TUL SA PERFORMING ARTS CENTER
JA N UA RY 2 0 2 4
Photo: Norma Jean Roy
January 2-7, 2024 Presented by
Tulsa PAC /BwayTulsa
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photo by Jeremy Daniel
contents
Hairspray — featuring Kaelee Albritton as “Amber Von Tussle” (left of center) and Billy Dawson as “Corny Collins” (center) in Hairspray.
insider
features
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Rosanne Cash: The Things Only Music Can Do
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A New Take on a Classic Tale
Program Update Marquee Hairspray Amahl and the Night Visitors Ebb & Flow: Brahms’ Symphony No. 3 Annie Choir Boy
spotlight 8
calendar 26
March—April Events
Brown Bag It
February Spotlight Rosanne Cash Fantastique Experience: Berlioz’s Symphonie Fantastique Cat Kid Comic Club Strictly Gershwin Ailey II Topdog/Underdog Danish String Quartet Joyce Carol Oates Mean Girls My Fair Lady Call of the Wild
Vintage Wildflowers
March 13 at 12:10 p.m. | Westby Pavilion Acclaimed for their instrumental prowess, onstage charm and soulful vocals, Vintage Wildflowers has developed an enthusiastic legion of fans with their vibrant Celtic, folk and bluegrass blend. Join us for their free concert! JOIN US ON SOCIAL MEDIA
@tulsapac
INTERMISSION JAN 2024
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a whimsical
LIMITED EDITION Introducing a harmonious blend of timeless artistry and whimsical charm — STEINWAY X DISNEY: MICKEY MOUSE LIMITED EDITION . Crafted with passion and precision, each piano is hand-painted, evoking the
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Italian artist, Elena Salmistraro. This isn’t just a musical instrument; it’s a limited-edition masterpiece, with only 25 pianos available worldwide.
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TULSA TULSA
is the official program of the Tulsa Performing Arts Center
TPAC update The Luminary Circle
110 E. Second St., Tulsa, OK 74103 918-596-7122 • TulsaPAC.com PUBLISHER Tulsa Performing Arts Center WRITER/EDITOR Amanda Nichols CREATIVE DIRECTOR Andrea Maduro ADVERTISING SALES Kaley Jobe and Chris Porcelli CHIEF EXECUTIVE OFFICER Mark Frie CHIEF FINANCIAL OFFICER Jen Alden VP OF OPERATIONS Bryan Clemons VP OF DEVELOPMENT AND ENGAGEMENT Sara Phoenix DIRECTOR OF PROGRAMMING Terri McGilbra DIRECTOR OF COMMUNICATION Amanda Nichols TECHNICAL DIRECTOR Scott McLarty DIRECTOR OF TICKETING SERVICES Jeff Newsome DIRECTOR OF PATRON SERVICES Tosha Faith DIRECTOR OF COMMUNITY ENGAGEMENT Jeremy Stevens DIRECTOR OF DEVELOPMENT Blake Rowden DIRECTOR OF FACILITIES MAINTENANCE James Stewart TULSA PERFORMING ARTS CENTER TRUST CEO Mark Frie CHAIR Julie Smith CO-CHAIR Ken Busby TREASURER Jen Alden SECRETARY Wendy Garrett TRUSTEES Billie Barnett, Mayor G.T. Bynum, Laura Creekmur, Linda Frazier, Kirk Hayes, Carlye Jimerson, Felix Jones II, Jay Krottinger, Martin Newman, Tina Peña, Brian Shore, Hayley Stephens, EMERITUS TRUSTEE Robert J. LaFortune Intermission is published monthly by the Tulsa Performing Arts Center Trust For advertising information, contact Kaley Jobe at kjobe@tulsapac.com or Chris Porcelli at cporcelli@tulsapac.com. No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2368, anichols@tulsapac.com.
