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E E V SA DAT e h t March 1-2, 2014

32nd Annual

Art Show & Sale Tulsa Renaissance Hotel & Convention Center

• Over 50 nationally-renowned artists • More than 1,000 pieces of amazing nature and western art • Proceeds benefiting regional wildlife conservation projects

Featured Artist Paul Rhymer

Encore Artist Matthew Higginbotham

Guest Artist Harold T. Holden

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JANUARY 2014

INTERMISSION MAGAZINE

10

features 10 Q&A: Ron Predl Tulsa Symphony’s executive director trumpets the orchestra’s musiciangoverned business model and reaffirms its commitment to the community Interview by Susan Young

12 The Zing of Bennett

12

Music, art, family and believing that the best is yet to come keep 87-yearold singer Tony Bennett at the top of his game

by Nancy C. Hermann

17 Feet Don’t Fail Me Now

18

Funky, edgy and explosive dancing are on “tap” when Rhythmic Circus, winner of the Edinburgh Fringe Festival’s “Spirit” Award, comes to town

by Nancy Bizjack

7 Directions Thank You Note by John Scott

9 Bravo I Love You, You’re Perfect, Now Change Funkadesi OkMEA Concerts

23 Spotlight Timothy Egan Charlotte’s Web Saint-Saëns and Mozart Tulsa Gridiron A Streetcar Named Desire Cinderella Clybourne Park Adaskin-Schumann Ensemble Elmer Gantry

26 February Events

in the gallery The Quiet Side of the Peephole

January 6 – February 2

18 John O’Hurley:

In as Flynn

The silver-haired actor, known for his appearances on Seinfeld and Dancing With the Stars, stars in Chicago as Billy Flynn, a role he has performed more than 1,000 times

by Barry Friedman

21

21 Beauty Runs Deep The lovely Belle demonstrates an attractiveness that is more than skin deep in Disney’s touring Broadway musical Beauty and the Beast

by Natalie O’Neal

Cover photo by Mark Seliger

8:31 PM, oil on board, 11” in diameter

In this exhibit, artist Lindsay Larremore Craige focuses on private life that is meant to be unseen. Instead of peeking out of the peephole, she focuses inward on mundane domestic life.

Viewers become voyeurs when they peer into these curious round oil paintings.

Craige earned degrees in interior design and studio arts from Oklahoma State University.

She also studied in New Mexico and Italy.

Craige has shown in local galleries, been in numerous juried shows, and continues to create works at her home studio in Tulsa.

J anuary 2014 IN TERM ISSION

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A Foundation for Learning.

A Foundation for Life.

Sara is the President and Artistic Director for Theatre Tulsa and Chairman of the Education Committee for the Board of Directors of the American Association of Community Theatres.

She is a member of the Programming Committee for the Tulsa PAC Trust and serves her alma mater on the Cascia Hall Alumni Board of Directors.

Sara Bingman Phoenix Class of 1995

“The teachers and students at Cascia instilled in me a sense of community and fostered an expectation to dream big, work hard, and make a difference.�

Information sessions, tours, and entrance exams are available monthly throughout second semester.

Visit the website for more information.

2520 S. Yorktown Ave. Tulsa, OK 918-746-2600

www.casciahall.org admissions@casciahall.org

Paint. Drink. Have Fun. Bachelorette Parties Birthday Parties Corporate Events Girls Night Out Date Night Holiday Parties

Tulsa Cherry Street | Tulsa Riverwalk | www.PinotsPalette.com 6

Ja nu a r y 2 0 1 4 I N TE R M I S S I O N

INTERMISSION director’s page

is the official magazine of the Tulsa Performing Arts Center.

PUBLISHER Jim Langdon

THANK YOU NOTE HAPPY NEW YEAR John Scott to you, and a note of thanks for your vote on the Improve Our Tulsa sales tax and bond proposals. As I mentioned in November, the PAC will benefit greatly from the $5.53 million earmarked in the sales tax proposal for facility improvements, such as replacing some decadesold equipment, getting a new roof, refurbishing the public spaces with new carpet and wall coverings, and installing new stage floors in the Williams and Doenges Theatres. One important thing to remember is that not all of our projects will be funded in one year. The Capital Planning division of the City’s Finance Department will, with input from all departments, prioritize the long list of projects and fund them in specific years during the term of the sales tax collection cycle. I will share the project schedule for the PAC with you once it is determined.

This month the PAC calendar features presentations by the Tulsa Symphony, Theatre Tulsa and the Oklahoma Music Educators Association.

The PAC Trust and Tulsa Children’s Museum are each bringing in lively family entertainment with Rhythmic Circus’ Feet Don’t Fail Me Now and the Chicago band Funkadesi. We have two Broadway productions this month — Chicago and Disney’s Beauty and the Beast — and the renowned Tony Bennett will perform on January 19. One of my all-time favorite PAC stories involves Mr. Bennett, while appearing with the Tulsa Philharmonic, telling the audience he thought Chapman Music Hall had great natural acoustics. To prove his point, he put aside the microphone and sang a song unaccompanied with no amplification. No matter how softly he sang, every word and note could easily be heard. It was truly a remarkable demonstration!

