s Porgy and Bess, The Most Happy Fella forms the twin peaks of the summit where classic Broadway and opera meet.

a romance between a middle-aged ItalianAmerican vineyard owner and a young San Francisco waitress. Rosabella becomes the “mail-order bride” of Tony, who woos her with his letters, written with the help of the young and handsome foreman Joe, whose picture Tony sends Rosabella instead of his own. Tony is nervous about her arrival and gets in a car wreck on the way to pick her up from the train station. Upon arrival, Rosabella finds out the truth but agrees to marry Tony anyway, before seeking a night’s consolation in the arms of Joe. During the following weeks she warms up to the amiable Tony, but also finds out that she is pregnant. Tony, after a few moments of Sicilian rage, decides to forgive Rosabella and accept her child as his own. Rosabella’s no-nonsense friend Cleo and the happy-go-lucky farmhand Herman provide comic relief and lead the singing and dancing in the big ensembles. It took Loesser five years to write the words and music to The Most Happy Fella. This was the first time he was writing his own book, so he took his friend Samuel Taylor’s advice seriously: “When you have doubts about what to write, write a song.”

the first Broadway musical to be recorded completely by the original Broadway cast. However, it left some audience members confused as to whether it was a musical or an opera and was ultimately overshadowed by My Fair Lady, which was more palatable to Eisenhower-era sensibilities. The story of The Most Happy Fella, for all its romantic comedy charm, conceals a definite menace. Despite the happy ending, its characters face tough realities and risk serious heartbreak. Fella has also been overshadowed by Guys and Dolls, which is continuously revived in venues large and small. There is no movie version of Fella featuring Frank Sinatra (of whom, incidentally, Loesser intensely disapproved), and its musical requirements make it difficult to produce except by large professional organizations. Most of its revivals have been by opera companies. Ultimately, Fella has everything a great musical has to offer, from romantic love songs to exciting production numbers, on a much larger scale than the typical Broadway show. At the same time, as Anthony Tomasini noted, “the music for The Most Happy Fella is more complex, varied and inventive than the scores of quite a few 20th-century works that proudly call themselves operas.” Tulsa Opera’s production of The Most Happy Fella features Metropolitan Opera baritone and University of Oklahoma Professor Kim Josephson and charismatic soprano and Oklahoma

Katrina Thurman

native Katrina Thurman. Amplification is standard practice on Broadway nowadays, but during his lifetime Loesser never allowed microphones in his productions. True to the composer’s intentions and its identity as an opera company, Tulsa Opera will perform Loesser’s endearing and powerful score without microphones. See The Most Happy Fella yourself and weigh in on the conversation about this classic American work by one of the most iconic Broadway composers. Whichever side wins the debate, the audience is the ultimate winner with this American treasure.

The Most Happy Fella

Presented by Tulsa Opera February 23 and March 1 at 7:30 p.m. March 3 at 2:30 p.m. CHAPMAN MUSIC HALL Tickets are $54-$98. MyTicketOffice.com and 918-596-7111

Kim Josephson

Brent Fuchs

He wrote more than 40 musical numbers, all but eliminating spoken dialogue and producing a virtually through-composed musical comedy. He also eliminated the political and religious ruminations of the original play and focused on the love story. “Fella,” he wrote, is “all about love — acknowledged the world over to be a most singable subject.” Human emotion was his focus: “Go spell how you sound when you are laughing or crying! You have to say it in music.” Loesser liked powerful voices and obsessively coached the singers in his productions, insisting that “every word has to be understood in the back of the balcony.” He knew that the vocal lines he wrote for the leading characters of The Most Happy Fella could only be done justice by opera singers. After briefly considering the famous Italian baritone Tito Gobbi for the role of Tony, he decided on Robert Weede, whom he heard sing Macbeth at the San Fransisco Opera. The role of Rosabella was given to up-and-comer Jo Sullivan, who was already making a name for herself singing in the cutting-edge operas of Benjamin Britten and Kurt Weil, and who became Loesser’s second wife. On the other hand, the comedic characters of Cleo and Herman were given to seasoned Broadway belter Susan Jones and country music star Shorty Long. The pit of the Imperial Theater in New York City had to be built out to accommodate Loesser’s expanded orchestra. Fella opened in May of 1956, six weeks after My Fair Lady. It was well received, ran for 676 performances and became