The Luminary Circle, our exclusive membership program, is the place to find some of Tulsa’s most passionate patrons of the arts. Now in its second season, the Luminary Circle brings together those who Blake Rowden want to illuminate the arts from inside and outside the walls of the Tulsa Performing Arts Center. This amazing program offers our members the opportunity to elevate their theatre experiences within our building while also helping to fund our community engagement programs. The Luminary Circle offers a wide range of venue perks. Some of these perks include early access to the theatres, express lanes at the bars, private quarterly events, and exclusive access to our TPAC NYC Experience. The most exciting addition to this program is the grand opening of our members’ only lounge, LaFortune Studio. The Studio 54-inspired space is equipped with a private bar, a cabaret stage, complimentary snacks and music and much more. This swanky space delivers an escape for our members from the chaos of the lobby before shows and during intermission. You don't have to be rich to be a patron! Annual memberships start as low as $17 a month and can be done through monthly or annual installments. We welcome everyone to join in the celebration of arts and community in a way never before seen at the Tulsa Performing Arts Center. We invite you to explore the lounge, grab a brochure from the lobby, or ask any of our staff about how you can join us in our mission of arts for all — while getting some pretty incredible perks along the way. PS: Thank you so much to our founding members! Here’s to another year of creating arts for all together!
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january events
Celebrity Attractions
Tulsa Youth Opera
Hairspray
Amahl and the Night Visitors
You Can’t Stop the Beat! HAIRSPRAY, Broadway’s Tony Award-winning musical comedy phenomenon that inspired the blockbuster film and live television event, is back on tour! Join 16-year-old Tracy Turnblad in 1960s Baltimore as she sets out to dance her way onto TV’s most popular show. Can a girl with big dreams (and even bigger hair) change the world? CHAPMAN MUSIC HALL January 2 at 7:30 p.m. January 3 at 7:30 p.m. January 4 at 7:30 p.m. January 5 at 8 p.m. January 6 at 2 p.m. January 6 at 8 p.m. January 7 at 1 p.m. January 7 at 6:30 p.m.
The Three Kings, following the star to Bethlehem, stop for shelter at the home of Amahl, a poor, crippled shepherd boy who lives with his widowed mother. Inspired by the Wise Men’s tale of a kingdom “built on love alone,” Amahl offers his own simple gift to the Christ Child. LIDDY DOENGES THEATRE January 6 at 2:30 p.m. January 6 at 7:30 p.m. January 7 at 2:30 p.m.
Tulsa Symphony Orchestra
Ebb & Flow: Brahms’ Symphony No. 3
This Tulsa Symphony performance will definitely be a “10!” Sarah Hicks is not only an in-demand composer, she is an educator, arranger, Emmy-winning producer, writer, and speaker. We are pleased to welcome her back to direct the Tulsa Symphony Orchestra. CHAPMAN MUSIC HALL January 13 at 7:30 p.m. 6
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january events Theatre Tulsa
Annie
Leapin’ Lizards! It’s one of the world’s bestloved musicals. With equal measures of pluck and positivity, Little Orphan Annie charms everyone’s hearts despite a next-to-nothing start in Depression-era New York City. JOHN H. WILLIAMS THEATRE January 19 at 8 p.m. January 20 at 2 p.m. (Sensory friendly) January 20 at 8 p.m. January 21 at 2 p.m. January 26 at 8 p.m. January 27 at 2 p.m. January 27 at 8 p.m. January 28 at 2 p.m. February 2 at 8 p.m. February 3 at 2 p.m. February 3 at 8 p.m. February 4 at 2 p.m.
World Stage Theatre Company
Choir Boy
The Charles R. Drew Prep School for Boys is dedicated to the creation of strong, ethical black men. Pharus wants nothing more than to take his rightful place as leader of the school’s legendary gospel choir. Can he find his way inside the hallowed halls of this institution if he sings in his own key? LIDDY DOENGES THEATRE January 26 at 8 p.m. January 27 at 3 p.m. January 27 at 8 p.m. January 28 at 3 p.m. February 1 at 8 p.m. February 2 at 8 p.m. February 3 at 3 p.m. February 3 at 8 p.m. February 4 at 3 p.m. INTERMISSION JAN 2024
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february spotlight Tulsa Town Hall
Rosanne Cash
Guitar in hand, Rosanne Cash weaves stories of her fascinating life, her remarkable career in Americana and country music, and the challenges that lie ahead. She honed her craft traveling with her father, Johnny, and has been one of the most compelling figures in popular music for over 30 years. CHAPMAN MUSIC HALL February 2 at 10:30 a.m.