Enjoy January by attending one or more of these excellent events. Thanks for all your support, and I’ll see you in the lobby.

EDITOR-IN-CHIEF Nancy Bizjack, PAC CONSULTING EDITOR Nancy C. Hermann, PAC CREATIVE DIRECTOR Amanda Watkins ART DIRECTOR Morgan Welch ADVERTISING SALES Jim Langdon, Rita Kirk INTERN Kalena Dobbs

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 Janet Rockefeller 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 Kristin Bender ASST. SECRETARY John E. Scott TRUSTEES Billie Barnett Jenny Helmerich Mayor Dewey F. Bartlett Robert J. LaFortune Stanton Doyle Rodger Randle Robyn Ewing Jayne L. Reed William G. von Glahn Kitty Roberts M. Teresa Valero PAC TRUST PROGRAM DIRECTOR Shirley Elliott PAC TRUST MARKETING & PR Chad Oliverson OFFICE ADMINISTRATOR Carol Willis INTER MISSIO N is published monthly by

John E. Scott Director, Tulsa Performing Arts Center

Publisher of TulsaPeople Magazine 1603 S. Boulder, Tulsa, OK 74119 For advertising information, Tel. 918-585-9924, ext. 240, Fax 918-585-9926.

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

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THIS MONTH AT THE PAC

THE ATRE TULS A

I LOVE YOU, YOU’RE PERFECT, NOW CHANGE

January 24-25, 30-31 at 8 p.m.

February 1 at 8 p.m.

January 26 and February 2 at 2 p.m.

L I D D Y D O E N G E S T H E AT R E Tickets are $20; $16 for seniors, students and children.

Steven Michael Hall

IT’S EVERYTHING you’ve ever secretly thought about love, romance and relationships — but were afraid to say out loud! Told as a series of vignettes, this riotous musical follows the twists and turns of modern-day relationships. As honest as it is hysterical, this is the perfect date night for couples who love to laugh.

Off-Broadway’s second longest-running musical was created by playwright/lyricist Joe DiPietro (Memphis) and composer Jimmy Roberts (The Thing About Men).

TULS A CHILDREN’S MUSEUM

OKL AHOMA MUSIC EDUC ATORS A S SOCIATION

FUNKADESI

FUNKADESI has been hailed by Time Magazine and even caught the attention of President Barack Obama, who said, “Funkadesi really knows how to get a crowd fired up!

There’s a lot of funk in that desi!”

STUDENT CONCERTS This Chicago-based band blends Indian music — bhangra, Bollywood, Indian folk — with reggae, funk, and Afro-Caribbean grooves, proudly representing the diverse multi-ethnic communities within the city.

Funkadesi is a six-time winner of the Chicago Music Awards.

January 26 at 2 p.m. and 4 p.m.

JOHN H. WILLIAMS T H E AT R E Tickets are $10.

THE OkMEA’s annual convention culminates in three concerts staged at the PAC. Students performing this month represent only 15 percent of the total number who began the audition process. Conductors for each concert are prominent music professionals, giving students the opportunity to perform under the direction of some of the country’s finest musicians.

The OkMEA comprises 1,300 members. Its parent organization, the National Association for Music Education, is the largest special-discipline education association, with more than 100,000 members in the United States and overseas.

OkMEA Honor Band Concert January 17 at 7:30 p.m.

OkMEA All-State Choral Concert January 18 at 12 p.m.

OkMEA All-State Instrumental Concert January 18 at 2:30 p.m.

C H A P M A N M U S I C H A LL Tickets are $15 for each concert.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918 596-7111 AND MYTICKETOFFICE.COM J anuary 2014 IN TERM ISSION

9

Q+A Ron Predl Interview by Susan Young

After receiving his Bachelor of

Music Education and Master of Music degrees from Northwestern University, Ron Predl left his native Chicago in August 1966, arriving in Tulsa with his wife, Peggy, in an unairconditioned car in the middle of a prolonged heat wave, to begin a low-level teaching job at the University of Tulsa. From this humble beginning came his 40-year TU teaching career, in which he served as Director of the School of Music and Director of Bands, among many other posts. He capped off this notable list of achievements in 2008 by coming out of a brief retirement to take charge of the new Tulsa Symphony Orchestra (TSO) with its groundbreaking, musician-led business model.

What influences in your early life led you to a career in music? My parents loved music and my mother played violin in her high school orchestra. She never missed the opportunity to tell the story of how, as a toddler, I would stop whatever I was doing to listen when I heard a trumpet playing on the radio or from a recording. I guess it was meant to be, and I began playing the trumpet as soon as I had my permanent front teeth at age eight.