IN TERMISSION Februa r y 2013

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Michelle Cantrell

0

pposites attract, so the saying goes. But sometimes the captivatingly contradictory qualities that draw two people together become the very things that push them apart — at least as far apart as two newlyweds can get in a chilly, three-room apartment! Playhouse Tulsa leaves behind its award-winning-but-dark 2011-12 season and kicks off its shoes with a production of Neil Simon’s Barefoot in the Park. Reinvigorated by Simon’s witty script, Playhouse’s artistic directors and stars of the show, Chris Crawford and Courtneay Sanders, shine with enthusiasm and passion when they talk about their upcoming work. Simon, the Pulitzer Prize and Tony, Emmy and Golden Globe Award-winning author of The Odd Couple, Lost in Yonkers, The Goodbye Girl and at least 30 more plays, is known for his comedies that toy with serious themes. In Barefoot in the Park, Broadway’s tenth-longest-running non-musical play, a young couple, just back from their honeymoon, start their marriage with a handshake. Corie — the lover of life, the dreamer, the romantic — has married her complete 18

Feb ru a r y 2 01 3 I N TE R MI S S I O N

by Natalie O’Neal

opposite, Paul — the stuffed shirt, the pragmatist, the Mr. Play-It-Safe. After the newness of the honeymoon settles into reality and the two move into their not-so-new fifth-floor (no elevator!) apartment, the two lovebirds find that playing husband and wife isn’t as easy as they had planned. After just ten days, kissing and endearments turn to bickering and namecalling, which quickly escalate to Corie’s irrational, yet totally serious, plea for a divorce. At first, the couple’s fussing centers on their apartment. Corie, striving to be the typical early-1960s good wife, frets about missing furniture, a broken skylight, and Paul’s reaction when he comes home to an empty, freezing apartment. Like the optimist she is, Corie tries her darndest to make the best of things, but sometimes her imagination gets the better of her. Though her zest for life can’t help but make you smile and fall instantly in love with her, her extremes sometimes have you questioning whether she’s endearing or insane. “Corie is the center of the piece,” says Sanders. “It’s her fight for love, it’s her struggle that we root for. She wants happiness and a full, rich life for everybody.” Paul, a first-year attorney, is “just in awe

of her,” says Crawford. “But at the same time, I think it stresses him out to the max.” Just as in any relationship, though, they find a balance. When Corie needs to be calmed down, Paul gets through to her, and when Paul stresses out, Corie reminds him that you only live once. “It’s a tennis match between who’s losing it and who’s keeping it together,” Crawford continues. Going back and forth between the two is part of the fun, especially when Simon brings in the supporting characters. “Neil Simon is notorious for having the principal players and then having the hysterical secondary characters,” says Crawford. Enter Corie’s kindredspirited, kimono-wearing neighbor Victor Velasco (Ron Friedberg) and Mrs. Banks (Barbara Murn), Corie’s meek, widowed mother. While the play follows the young couple more closely, Mrs. Banks has her own journey to undertake. It’s good for the soul to shake things up a bit, and poor Mrs. Banks gets a little more soul shaking than she bargains for. Velasco is “the definition of embracing life, no matter what the cost. He can’t even get into his apartment using the doorway; he has to climb in through a window via our apartment,”