Tulsa Symphony Orchestra
Fantastique: Berlioz’s Symphonie Fantastique
TSO’s own concertmaster, Rossitza Goza, is the featured soloist for this fantastical evening. Édouard Lalo’s “Symphonie espagnole, Op. 21” is a virtuosic and colorful composition for violin and orchestra. CHAPMAN MUSIC HALL February 3 at 7:30 p.m.
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february spotlight TPAC Presents: Imagination Series
Cat Kid Comic Club
Cat Kid and Molly Pollywog have started an epic club to teach 21 rambunctious baby frogs how to make their own comics! Their fishy father, Flippy, is overjoyed that his kids will learn to unleash their creativity, but when the frogs’ constant bickering and outrageous imaginations send their comics comically off the rails, Flippy flips out! JOHN H. WILLIAMS THEATRE February 8 at 9:30 a.m. February 8 at 11:30 a.m. February 8 at 6 p.m.
CKCC Photos by Jeremy Daniel L-R, Brian Owen, Sonia Roman
Tulsa Ballet
Strictly Gershwin
Give our regards to Broadway! This glittering blockbuster performance promises to be the entertainment event of the year. With a huge cast of performers (including guest tap dancers!), guest vocalists, and the incomparable music of George and Ira Gershwin, you will be transported to the golden age of Hollywood. CHAPMAN MUSIC HALL February 9 at 7:30 p.m. February 10 at 7:30 p.m. February 11 at 2:30 p.m.
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february spotlight
Ailey II’s P. Gamble, T. Strickland, M. Oliver. Photo by Nir Arieli.
TPAC Presents
Ailey II
The Next Generation of Dance — Ailey II is universally renowned for merging the spirit and energy of the country’s finest early-career dance talent with the passion and creative vision of today’s most outstanding and emerging choreographers.
JOHN H. WILLIAMS THEATRE February 13 at 7:30 p.m.
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february spotlight Theatre North PRESENTS
W RI T T E N BY
SUZAN-LORI PARKS DIRE C T E D BY
ROBERT S. WALTERS FEB 17 AT 8:00 P.M. FEB 18 AT 3:00 P.M.
FEB 24 AT 8:00 P.M. FEB 25 AT 3:00 P.M.
FOR MATURE AUDIENCES ONLY TULSA PERFORMING ARTS CENTER LIDDY DOENGES THEATRE TICKETS AVAILABLE AT TULSAPAC.COM OR 918-596-7111
Topdog/Underdog
Suzan-Lori Parks’ dark comic fable of brotherly love and family identity tells the story of two brothers, Lincoln and Booth, names given to them as a joke by their father. Haunted by the past and their obsession with the street con game three-card monte, the brothers come to learn the true nature of their history. LIDDY DOENGES THEATRE February 17 at 8 p.m. February 18 at 3 p.m. February 24 at 8 p.m. February 25 at 3 p.m.
TOPDOG/UNDERDOG is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)
Chamber Music Tulsa
Danish String Quartet
Just three Danes and one Norwegian cellist, making this a truly Scandinavian endeavor, bringing folk music to life. Being relatively bearded, they are often compared to the Vikings. However, they only pillage the English coastline occasionally. WESTBY PAVILION February 17 at 7:30 p.m. AND JOHN H. WILLIAMS THEATRE February 18 at 3 p.m.
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february spotlight American Song Archives
Joyce Carol Oates
In the forthcoming interview, hosted by the Woody Guthrie Center, the illustrious Joyce Carol Oates will take the stage to ignite the atmosphere with her unparalleled insights. JOHN H. WILLIAMS THEATRE February 17 at 7:30 p.m.
Celebrity Attractions & TPAC Presents
Mean Girls
Direct from Broadway, Mean Girls is the hilarious hit musical from an awardwinning creative team, including book writer Tina Fey (30 Rock), composer Jeff Richmond (Unbreakable Kimmy Schmidt), lyricist Nell Benjamin (Legally Blonde) and original director and choreographer Casey Nicholaw (The Book of Mormon). CHAPMAN MUSIC HALL February 24 at 8 p.m. February 25 at 1 p.m. February 25 at 6:30 p.m.