With whom did you study the trumpet?

Do you play any other instruments?

I was extremely fortunate to have three inspirational teachers simultaneously from the third grade through my graduate work at Northwestern University (NU): Richard Zelek, Renold Schilke, Chicago Symphony Orchestra (CSO), and Vincent Cichowicz, CSO, NU. I have played other brass instruments, and now that I have reached a rather advanced age for trumpet playing, I envy the pianists, 10

Ja nu a r y 2 0 1 4 I N TE R M I S S I O N

guitarists and string players who create the sound with their hands and consequently have greater performance longevity. Sorry now I didn’t diversify!

Besides being a musician, you’re a teacher and administrator. Which facet of your career has been the most challenging?

Do you prefer one of these roles over the others? I truly love all those roles and they are each unique in their rewards, satisfaction and challenges. As a musician, you are in the trenches and on the front lines, and the rush, along with the rewards or disappointments, is immediate, personal and stimulating.

The joy and reward of teaching always relates to personally and musically rewarding experiences with former teachers. So we delight in our students’ growth and accomplishments as we encourage and challenge them to reach their potential, and many will be inspired to pass that rewarding experience forward to the next generation of budding musicians.

My administrative experience has always included the somewhat less creative areas of management that “keep the trains running on time.” However, the bigger reward of administration is keeping the ship and crew on course and facilitating the team effort to effectively combine individual talents, skills and creativity to achieve the personal and collective rewards of realizing the organization’s vision and mission.

You came out of retirement in 2008 to lead the TSO. What was the key factor that made you decide to do this? They say around the office that I flunked my retirement. I’m guilty, but I think it was more than that. Having been immersed in the Tulsa arts community for 40 years at TU, the rising Tulsa Symphony in 2008 included and involved many good friends, colleagues and extended TU family. Most important, the orchestra was committed to community service and provided the

much-needed professional musicians to serve Tulsa’s other essential local performing partners, such as Tulsa Ballet, Tulsa Opera, Tulsa Oratorio Chorus, Light Opera Oklahoma and the entire educational and arts community. The TSO Executive Director job offered the opportunity to work with a circle of very talented, dedicated, creative people in the orchestra, behind the scenes and from the community. TSO mounted a national search and offered me the position. I was impressed and fascinated by the innovative musician-governed structure that had no existing working model, and intrigued by the prospect of building a ship while it sailed.

What is the most unusual aspect of TSO’s groundbreaking business model?

A return to common sense. The concept of “we” (board, staff and musicians) works better than “us vs. them.” Wow, revolutionary! TSO is committed to filling indispensable artistic, educational and civic needs in our community and involves musicians at every level of decision-making and governance. The resources of the highly educated and creative orchestra musicians coupled with concerned, committed and community-minded citizens focused on community service is a win-win for Tulsa and TSO.

You went from a long-term career in academia to leadership of a non-profit arts organization. What has been the biggest challenge in making that transition?

Actually, it was quite a seamless transition.

All my academic and musical experience has been great preparation for this position, and I have always found myself most comfortable and productive in a consensusbuilding environment rather than a topdown management model.

So many orchestras across the U.S. continue to have serious financial problems. Would more governmental support of the arts (as in Europe) be helpful in alleviating this? Would there be any loss of artistic freedom as a result, in your opinion? I was fresh out of college in the mid-’60s during a period of amazing growth in the arts and numbers of orchestras across the country, largely due to

governmental encouragement through financial subsidies and support. Really good orchestras were popping up throughout the U.S., and in the following two decades the subsidies began to disappear and the orchestras were suddenly left to fend for themselves. What went astray? I believe a great nation has an obligation to preserve its cultural history and feed its soul as well as its body. If government subsidies are intended to support enterprises that are in the public interest, certainly American culture and performing arts organizations qualify. I think we might be at least as good an investment as ethanol, don’t you?

You’ve written a book about playing the trumpet called Trumpet Naturally.

Do you plan to write any other books?

In selecting pieces for the Symphony to perform, is it difficult to find a balance between orchestral works that everyone knows and loves, and newer, perhaps more challenging works by lesser-known artists? How do you find the best equilibrium between the two?

many across a rather wide spectrum of styles and genres. All the usual orchestral suspects, from Gabrielli to John Williams, all that jazz from Scott Joplin to Béla Fleck, and then more than a few trumpeters in between.

Marooned recordings (and hopefully some piece of equipment and power to play them) would include any Mozart and Bach, Miles Davis, Billy Joel, Frank Sinatra with Count Basie, Tony Bennett and Miley Cyrus, of course. Just kidding!

We listen to our audience and respect their input about programming through regular written audience surveys and social media.

We also have the advantage of decades of musical experience in our musicians who have played with orchestras throughout the country in a myriad of venues and provide practical and invaluable insight into program selection.