Unfortunately, Corie’s cookiecutter idea of making herself and Paul happy hinges on what she believes an ideal marriage should be. When she realizes how different they are, after Paul refuses to go barefoot in the park, selfdoubt kicks in. “As soon as her little bubble is burst and she sees a side of Paul that she’s never seen before, it scares her, and she’s not rational enough to think, ‘Oh, we can work through this.’ It’s ‘I have to get out of here because this is too hard,’” says Sanders. Her immediate cure-all is to ask for a divorce. It comes from so far out of left field that, like Paul, you’re not really sure if she’s serious. She realizes the error of her ways after an interesting drunken scene with Paul where the two seem to switch roles. “At their core, as different as they are in personalities, I think that they want the same things,” says Crawford. “Paul wants to be an attorney and Corie wants to have this perfect life, but at the heart of it they just want each other. Happy Valentine’s Day, everyone!” Michelle Cantrell

laughs Crawford. Paired with an incredulous Mrs. Banks, the two make for one hysterical blind double date. “I think it’s fun to think that, at one time, Mrs. Banks was Corie and, through all of these different things in her life, has put a wall up in front of that, and in the play we get to see that wall come down again for Mrs. Banks, which I think is so charming,” Crawford continues. While much is to be said of self-discovery, discovering oneself with the help of a partner is what love and trust are all about. Mrs. Banks’ openness to trying new things is inspiring and is what makes her such a lovely, and surprisingly fearless, character.

fun fact

Barefoot in the Park Presented by Playhouse Tulsa February 8-9, 14-16 at 7:30 p.m. February 10 at 2 p.m.

J O H N H . W I L L I A M S T H E AT R E Tickets are $25; $22 for students and seniors, $10 for children. MyTicketOffice.com and 918-596-7111

Playwright Neil Simon and his first wife, dancer Joan Baim, began married life in a multi-flight walk-up apartment in Greenwich Village with a ridiculously small bedroom and a hole in the skylight. And yes, the free-spirited Joan liked to walk barefoot in Washington Square Park.

IN TERMISSION Februa r y 2013

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Feb r u a r y 2 01 3 I N TE R M I S S I O N

3747 South Harvard • Tulsa, OK • 918-712-8785

Turner Goodrum

by Barry Friedman

Bridgette Clark, Garnet Burkhalter, Kenneth Page, Andre Grayson and Robert Lee

IT WASN’T SUPPOSED TO BE PART OF A PANOPLY. THERE WASN’T SUPPOSED TO BE A PANOPLY.

B

ut after writing three of the plays that would ultimately be part of The Pittsburgh Cycle, playwright August Wilson decided to chronicle the African-American experience, decade by decade (though not written or presented sequentially), through the 20th century. The ten plays that resulted were a literary census, if you will, of progress and paralysis through the past 100 years and all set in an area where Wilson was raised, The Hill — Pennsylvania’s 14th Congressional District. Radio Golf, written in 1997 and first performed at the Yale Repertory Theatre in 2005, was the last snapshot, the last field poll. (It was also August Wilson’s last play, as he died from liver cancer a few months later.) The cycle, including Pulitzer Prize winners The Piano Lesson and Fences, was more personal than political, more intramural than polemical. As director Rodney Clark says, “The threads that tie the plays together are the individual struggles the characters must

face and how those struggles are colored by racism.” As for the 1990s of Radio Golf (the golf reference having to do with Tiger Woods’ impact on both white and black America), Ben Brantley of the New York Times called it “an arid, soul-sapping time for the black man,” for it culminated in a war between the past and present, between assimilation and identity, a thought with which Clark takes issue. “Only for those who sold out for personal gain.” Harmond Wilks is a real estate developer about to run for mayor; his wife, Mame, is in line to be the public relations director for the governor of Pennsylvania. Additionally, Harmond and his longtime friend, Roosevelt Hicks, are about to sell a tract of land in The Hill that will fully cement them in the mainstream — and make them rich. They are at the precipice of full membership in America. But there’s a problem. To sell that property, Hicks and Wilks must raze the house at 1839 Wiley Avenue, the home belonging to Aunt Ester,