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february spotlight Celebrity Attractions
My Fair Lady
From Lincoln Center Theater, which brought you The King & I and South Pacific, comes “a sumptuous new production of the most perfect musical of all time” (Entertainment Weekly), Lerner & Loewe’s MY FAIR LADY. Director Bartlett Sher’s glowing production is “thrilling, glorious and better than it ever was” (New York Times). CHAPMAN MUSIC HALL February 27 at 7:30 p.m. February 28 at 7:30 p.m. February 29 at 7:30 p.m. March 1 at 8 p.m. March 2 at 2 p.m. March 2 at 8 p.m. March 3 at 1 p.m. March 3 at 7 p.m.
TPAC Presents: Imagination Series
Call of the Wild
Jack London’s classic tale comes to life on stage. This multi-media adventure mixes performance and storytelling with projected illustrations to tell the story of Buck, the magnificent offspring of a St. Bernard and Scottish Collie. JOHN H. WILLIAMS THEATRE February 29 at 9:30 a.m. February 29 at 11:30 a.m. February 29 at 6 p.m.
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A
rt reveals pieces of ourselves that we might not have found otherwise. That is how singer and songwriter Rosanne Cash not only discovers pieces of herself but also how she tells her own story. Rosanne Cash has released 15 albums and earned four Grammys and 12 additional nominations. She is also the author of four books, including the best-selling memoir Composed, which the Chicago Tribune called “one of the best accounts of an American life you’ll likely ever read.” Her essays have appeared in The New York Times, Rolling Stone, The Atlantic, The Oxford American, and more. Her new book, Bird on a Blade, combines images by artist Dan Rizzie with Cash’s lyrics to create something truly beautiful and unique. In addition to touring, Cash has partnered in programming with Carnegie Hall, Lincoln Center, the Minnesota Orchestra, and the Library
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of Congress. She was awarded the SAG/ AFTRA Lifetime Achievement Award for Sound Recordings in 2012 and the 2014 Smithsonian Ingenuity Award in the Performing Arts. She was a Carnegie Hall Perspectives artist in 2015–16 and a 2015 Artist-In-Residence at the Country Music HOF and Museum. She is currently the Artist-in-Residence at New York University. She is one of only a handful of women to be elected to the Nashville Songwriters Hall of Fame, and in 2017–18, she was a resident artistic director at SFJAZZ and will continue her partnership in 2022. In 2018, she was awarded the “Spirit of Americana” Free Speech Award by the AMA and received an honorary doctorate from the Berklee College of Music. In 2021, Cash was the first female composer to receive the MacDowell Medal, awarded since 1960 to an artist who has made an outstanding contribution to American culture.
And, of course, she is the daughter of famed singer Johnny Cash. Though she was born into a life of country music and grew up with it all around her, becoming a country artist like her father was never a foregone conclusion. Cash loved pop and rock, The Beatles and Joni Mitchell, and thought of country as her parents’ music. It wasn’t until she was 18 and went on the road with her legendary father that she came back around to country music. For Cash, music has never been about fame, money or recognition. Music is about connection and discovery. She notes: “I’ve found how there’s a song for every feeling, for every way to communicate. If there are no words, there’s a song for it. If there’s no way to connect with somebody else, there is probably a song that will connect you, and that is meaningful to me. … Many times, I didn’t know how I felt, what I thought, or where my life was going, or what I wanted until I wrote about it. And I’m certainly not the first song writer to say that — that you find yourself in the songs.” Cash doesn’t see her life so much in the normal chronological order. Even the book she wrote that chronicles her life, Composed, isn’t told that way. It is told through the patterns and cycles that have repeated throughout her life. “That’s the way we live, isn’t it,” she asks and then adds, “You live something and then you go back and touch back on that after a few years, and more is revealed as you go on.”