What are some of the community outreach programs that TSO is doing right now? Which do you think will be most important in the coming years? The audiences of today and tomorrow are in our classrooms, and TSO is there working with students who play instruments and those that don’t. A great example is Tulsa Symphony’s collaboration with arts organizations across Tulsa providing arts experiences for Tulsa Public School students through the Any Given Child arts integration program.

And elsewhere, TSO has many other collaborative education programs. Just beginning its second year, the TSO Heart Strings outreach program is spreading the comfort and healing of music to patients at the Muskogee V.A. Hospital and at Cancer Treatment Centers of America in Tulsa.

Trumpet Naturally addresses technical and musical topics for trumpet performance and pedagogy in a master class format. It is a comprehensive text for trumpet students and most useful as a reference and resource that enhances private or class instruction. I think I emptied my trumpet mind with that one.

What is your favorite piece of music?

What recordings would you want with you if you were marooned on a desert island? I have no one favorite piece, but

What do you like to do in your spare time? If I’m in Tulsa, I’m in the office — must be the reason I flunked retirement.

So, the answer is, get out of town and escape 1,100 miles to the family summer place on Grand Island in Lake Superior.

It’s a 180 from Tulsa, and we do our best to spend a couple of months there each summer.

MOZART’S SYMPHONY NO. 40 PROKOFIEV’S SYMPHONY NO. 5 Presented by Tulsa Symphony With guest conductor James Judd January 11 at 7:30 p.m.

CHAPMAN MUSIC HALL Tickets are $25-$70.

MyTicketOffice.com and 918-596-7111

J anuary 2014 IN TERM ISSION

11

THE

Zing

OF BENNETT

San Francisco Chronicle/Polaris

by Nancy C. Hermann

S

ome things never go out of style.

Like Tony Bennett, classically dressed in a suit and silk tie, or the way he phrases a song so that even the most familiar tune seems new, again. The great jazz pianist Bill Evans once told Tony, “Go with truth and beauty and forget everything else.” Tony has done just that. Whether improvising with Lady Gaga and John Mayer, or singing for 11 American presidents over the course of his 53-year career, Tony is proof that music, like fashion, will change and can fade, but real style and a sincere heart endure.

“As an artist you have to remain true to yourself and not let anyone else tell you how to communicate your art,” Tony explains. “That can be challenging at times, especially if you are just starting out and looking for a break, but in the end, it’s a very valuable thing to try to do.”

Rags to Riches The grandson of Italian immigrants, Anthony Dominick Benedetto grew up in New York City. Even as a boy, Tony showed a gift for drawing and singing. “I remember drawing pictures in chalk on the sidewalks of my hometown of Astoria, Queens, for 12

J a nu a r y 2 0 1 4 I N TE R M I SS I O N

hours at a time,” he recalls. “I have always had two passions — art and music — and they both have been something I don’t just want to do, but have to do.”

Letting him pursue his passions was not a luxury Tony’s family could afford, though he was performing at age 10 — singing for the opening of the Triborough Bridge in 1936. It was the same year his father died. Eight years later, Tony was an infantry rifleman dodging German bombs and liberating a Nazi concentration camp during the last months of World War II. “When I returned home, I, like so many others, was fortunate enough to have opportunities under the G.I. Bill of Rights. I was able to study at the American Theatre Wing and get excellent training,” he says.

“My vocal teacher was a woman named Mimi Spears, and she had her studio right on 52nd Street in Manhattan where all the jazz clubs were located, so I was in heaven.

She advised me not to copy other singers, and instead listen to the jazz musicians that I loved and be influenced by their performances to create my own vocal styling. I always loved Art Tatum [piano] and Stan Getz [sax] and would study how they

played. I tried to incorporate their instrumental techniques in my own singing. It was excellent advice.”

The Good Life The young Joe Bari, as Tony was once known, and a singer named Rosemary Clooney were the American Idols of their day. They began a long and close friendship, not unlike the bond he would share with another superstar, Ella Fitzgerald. But it was Pearl Bailey who discovered Tony in a Greenwich Village nightclub and brought Bob Hope to hear him. It was 1949. Hope suggested the name Tony Bennett and took the young singer on what would become the road to stardom.

The 1950s were golden years for the singer, who honed his jazz style and resisted the lure to perform purely pop music. His iconic 1962 hit “I Left My Heart in San Francisco” earned him the first of his 17 Grammys. Tony Bennett Live at the Sahara, recorded in 1964, was released recently as a stand-alone album and is a reminder that not all ’60s hits were tied to the British Invasion.

“Las Vegas at that time was very exciting because it was absolutely the best place for

The Best is Yet to Come

live entertainment. It was unique because the showrooms were intimate and there would be celebrities in the audience, so it made it very exciting for the general public. Also, it was the kind of atmosphere that kept the performances completely spontaneous — not so over-produced and rehearsed, so it truly felt like every night anything could happen on stage.”