the former spirit/slave who lived at the address and a character from the first play in the cycle, Gems of the Ocean. So, the question: How much history, memory and identity do you move out so Starbucks, Whole Foods, and an apartment complex can move in? And will it even matter? “Negroes got blindeyetis,” says Hicks. “A dog knows it’s a dog. A cat knows it’s a cat. But a Negro don’t know he’s a Negro. He thinks he’s a white man.” In Avalon, a movie about Jews in Baltimore by Barry Levinson, a grandfather in a nursing home tells his grandson about not being able to find the past until he sees his old place of business. “Good thing it was there,” the old man says of the building, “because otherwise I would have thought I never was.” In Radio Golf, there is too much past. And it is a light sleeper, not always welcome — for Hicks and Wilks, it is an unkempt, often unwelcome visitor. How they accommodate it is what happens in Radio Golf. It’s a theme that preoccupied Wilson. As he wrote in the epigraph for Fences, the sixth play in the series: “When the sins of our fathers visit us We do not have to play host. We can banish them with forgiveness…”

Radio Golf

Presented by Theatre North February 23, March 1-2 at 8 p.m. February 24 at 3 p.m. CH A RL E S E . NORM A N T HE AT RE Tickets are $15; $12.50 for students and seniors. MyTicketOffice.com and 918-596-7111

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Feb r u a r y 2 01 3 I N TE R M I S S I O N

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ON UPCOMING EVENTS AMERIC AN THE ATRE COMPANY

OF MICE AND MEN is based on the classic American novel by Pulitzer and Nobel Prize-winning author John Steinbeck. The Depression-era drama centers on two migrant farm workers, George (Brian Rattlingourd) and Lennie (Nate Gavin), who are caught in a desperate search for honest work, a parcel of land to call their own, and an end to the crippling emotion of loneliness. The story is based on Steinbeck’s own experiences as a hobo in the 1920s. The title is taken from Robert Burns’ poem To a Mouse, which reads: “The best laid schemes of mice and men / Often go awry.” Dan McGeehan directs this production with sets by Richard Ellis, lighting by Edward Durnal, costumes by Paulette Record and sound by Aaron Veale. March 1-2, 7-9 at 8 p.m. March 3 at 2 p.m.

Stew Milne

OF MICE AND MEN

LIVING ARTS OF TULS A

NEW GENRE FESTIVAL: PARTICULAR

NO, IT’S NOT an all-day play; it’s an all-day — and night — page-tothe-stage process! Writers, actors and directors collaborate in small teams to produce and perform a 10-minute play in 24 hours. They begin writing on Friday night and frantically start rehearsals Saturday morning for a performance that night! The Festival is still accepting participants. If you are interested in taking part in this event, e-mail Christopher Martin at chmartin@oru.edu.

SMALL THINGS FASCINATE. The pebbles in Kyoto’s rock garden. Drops of rain falling into a puddle. Starlings in a murmuration. How is the individual simultaneously unique and an anonymous part of a compelling whole? Particular is an evening-length multimedia dance work exploring the relationship between the individual and the flock, performed by Lostwax Multimedia Dance of Providence, Rhode Island. Each dancer has a specialty — ballet, hip-hop, jazz, modern — but all can blend seamlessly into the whole. According to Gestalt, we have a natural affinity toward flocking behavior. This is the basis for Lostwax’s choreographic and media exploration. The tension between the flock and the individual serves as a compelling, fertile field to play with new movement ideas and expand each dancer’s personal vocabulary.

March 9 at 7:30 p.m.

March 1-2 at 8 p.m.

J O H N H . W I L L I A M S T H E AT R E Tickets are $24-$30; $21-$27 for students and seniors.

PL AYHOUSE TULS A

24-HOUR PLAY FESTIVAL

L I D D Y D O E N G E S T H E AT R E Tickets are $15; $12 for students and seniors, $5 for children.

L I D D Y D O E N G E S T H E AT R E Tickets are $20; $10 for students and seniors.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM IN TERMISSION Februa r y 2013

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ON UPCOMING EVENTS

PA C TRUS T

BROWN BAG IT SERIES THE CELTIC BAND Cairde na Gael will kick-start St. Patrick’s Day weekend and the PAC Trust’s popular noontime series’ spring schedule when they perform on March 13. The following Wednesday, guitarist Joesf Glaude and violinist James Ruggles will perform together, while the Jambalaya Jass Band closes out the month with some lively Dixieland jazz on March 27.