That is also how writing music works for Cash. About finding herself in her music, she shares: “The big reveal happens in writing it, but then more subtle things become revealed in recording and performing it. There are songs that I’ve been performing live for 45 years now, and sometimes something will occur to me that hasn’t occurred to me before. And that’s the mystery and depth of music and art in general.” You can discover a bit about the incredible Rosanne Cash when she graces the Chapman stage, guitar in hand, as she takes us on a tour through her life, her incredible process, and her place in American music history.
TULSA TOWN HALL PRESENTS
ROSANNE CASH Americana: A Tour of American Music Feb 2, 10:30 a.m. Chapman Music Hall
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Help us create arts for all while getting great perks! ANNUAL AND MONTHLY MEMBERSHIP OPPORTUNITIES
Exclusive presales | Fast-pass seating Express lane to concessions and bar | Members’ only events Exclusive Access to LaFortune Studio And more …
BECOME A LUMINARY AT TULSAPAC.COM/LUMINARY-CIRCLE
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– October 24 A special trip for our Luminary Circle members! Mark Frie — TPAC CEO and Tony voter — and the TPAC team are offering a trip to New York City unlike any other exclusively for Luminary Circle members. Not yet a member? There’s never been a better time to join!
Private event with special Broadway guests Multiple dining experiences with Mark and the TPAC Team Direct flights and lodging at an upscale hotel located in the Theatre District
To sign up to receive details contact luminary@tulsapac.com
Become a Luminary and access exciting perks including the opportunity to take the trip of a lifetime to New York City! tulsapac.com/luminary-circle INTERMISSION JAN 2024
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Americans love a good makeover. If you doubt it, there have been more than a dozen reality TV shows and countless magazines — most, but not all, geared toward women — showcasing the benefits of transformation: new clothes, new makeup, new grooming, new hairdo and, voilà, a new you. These external changes might seem superficial, but it’s apparent to anyone who’s ever caught an episode of What Not to Wear or Queer Eye that the experience tends to boost self-esteem and is usually empowering. Madeline Powell as Eliza by Jeremy Daniel
The great playwright George Bernard Shaw perhaps realized the ramifications of a makeover better than anyone. He understood that in England’s rigid class society, a truly life-changing transformation could not be attained passively. It required much more than improving one’s apparel and appearance, though both of those were important. Upward mobility, he believed, could only be achieved if one had the intelligence, tenacity, and commitment to learn how to speak “proper” English. In his preface to Pygmalion, the funny, wickedly insightful play (1913) that inspired Alan Jay Lerner and Frederick Loewe’s beloved musical My Fair Lady, Shaw made the claim that his work about a professor who transforms a Cockney flower girl into a lady was essentially about phonetics. For Lerner, My Fair Lady was squarely about the relationship
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between Henry Higgins and Eliza Doolittle, but Shaw’s perspective infuses much of the musical. Lerner, who wrote the book as well as the lyrics, borrowed liberally — and sometimes verbatim — from Shaw. As Higgins says in both works (with just a few minor changes), “What could possibly matter more than to take a human being and change her into a different human being by creating a new speech for her? Why, it’s filling up the deepest gulf that separates class from class, soul from soul.” My Fair Lady is often referred to as a Cinderella story because, at least figuratively, it’s a rags-to-riches tale: Eliza goes from being a “guttersnipe” to a woman mistaken for a princess. But in traditional Cinderella stories, the heroine is the recipient of magic and good fortune: a fairy godmother enables her, a prince sees her and falls in love. She wishes, and things happen. But My Fair Lady is more complex: Eliza is