One of the major players in the Las Vegas coming-of-age story was Rat Pack member Frank Sinatra, 10 years older than Tony, who once declared, “For my money, Tony Bennett is the best singer in the business.”

“Frank was always very good to me,” recounted Tony. “He was like a brother to me.”

Living large at 87, Tony’s projects seem to be escalating. Last spring, he sang in China for the first time. “I would love to go back again one day for an extensive trip and have plenty of time to paint,” he says. Art, like his music and family, is at the forefront of everything he does and is about. He paints the seasons from his 15th-floor apartment overlooking Central Park, and life and portraiture in his nearby fifth-floor studio.

“Painting and music have a yin/yang relationship. As a musical performer, it is a very gregarious undertaking being on stage in front of thousands of people, and when I paint, it is introspective — it’s just me and the canvas. Four hours can seem like four minutes. What’s nice about it is that I can always stay in a creative zone and yet never feel burned out.”

Tony’s family helps him keep a healthy pace. His daughter Antonia, a singer, will appear with him in Tulsa. Danny has worked as his manager, and another son, Dae, is a Grammy-winning audio engineer who has produced his father’s albums.

Daughter Johanna recently launched a film festival for debuting filmmakers. “I love having my family involved with me and the arts,” says Tony.

It’s clear that where he’s left his heart is closer to home than San Francisco.

Artistically, one of the associations that Tony values most is his collaboration with Bill Evans. He considers his 1975 studio album with Evans to be a milestone, as noted in a documentary called The Zen of Bennett that Tony’s son, Danny, produced on the eve of his father’s 85th birthday.

In the film, Tony is shown making the second of his duet albums with the biggest names in music. Carrie Underwood came to the recording bearing cupcakes. Queen Latifah, Michael Bublé, Andrea Bocelli and Amy Winehouse are among the duet partners featured. Four months before her death in 2011, Winehouse and Tony were filmed during their recording session.

Calming her nerves with great sensitivity, Tony told her that she reminded him of Dinah Washington and subsequently drew out a haunting and Grammy-winning rendition of “Body and Soul.” It would be Winehouse’s last recording.

Also filmed in The Zen of Bennett is the recording of “The Lady is a Tramp” with Tony and a turquoise-coiffed Lady Gaga.

The chemistry was instant. “I think Lady Gaga is fantastic,” Tony shared. “She’s like the Picasso of her generation and she is a true artiste. Many of her fans may not know this, but she loves jazz music and the popular standards, and is a very good piano player as well. When I first met her, I was floored by how well she sang. She has an excellent sense of phrasing and a wonderful voice, so we are working on a jazz album to come out sometime next year. I can’t wait for her fans to hear it.”

TONY BENNETT Presented by TCG Presents January 19 at 7 p.m.

CHAPMAN MUSIC HALL Tickets are $54-$114.

MyTicketOffice.com and 918-596-7111

Mark Seliger

Body and Soul

“I never saw myself as a songwriter, but a few years back I was recording an album of love songs called The Art of Romance, he says. “I had always loved the instrumental piece “Nuages,” which was written by the magnificent guitarist Django Reinhardt.

My son Danny encouraged me to write lyrics to the melody, and I sat down and just started writing. It’s a song called “All For You,” which I dedicated to my lovely wife, Susan. It’s very special to me.”

When Tony last appeared at the Tulsa PAC, he showed an appreciation for the Center’s acoustics with a no-mike singing demonstration. “It’s all about quality for me; not quantity,” he notes. “I have always loved performing for people and to hopefully make them feel good when they are in the audience. I give them love and they give it right back. It’s what I always wanted to do, and I feel very blessed to have been able to spend my life doing what I love the most. I honestly feel like I have never worked a day in my life.”

J anuary 2014 IN TERM ISSION

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Photographs by Gertrude Käsebier The exhibition was organized by the Smithsonian Institution, National Museum of American History, Kenneth E. Behring Center.

Gertrude Käsebier, Joe Black Fox, Sioux Indian photograph, ca. 1898 Smithsonian Institution, National Museum of American History, Kenneth E. Behring Center PG*69.236.022, 287543

Continues through January 26, 2014 Title sponsor of the Gilcrease Museum 2013-14 exhibition season is the Sherman E. Smith Family Foundation.

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J anuary 2014 IN TERM ISSION

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J a nu a r y 2 0 1 4 I N TE R M I S S I O N

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by Nancy Bizjack

W

hen you think of tap dancing, do you think of Fred Astaire “Puttin’ on the Ritz” in top hat, tails and spats?

Depression Era movies starring Shirley Temple and Bill “Bojangles” Robinson?

Miss Shelley’s annual dance recital, perhaps?