April’s performers are flutist Pat Surman and pianist Ron Chioldi on the 3rd, the University of Tulsa Chamber Choir on the 10th, and harpist Lorelei Barton and friends on the 17th. March 13, 20, 27 at 12:10 p.m. April 3, 10, 17 at 12:10 p.m. K A T H L E E N P. W E S T B Y P A V I L I O N These events are free.

THE ATRE T UL S A

OLIVER!

OLIVER! IS A 1960 MUSICAL based on the Charles Dickens novel Oliver Twist, about young boy who runs away from an orphanage and joins a group of pickpockets. Thirteen-year-old Grayson Warlick will portray Oliver Twist, and Jett Armstrong will be the Artful Dodger. Both young men are making their Theatre Tulsa debuts. Rebekah Peddy plays Oliver’s surrogate mother, Nancy, and Fagin is portrayed by John Orsulak. Supporting characters in the cast of 45 include Mike McEver and Renee Walker as Mr. and Mrs. Sowerberry, Dave Garcia as Mr. Bumble, and Kelly McEver as Widow Corney. Lionel Bart wrote the book, music and lyrics for Oliver! Well-known songs in the show include “As Long as He Needs Me,” “Consider Yourself” and “I’d Do Anything.” March 15-16, 21-23 at 8 p.m. March 17 at 2 p.m. LIDDY DOENGES THE ATRE Tickets are $16; $12 for students and seniors.

Cairde na Gael

T UL S A S Y MPHON Y

VIOLET

ASSOCIATED WITH royalty, violet is a color that fits well with the medieval romantic tones of Anton Bruckner’s Symphony No. 4 in E-flat major. Also fitting: this piece, which premiered in 1881, was dedicated to a prince. Robin Sutherland Tulsa Symphony welcomes musical “royalty” in the persons of guest pianist Robin Sutherland and guest conductor Daniel Hege. While still an undergraduate at the San Francisco Conservatory of Music, Sutherland was appointed principal pianist of the San Francisco Symphony Orchestra by Seiji Ozawa. Many composers have dedicated works to him, and he has participated in numerous world premieres. A favorite performer at OK Mozart, Sutherland will be featured in Mozart’s Piano Concerto No. 21. Hege, a popular guest conductor throughout the U.S., was music director of the Syracuse Symphony for 11 seasons. He has been the music director of the Wichita Symphony Orchestra since 2010. March 16 at 7:30 p.m. CHAPMAN MUSIC HALL Tickets are $25-$70.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM 24

Feb r u a r y 2 01 3 I N TE R M I S S I O N

CH A MBER MUSIC T UL S A

QUARTETTO DI CREMONA ARTISTS-IN-RESIDENCE at the Società del Quartetto in Milan and at the Academy Santa Cecilia in Rome, Quartetto di Cremona enjoys an international reputation for artistic and thoughtful interpretations of repertoire from classical to contemporary.

For their first U.S. tour, this exciting quartet performs rarely heard gems from great Italian composers: Boccherini’s String Quartet in C Major, Op. 32, No. 4; Verdi’s String Quartet in E minor; Puccini’s “Chrysanthemums” Elegy for String Quartet; and Cherubini’s String Quartet in D minor. The quartet was formed in 2000 in Cremona, Italy, a famous musical center since the 16th century and the home of some of the earliest and most renowned luthiers, such as Guarneri, Stradivari and several members of the Amati family. March 17 at 3 p.m. JOHN H. WILLIA MS THE ATRE Tickets are $25; $5 for students

PA C TRUS T

STEP AFRIKA! ONE OF THE MOST EXCITING dance forms to evolve in the 20th century, stepping creates intricate rhythms and sounds through a combination of footsteps, claps and spoken word. The tradition grew out of the song-and-dance rituals practiced by historically African-American fraternities and sororities in the early 1900s. Today, as well as being highly entertaining, stepping is often used as an educational tool to promote themes such as teamwork, academic achievement and crosscultural understanding. Step Afrika! is the first professional company dedicated to stepping. Founded in 1994 and based in Washington, D.C., the company is a frequent partner of the John F. Kennedy Center for the Performing Arts and has graced some of America’s most prestigious stages, from the White House to Lincoln Center. In addition, the troupe has performed in South America, Europe, Asia, Africa and the Caribbean. March 23 at 7:30 p.m. JOHN H. WILLIA MS THE ATRE Tickets are $28; $12 for students and seniors.