the driving force. It is she who comes to Higgins to request speech lessons after he says, in their first encounter in Covent Garden, that in six months he could “pass her off as a duchess” or find work for her in a shop, “which requires better English.” It is Eliza’s determination to one day be “a lady in a flower shop” that brings her to Higgins’ door. And despite his bullying and his flashes of heartlessness, she works diligently to achieve her dream. For Bartlett Sher, who directed the critically acclaimed Lincoln Center Theater production of My Fair Lady now touring the country, it was important to focus the story more on Eliza than Higgins. “Essentially, we track her journey,” he says. “I tended to think that My Fair Lady had come to be dominated by Higgins, and I felt we had to re-center the piece around the person who, in plot terms, you really follow, which is Eliza. So, a lot of the work, including the
Jonathan Grunert as Professor Henry Higgins, Madeline Powell as Eliza Doolittle and John Adkison as Colonel Pickering in The National Tour of MY FAIR LADY. Photo by Jeremy Daniel
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Michael Hegarty as Alfred P. Doolittle by Jeremy Daniel
design work, went into repositioning the show behind her. We open on Eliza, we follow her, we go with her to the house.” Sher, who also directed luminous revivals of South Pacific and The King and I, has a gift for imbuing classic musicals with a contemporary perspective, honoring the original production while compelling audiences to see the piece with fresh eyes. Lerner and Loewe’s wonderful score, which includes the likes of “Wouldn’t It be Loverly?,” “The Rain in Spain,” “I Could Have Danced All Night,” “Get Me to the Church on Time,” “I’ve Grown Accustomed to Her Face,” and “On the Street Where You Live,” is performed by a full-sized orchestra playing the 1956 arrangements by Robert Russell Bennett and Phil Lang. “We want people to hear the songs as they were written,” says Sher. The sets and Tony Award-winning costumes are lavish. The script has been slightly tweaked, with small cuts and the addition of some dialogue from Pygmalion, mostly, Sher says, to 22 INTERMISSION JAN 2024
strengthen some of the arguments made by Alfred P. Doolittle, Eliza’s father, who also undergoes a makeover, from dustman to in-demand philosopher. In approaching My Fair Lady, Sher wanted to acknowledge more of Shaw’s vision. Lerner was a romantic, Shaw was not. In the play, unlike the musical, Eliza does not return to Higgins. “It’s very critical to understand how much Shaw wanted to write a new kind of drama,” says Sher. “He really believed that drama can change the world, and you see that in Pygmalion. It’s both a comedy and an extraordinary play of ideas. The life of a flower seller was extremely grim. The class system was so rigorous and so enforced that it could prevent equality. And Shaw presents a sociological experiment: ‘I can take this girl who is the lowest class, and I can transform her language and put her in the upper class and she’ll be completely accepted.’ This was a great and revolutionary idea for a drama and was considered a radical departure from plays that came before.”
The Company of The National Tour of My Fair Lady by Jeremy Daniel
Sher’s ending for his production of My Fair Lady was inspired not just by Shaw’s original intent, but by twenty-first century sensibilities. At the end of the show — spoiler alert — after Eliza returns to Higgins’ house and they exchange the familiar lines, she walks out. “She’s going into the future,” says Sher. “It doesn’t mean they’re not going to be close. But in this day and age, we can’t suggest she has no agency over her own life.” Younger audiences, in particular, are thrilled to see Eliza take command of her life, and that delights Sher. “Young women coming to see the show now have the chance to engage with one of the great characters in dramatic literature and musical theater history and see how powerful and extraordinary a model she is. And that’s very special.”