Well, whatever preconceived notions you have about the art form are about to be challenged. Meet Rhythmic Circus: four young, rapid-fire dancers; a beat-

boxer known as “Heatbox”; and a lively six-piece jazz/funk/blues/rock/salsa band with vocals. They’re all longtime friends from Minnesota, and they’re out to change people’s opinions about tap dancing.

“When [some] people hear tap dancing, they think of their fifth birthday when they had those little patent-leather slip-on shoes ... or they think of their sister who had those shoes with big bows,” says Artistic Director Ricci Milan. “Due to that, I have been, like, on a mission, personally, to put some ‘oomph’ in tap. You know what I mean? You can use the instrument of a piece of metal on the floor and do something musical with it — you can do something emotional with it.”

“It’s a very raw and in-your-face art form, and it conveys a lot of emotion — a broad spectrum of emotions,” adds guitarist and vocalist Alex Rossi.

Rhythmic Circus’ show, Feet Don’t Fail Me Now, is autobiographical, telling the story of a group of “desperately excited and uniquely talented tap dancers” on a mission to inspire everyone to find their “inner dancer.” The tale is told as the dancers tap through a series of songs and monologues, with Heatbox playing the role of an investigator who’s hot on the trail of these crazy dreamers.

Rhythmic Circus began four years ago at a small theater in Minneapolis. Since then, they’ve performed in more than 90 cities worldwide. In 2012, they were awarded the “Spirit of the Fringe,” the top theatrical award at the Edinburgh (Scotland) Fringe Festival, the largest arts festival in the world. Just last month, they completed a successful off-Broadway run at New York’s New Victory Theater.

In 2010, the St. Paul Pioneer Press wrote, “Rhythmic Circus proves tap dancing can be funky, edgy and explosive!”

Two years later, the group had lost none of its exhilarating effect: “The first set is the most electrifying and energizing 45 minutes of nonstop, over-the-top tap you have ever seen. And then they really ramp it up,” said David Marty, President of the Reif Performing Arts Center in Grand Rapids, Minnesota, in 2012.

Feet Don’t Fail Me Now is for all ages — for anyone who’s ever danced a dance, sung a song, or dreamed a dream. As the lyrics to Feet’s marching band number, “Circus,” go: “Come one, come all, it’s what you’ve all been waiting for!”

Feet Don’t Fail Me Now Presented by the PAC Trust January 25 at 7:30 p.m.

J O H N H . W I L L I A M S T H E AT R E Tickets are $25-$30.

MyTicketOffice.com and 918-596-7111

J anuary 2014 IN TERM ISSION

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by Barry Friedman

H

e knew the question was coming.

“I loved it,” John O’Hurley says without hesitation about Chicago, the film. “I thought it was just a wonderful, wonderful recreation of a very imaginative jazz piece, and they stayed true, in that respect, to it. They didn’t show too much of a reality and just teased the mind enough with it.

“That being said — look, I’ve obviously had more time with the character than Richard ever had — and I see a deeper, more complicated character than he played.”

That Richard, of course, is Gere, who, in the film, played the role of Billy Flynn — O’Hurley’s role on Broadway and in the touring stage production.

“I see a paternal quality to Billy Flynn, and that has to come out for the audience to care about; otherwise, he comes off monochromatic and as just a slick shyster who has everything he needs. Once you appear to an audience to have everything you need, they don’t care about you.”

He doesn’t criticize Gere’s performance — well, maybe a little.

“I think he hooked into the monochromatic quality of Billy Flynn, and Gere has such a great charm factor, he can charm his way through the role.”

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Ja nu a r y 2 0 1 4 I N TE R M I SS I O N

Chicago is the story of Roxie Hart, a housewife and nightclub dancer, who murders her lover. Her guilt is a foregone conclusion. (We see it occur.) In prison, while awaiting trial, she meets the equally guilty Velma Kelly and other female prisoners charged with murdering their lovers. (The production number alone — “Cell Block Tango” — is worth the price of admission.) It is there in prison that Roxie is offered the chance to be represented by the flamboyant Billy Flynn, part attorney, part showman himself.

What comes next is a tale of fleeting fame, press manipulation, deceit, duplicity, and a city’s insatiable prurience and short attention span.

It is the hanging of one of those female prisoners, O’Hurley says, that changes the tone of the piece and the characters.

“It’s the first time in 47 years,” says O’Hurley, “that they’re hanging women.

The stakes in Chicago change. It stops being this vaudevillian piece — this onenote, turn-her-into-a-celebrity, kick-herout-on-the-burlesque-circuit piece — and becomes about life and death.”

This, O’Hurley says, rocks Flynn.

“He’s never lost a case before.”

You sense that O’Hurley protects his characters, embodies them, worries about them.

Which, of course, brings us to Jacopo Peterman, Elaine’s pompous but lovable boss on Seinfeld. O’Hurley portrayed the eccentric catalog company founder in 22 episodes.