Paul Asaro

R A G TIME F OR T UL S A

DUAL PIANOS RAGTIME GRAMMY NOMINEES Brian Holland and Paul Asaro are among the finest ragtime and early jazz pianists on the planet. Asaro is a fulltime musician in the Chicago area and periodically goes on tour with Leon Redbone as an accompanist. Holland won the World Championship Old-time Piano Playing Contest three times (1997-1999) and has been invited back several times as a judge. Holland and Asaro are regular performers at the four-day Scott Joplin Ragtime Festival in Sedalia, Missouri, and the West Coast Ragtime Festival in Sacramento. Holland was recently a headliner at the International Stride Piano Summit in Zurich, Switzerland, and played with fellow ragtime pianist Jeff Barnhart in Rwanda. When Holland and Asaro last appeared in Tulsa in 2006, they received two standing ovations. March 19 at 7 p.m. JOHN H. WILLIA MS THE ATRE Tickets are $25; $5 for students.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM IN TERMISSION Februa r y 2013

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ON UPCOMING EVENTS MARCH THEATRE NORTH

RADIO GOLF BY AUGUST WILSON Feb. 23 at 8 p.m. Feb. 24 at 3 p.m. Mar. 1-2 at 8 p.m. Charles E. Norman Theatre TULSA OPERA

THE MOST HAPPY FELLA Feb. 23 and Mar. 1 at 7:30 p.m. Mar. 3 at 2:30 p.m. Chapman Music Hall KARIN CERMAK

ARTIST PALETTE Mar. 1-28 PAC Gallery AMERICAN THEATRE COMPANY

OF MICE AND MEN Mar. 1-2, 7-9 at 8 p.m. Mar. 3 at 2 p.m. John H. Williams Theatre LIVING ARTS OF TULSA

PARTICULAR Mar. 1-2 at 8 p.m. Liddy Doenges Theatre CELEBRITY ATTRACTIONS

CATHY RIGBY IS PETER PAN Mar. 5-10 Chapman Music Hall

Cathy Rigby is Peter Pan PAC TRUST

BROWN BAG IT Mar. 13, 20, 27 at 12:10 p.m. Kathleen P. Westby Pavilion THEATRE TULSA

OLIVER! Mar. 15-16, 21-23 at 8 p.m. Mar. 17 at 2 p.m. Liddy Doenges Theatre TULSA SYMPHONY

VIOLET Mar. 16 at 7:30 p.m. Chapman Music Hall CHAMBER MUSIC TULSA

QUARTETTO DI CREMONA Mar. 17 at 3 p.m. John H. Williams Theatre RAGTIME FOR TULSA

DUAL PIANOS RAGTIME WITH BRIAN HOLLAND AND PAUL ASARO Mar. 19 at 7 p.m. John H. Williams Theatre PAC TRUST

STEP AFRIKA! Mar. 23 at 7:30 p.m. John H. Williams Theatre

PLAYHOUSE TULSA

HOUSE NOTES THE TULSA PERFORMING ARTS CENTER was dedicated in 1977, the fulfillment of many Tulsans’ long-held dream. Built with a combination of public and private funds, the facility is operated by The City of Tulsa. The Tulsa Performing Arts Center Trust is a non-profit organization of mayoral-appointed citizens who lend expertise and guidance in promoting Performing Arts Center goals. Local arts organizations and entertainment promoters are the Center’s main clients. ADMINISTRATIVE OFFICES are located at 110 E. Second Street, Tulsa, OK., 74103-3212. Office hours: Mon.-Fri. 8:30 a.m. to 5 p.m. Telephone 918-596-7122. Fax 918-596-7144. Please subscribe to our monthly PAC broadcast e-mail online at TulsaPac.com. LOCATION. Downtown Tulsa at Third Street and Cincinnati Avenue, accessible from the Broken Arrow Expressway, Interstate 244, Hwy. 75 and Riverside Drive. PARKING. Convenient underground parking is located west of the building, accessed from Second Street. Event parking also is available in several lots across the street to the east and south of the PAC.

