some ’60s and ’70s pop standards thrown into the mix.
Q: Do you have a favorite place to play here? PP: Spring Creek put a baby grand piano
into the Granary for us 20-some years ago and we’ve been playing there ever since. That is my baby. I love that gig. I can play anything I want and there are people who are regular summer visitors who come up year after year. It is a delight and blessing to have such a supportive, steady venue in which to play.
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Q: Do you think your students appreciated/ understood they had a teacher who had played/conducted Tony-winning musicals? PP: I tried to remind them as much as I
could! Seriously, piano study is all about practice. I would try and make it fun by giving them Broadway and pop music. I think they all knew I had worked professionally. I tried to emphasize the importance to keep practicing at it.
Q: Did you teach piano in NYC? PP: No. It was something we needed to do
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in Jackson to make ends meet. Also, it was important for inclusion in the community.
Q: You co-wrote a musical that celebrates Jackson Hole. How did you pick the subject matter? PP: Mary [Murfitt] and I wrote Petticoat
Rules together. I love the local history. In 1920, Jackson became the first town in the U.S. to have an all female town council. The plot involves the friendship between Rose Crabtree, one of the town council members, and Cissy Patterson, the flamboyant owner of the Washington Star newspaper and a big society woman from Washington D.C. who came to the Bar BC, a local dude ranch, to recover from her divorce from a Polish Count.
Q: Petticoat Rules first played in the early ’00s and was revived at the Center for the Arts in 2011. With the centennial of those women being elected coming up is a return performance on tap?? PP: There is a good chance it will be
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performed at the Grand Teton Music Festival in the summer of 2020.
—INTERVIEW BY LILA EDYTHE
WINTER 2020 JACKSON HOLE MAGAZINE
37