“I have never seen writing like that.

I’ve never seen writers who wrote to the strengths of the actors like that. I developed my sense of comic bravura. I mean, they trusted me with these long, lunatic monologues,” he says of the scripts that Larry David and Jerry Seinfeld wrote and produced.

And he knew they — and their scripts — were genius at the time.

“I used to say to the people who were hired to be my assistants on the show, extras, ‘I want you to keep the script, write down what you were wearing and remember everything you can about this experience, because you’re going to be watching this with your grandchildren.’

“Time has proved me right.”

After Seinfeld, O’Hurley hosted Family Feud, a show he was on as a contestant during his years playing Jim Grainger on The Young and the Restless.

“I thought, as a guest, that hosting was a pretty good gig. Be careful what you ask for.”

Then came Dancing With the Stars, a show he calls “God’s great practical joke.”

Paul Kolnik

JOHN O’HURLEY: IN AS FLYNN

There was also his second-favorite theatrical character, King Arthur, from Monty Python’s Spamalot.

But he always comes back to Chicago and the role of Billy Flynn, which he played on Broadway in 2006, 2010 and 2011.

“I have done over 1,000 performances, and each year I take it out on the road — sometimes for as few as six or seven cities, sometimes 15. And I love this role. I did the 10th-year reunion, I did the 15th; I hope to do the 20th and 25th.”

He knows and appreciates its history, its evolution.

“The show had a two-year run in the mid-’70s, but it was before its time, and I think the template of the show — though the core of it was good — its presentation, probably not the best. But the way it is now — the show is darkly lit — gives it more of a jazz mood piece. But a Chicago jazz that pops.”

The 1996 revival of John Kander, Fred Ebb and Bob Fosse’s Chicago won six Tony Awards, including Best Musical Revival, Best Direction and Best Choreography.

Seventeen years later, it’s still running on Broadway.

O’Hurley has a confidence, yet a modesty when he talks of himself, his work.

“I’ve had the most eclectic career beyond which I ever could have imagined,” he says.

It’s a career that includes two New York Times bestsellers about the wisdom of dogs (he’s been the host of Purina’s National Dog Show since 2002) and two Billboardcharting albums (Peace of Our Minds and Secrets From the Lake).

And, of course, there’s acting. Among his three most identifiable characters — King Arthur, Billy Flynn, J. Peterman — he sees a connection.

“King Arthur and J. Peterman are really the same person,” he says, “just 1,000 years removed.”

And Billy Flynn?

“Both are elegant,” he says of Peterman and Flynn, “but only one is dangerous.

There’s no lunacy to Billy Flynn.”

Presented by Celebrity Attractions January 21-23 at 7:30 p.m.

January 24 at 8 p.m.

January 25 at 2 p.m. and 8 p.m.

January 26 at 2 p.m. and 7 p.m.

CHAPMAN MUSIC HALL Tickets are $20-$65.

MyTicketOffice.com and 918-596-7111

Paul Kolnik

Jeremy Daniel

Catherine Ashmore

“The first year, nobody knew what it was. I was the first guy they asked, and they said, ‘If we get you, we’re going after [Heavyweight Champion] Evander Holyfield, which made perfect sense to me, because I knew that America had been waiting for decades for the HolyfieldO’Hurley match-up on the level playing field of ballroom dancing.

“If memory serves, I took him out in the third round with my fox trot.”

He says that show was a life-changing experience, for it took away every actor’s comfort zone.

“Because you’re showing up naked. Not as a character you can hide behind, but as yourself.”

J anuary 2014 IN TERM ISSION

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J a nu a r y 2 0 1 4 I N TE R M I S S I O N

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Beauty RUNS

DEEP

by Natalie O’Neal

T

he lovely Belle, who seeks adventure beyond the provincial lives of her fellow townsfolk and would choose a book over chocolates any day of the year, demonstrates that her beauty is not only skin deep in the Broadway touring musical Beauty and the Beast. Join Belle as she fights social pressure to be married, proves prejudice wrong, and valiantly stands up for those she loves!

With such a strong female lead character, it should come as no surprise that the first published versions of Beauty and the Beast (La Belle et la Bete), “a tale as old as time,” were written by women. Gabrielle-Suzanne Barbot de Villeneuve was first (in 1740), but Jeanne-Marie Le Prince de Beaumont’s abridged version (in 1756) was so beautiful and simple that it captured the hearts and minds of many young children and adults alike. In Beaumont’s story, Belle shows great family loyalty and bravely takes her father’s place as a prisoner at the Beast’s enchanted castle. As the two are forced into such close proximity, the boorish Beast slowly starts to find compassion and, eventually, Belle is able to look past his rough exterior to the princely soul within. Along comes Disney, adding in a few enchanted household items and a competing love interest, and — voila! — a

box-office smash and the first featurelength animated film to be nominated for a Best Picture Oscar.