CELEBRITY ATTRACTIONS PRESENTS
MY FAIR LADY
February 27 – March 3 Chapman Music Hall
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Emily was abandoned by her mother So were her three sisters
CASA Volunt eer Steps in here
They live in four different foster homes And will likely never see each other again
A loving family adopts them a ll
918-584-2272 tulsacasa.org
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our supporters
Community support from these sponsors help us provide more art than ever before. For more information on how to become a sponsor, visit tulsapac.com/corporate-sponsorships. CHARLES & MARION WEBER FOUNDATION
Thank you to our Luminaries for helping us fund our community engagement programs, helping us inspire, lead and give light to others! Radiant
Eric & Stacie Gentry
Kenneth Hess
Laura Creekmur
Barnett Family Foundation
Kerri Green
Teri Holmes
Lori Decter Wright
Amy & Blaine Hoyt
Carlye Jimerson
Marcus & DeLynn Fairless
Prismatic
Kyle & Holly Hubbell
Caron & Shawn Lawhorn
Linda Frazier
Dwight & Jessica Strayer
Eugene & Ellen Ichinose
Linda Hair-Grant
Vibrant
William & Sarah Matthews
Michelle Lowry
Chris Meadows & Tiffany Harris
Mikaelah Howard
Wendy & Chuck Garrett Scott & Vanessa Thompson Foundation Tanninger Philanthropies
Iridescent
Jenny Lizama Marla Mansfield Olivia Martin & Madeleine Phillips Linsay & Adam Panzer Tim & Kay Phoenix
Liz Carr
Betty Pirnat
Dr. Janet Cheek
Brian & Dustin Shore
Wayne & Tracey Larkin
Ken & Julie Smith
Jill & Bob Thomas
Jo Ann & Douglas Stall
Kari Wall
Hayley Stephens
Brilliant Anonymous Jana Bingman
Richard Sudduth Dustin & Christy Thames Amanda Viles
Bruce & Nancy Bolzle
Splendid
Samuel Briggs
Sarah & Justin Amador
Cathy Creekmore Craig
Pete & Aesha Beattle
Wendy & Gentner Drummond
Weydon & Angela Flax
Jennifer Dubois
Albert & Susie Gallegos
Aimee Faust
Mark & Natalie Haggard
Ronald & Lindsay Fick
Chandler Harris
John & Marge Gaberino
Dennis Neill & John Southard Sharon Parker Rick & Leslie Payne Tina Peña & Bill Loyd Brenna Peterson & Jeffrey Wayland Glenda Silvey Adelaide Steed Ann Tierney Carolyn Tillman
Vivid
John & Quin Halpin Craig & Carol Kovin Jessica Lawmaster Patricia Love-Renton Kerry Malone Richard & Susan Marple Nancy & William McGuinness Bryce & Katie Murray Amy Nance Tom & Laurie Neylon Joshua Ogden-Davis Evelyn Perez Katha Stricklin
Ina Agnew
Elizabeth Sublett
Bruce & Kami Barton
Amanda Vavra
Ely Bates & Katherine Silvey Bates
William Vaughn
Linda & Phillip Berrey
Valerie White
Sarah Block Alecia Brown Ken Busby Cristi Carnahan
Jeffrey & Jessica West Tanyala Woods Steve Wright Rev. Richard & Peggy Ziglar
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calendar
MARCH – APRIL EVENTS
TPAC Presents Dinosaur World Live
MARCH American Theatre Company
All the King’s Women LIDDY DOENGES THEATRE March 1 at 8 p.m. March 2 at 8 p.m. March 3 at 2 p.m. March 7 at 8 p.m. March 8 at 8 p.m. March 9 at 8 p.m.
Tulsa Town Hall
Mary Louise Kelly CHAPMAN MUSIC HALL March 8 at 10:30 a.m.
Innovation Arts and Entertainment
Harry Potter and the Sorcerer’s Stone™ CHAPMAN MUSIC HALL March 9 at 1 p.m. March 9 at 7 p.m. March 10 at 2 p.m.
TPAC Presents: Brown Bag It
Vintage Wildflowers WESTBY PAVILION
March 13 at 12:10 p.m.
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VStar Entertainment Group
Baby Shark’s Big Broadwave Tour CHAPMAN MUSIC HALL March 15 at 6 p.m. March 16 at 10 a.m. March 16 at 2 p.m.
Theatre Tulsa
Calendar Girls
LIDDY DOENGES THEATRE March 15 at 8 p.m. March 16 at 8 p.m. March 17 at 2 p.m. March 22 at 8 p.m. March 23 at 8 p.m. March 24 at 2 p.m.
Chamber Music Tulsa
Tulsa Ballet
Romeo & Juliet
CHAPMAN MUSIC HALL March 22 at 7:30 p.m. March 23 at 7:30 p.m. March 24 at 2:30 p.m.
Celebrity Attractions
To Kill a Mockingbird CHAPMAN MUSIC HALL March 26 at 7:30 p.m. March 27 at 7:30 p.m. March 28 at 7:30 p.m. March 29 at 8 p.m. March 30 at 2 p.m. March 30 at 8 p.m. March 31 at 1 p.m. March 31 at 6:30 p.m.
Horszowski Trio
Soy Mas Inc.
March 16 at 7:30 p.m. JOHN H. WILLIAMS THEATRE
LIDDY DOENGES THEATRE
WESTBY PAVILION
March 17 at 3 p.m.