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Feb r ua r y 2 01 3 I N TE R M I S S I O N

Craig Schwartz

TULSA’S 24-HOUR PLAY FESTIVAL Mar. 9 at 7:30 p.m. Liddy Doenges Theatre

ADMISSION AND LATE SEATING. Lobby doors open two hours prior to an event. Chapman Music Hall doors normally open 45 minutes prior to curtain. The remaining theaters open 30 minutes before curtain. Late seating is at the discretion of each sponsoring organization. Latecomers may be temporarily held out of the theater or asked to take seats at the back if available. TICKET OFFICE HOURS are Monday through Friday 10 a.m. to 5:30 p.m. A free parking zone is available in front of the Third Street ticket office,101 E. Third Street (Third and Cincinnati) on the south side of the PAC. In addition to regular hours, it opens two hours prior to curtain for events scheduled in Chapman Music Hall. The Second Street ticket office,110 E. Second Street on the north side of the building, opens two hours prior to each curtain for tickets to events scheduled that day in John H. Williams Theatre, Liddy Doenges Theatre or Charles E. Norman Theatre. PHONE ORDERS. Call the PAC ticket office, 918596-7111, or from outside Tulsa call 1-800364-7111. Nominal service charges are added to all phone and Internet orders. The PAC ticket office accepts DISCOVER, MasterCard or VISA. Subscriber hotline: 918-596-7109.

ONLINE TICKET ORDERS SERVICE OPTIONS. Buy tickets online and print them at home when you purchase at TulsaPac.com and MyTicketOffice. com. Use DISCOVER, MasterCard or VISA for online purchases. View our website and purchase tickets on your cell phone at TulsaPAC.mobi. In addition, purchase tickets through TulsaPAC. com or MyTicketOffice.com, choose the Tickets@ Phone option and have your tickets sent to your cell phone. Tickets will be scanned by ushers at the door. EXCHANGES. The ticket office gladly exchanges tickets to events with more than one performance, subject to certain guidelines. Otherwise, all sales are final. 24-HOUR EVENT LINE. For recorded information about ticket prices, dates, theater locations, upcoming events, Broadway series and season tickets, call 918-596-2525. GROUP SALES AND BUILDING TOURS. Group discounts are available. Please call 918-5967109 for group sales assistance. Tours of the PAC are offered free of charge and last approximately 45-60 minutes. Arrangements may be made by calling 918-596-7122.

Ticket prices may change without notice.

SERVICES FOR PERSONS WITH DISABILITIES. All Performing Arts Center facilities are accessible to persons with disabilities. Please ask about wheelchair-accessible seating when purchasing your ticket. Parking is located on the street level of the parking garage near the PAC elevators. Use the south elevator to reach Chapman Music Hall. Restroom facilities are located in the Third Street Lobby for Chapman Music Hall events, and adjacent to the John H. Williams Theatre Lobby for events in the PAC’s other theaters. Headsets and telecoil units for the Sennheiser infrared hearing assistance system in Chapman Music Hall may be picked up at the Coat Check in the Third Street Lobby for Chapman events, or from the House Manager on duty in the Williams Lobby for John H. Williams and Liddy Doenges Theatre events. The PAC’s TDD number is 918-596-7211. PLEASE NOTE: Smoking is prohibited inside the PAC. Also, as a courtesy to the performers and audience, please turn off all audible message systems and cellular phones. Cubic, A Creative Agency is the PAC’s exclusive Internet solutions provider. The PAC’s Internet ticketing is powered by Tickets.com.

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02-2013