TPAC Presents
Dinosaur World Live JOHN H. WILLIAMS THEATRE March 21 at 2 p.m. March 21 at 6 p.m.
¿Dónde están los mellizos Miller? March 30 at 8 p.m. March 31 at 2 p.m.
Check out our events page! New shows are scheduled all the time on tulsapac.com! Events are subject to change.
APRIL
Tulsa Town Hall
Chamber Music Tulsa
Celebrity Attractions & TPAC Presents
CHAPMAN MUSIC HALL
WESTBY PAVILION
Dawn Porter
Chicago
April 12 at 10:30 a.m.
April 2 at 7:30 p.m. April 3 at 7:30 p.m.
LIDDY DOENGES THEATRE
CHAPMAN MUSIC HALL
Sonic Era Touring
Glenn Miller Orchestra JOHN H. WILLIAMS THEATRE April 5 at 7 p.m.
Oklahoma Movement
April 20 at 7:30 p.m. JOHN H. WILLIAMS THEATRE April 21 at 3 p.m.
April 12 at 7:30 p.m. April 14 at 2:30 p.m.
Theatre Tulsa
Tulsa Symphony Orchestra
JOHN H. WILLIAMS THEATRE April 26 at 8 p.m. April 27 at 8 p.m. April 28 at 2 p.m. May 3 at 8 p.m. May 4 at 8 p.m. May 5 at 2 p.m. May 10 at 8 p.m. May 11 at 8 p.m. May 12 at 2 p.m.
Fame & Fate: Mozart’s Requiem
TPAC Presents
CHAPMAN MUSIC HALL
CHAPMAN MUSIC HALL
TPAC Presents
Herbie Hancock
April 13 at 7:30 p.m.
April 7 at 7 p.m.
Orbit Arts Festival
Jimbo’s Drag Circus World Tour
Dali Quartet
2ND STREET THEATRES
Once On This Island
April 20 from 10 a.m. to 5 p.m.
JOHN H. WILLIAMS THEATRE April 7 at 8 p.m. HELPFUL INFO
TPAC ADMINISTRATIVE OFFICES are located at 110 E. Second Street, Tulsa, OK., 74103-3212. Office hours: Mon.–Fri. 9 a.m. to 5 p.m. Telephone 918596-7122. Fax 918-596-7144. Please subscribe to our monthly TPAC email newsletter online at TulsaPAC.com. 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 TPAC. ADMISSION AND LATE SEATING Lobby doors open two hours prior to an event. Chapman Music Hall doors normally open 30 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 10:30 a.m. to 5:30 p.m. 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 TPAC ticket office at 918-5967111. Outside Tulsa call 1-800-364-7111. Nominal service charges are added to all phone and Internet orders. The TPAC ticket office accepts DISCOVER, MasterCard and VISA. Subscriber hotline: 918-596-7109. BUYING TICKETS ONLINE Buy tickets at tulsapac.com using VISA, DISCOVER or MasterCard. Print your tickets
at home or pull them up on your mobile device using the print at home option. 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. GROUP SALES AND BUILDING TOURS Group discounts are available. Please call 918-596-7109 for group sales assistance. Tours of the TPAC are offered free of charge and last approximately 45–60 minutes. Arrangements may be made by calling 918-596-7122. SERVICES FOR PERSONS WITH DISABILITIES All Performing Arts Center facilities are accessible to persons with disabilities. Please ask about wheelchairaccessible seating when purchasing your ticket. Parking is located on the street level of the parking garage near the TPAC 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 TPAC’s other theaters. The TPAC has a Listen Technologies RF system to assist the deaf and hard of hearing. It is available at coat check for Chapman Music Hall events. Ask the house manager on duty for equipment for the Williams, Doenges and Norman Theatres. Devices are provided at no cost. PLEASE NOTE: The TPAC is a tobacco-free facility. Smoking and vaping are not allowed, nor is the use of chewing tobacco. Also, as a courtesy to the performers and audience, please turn off all audible message systems and cellular phones. For more Visitor Information, please visit us at TulsaPAC.com.
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