To turn its beloved animated film into a stage show, Disney reassembled the film’s screenwriter, Linda Woolverton, and composer Alan Menken. Menken and lyricist Tim Rice wrote six additional songs to go with the ones Menken and Howard Ashman had written for the film. Earlier, Rice had stepped in to complete the lyrics for Disney’s Aladdin after Ashman, who also wrote the songs for The Little Mermaid with Menken, died in 1991.

While the story and songs are much like the movie, with a few bonuses such as “No Matter What” (a duet between Belle and her father) and the Beast’s musical soliloquy “If I Can’t Love Her,”

the backdrops are a slightly re-imagined version of those used in the original 1994 Tony Award-winning Broadway musical. Whereas the original set was basically the movie made live, this new touring version is “more evocative of whimsy and very, very romantic,” says Stan Meyer, who was also the scenic designer of the 1994 production. “We did a lot of research that involved Eastern European wood carving and gilded manuscripts. The new version is an illuminated manuscript come to life.”

So “be our guest” and join the 35 million people worldwide who have already fallen in love with the musical stage production of this not-so-standard classic fairy tale.

DISNEY’S

Beauty AND THE

BEAST Presented by Celebrity Attractions January 31 at 8 p.m.

February 1 at 2 p.m. and 8 p.m.

February 2 at 2 p.m. and 7 p.m.

CHAPMAN MUSIC HALL Tickets are $25-$65.

MyTicketOffice.com and 918-596-7111 J anuary 2014 IN TERM ISSION

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ON UPCOMING EVENTS

TULS A TOWN HALL

TULS A SYMPHONY

TIMOTHY EGAN TIMOTHY EGAN is a Pulitzer Prizewinning reporter whose interests range wide across the American landscape.

His book The Worst Hard Times: The Untold Story of Those Who Survived the Great American Dust Bowl won the 2006 National Book Award for nonfiction.

Through Egan’s colorful storytelling, events previously documented in black-and-white photographs become vivid, alive and relevant to presentday life, as demonstrated through his appearances in Ken Burns’ 2012 film The Dust Bowl.

The topic of Egan’s lecture is “The Dust Bowl and Beyond: Lessons for the Future From Past Hard Times.”

SAINT-SAËNS AND MOZART

February 7 at 10:30 a.m.

CHAPMAN MUSIC HALL Tickets are sold by subscription at tulsatownhall.com and 918-749-5965.

PAC TRUST

CHARLOTTE’S WEB

Jean-Marie Guyaux

WILBUR THE PIG seems destined to wind up as pork chops! But when a little gray spider named Charlotte befriends Wilbur, something terrific, radiant and humble happens. Spinning the words “Some Pig” in her web, Charlotte weaves a solution that not only makes Wilbur a prize pig, but also ensures his place on the farm forever.

This Theatreworks USA production, based on the beloved book by E.B. White, features madcap and endearing farm animals and explores bravery, selfless love, and the true meaning of friendship.

THE AUDIENCE CHOICE CONCERT this year centers on the work of Wolfgang Amadeus Mozart and Camille Saint-Saëns and features pianists (and twin sisters) Christina and Michelle Naughton.

Born in Princeton, New Jersey, to parents of European and Chinese descent, the Naughton sisters are graduates of The Juilliard School and the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. They are Steinway Artists and currently reside in New York City.

On the program are Mozart’s Concerto for Two Pianos and two pieces by Saint-Saëns: Carnival of the Animals and his Symphony No. 3, also known as the Organ Symphony.

Sarah Ioannides, music director of the Spartanburg (South Carolina) Philharmonic Orchestra since 2005, is guest conductor.

February 8 at 7:30 p.m.

CHAPMAN MUSIC HALL Tickets are $25-70.

Christina and Michelle Naughton

February 7 at 7 p.m.

J O H N H . W I L L I A M S T H E AT R E Tickets are $10.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM J anuary 2014 IN TERMISSION

23

ON UPCOMING EVENTS

TULSA GRIDIRON FOR MORE THAN 80 years, Tulsa Gridiron has been poking fun at the high and mighty through word and song. This year’s show, “Government Ain’t Twerking: I’ll See Your Shutdown and Raise You the Debt Limit,” includes send-ups of our local, state and national leadership as well as popular newsmakers. The 2014 Gridiron is directed by Rebecca Ungerman and features some of Tulsa’s best musical and comedic talent.

This year’s show will be hosted by Julie Chin and Kathy Taylor. City councilman and entrepreneur Blake Ewing will receive the Roasting Ear Award.

February 7-8 at 8 p.m.

L I D D Y D O E N G E S T H E AT R E Tickets are $27 and $50.

THE PL AYHOUSE TULS A

A STREETCAR NAMED DESIRE IN TENNESSEE WILLIAMS’ classic drama, fading southern belle Blanche Dubois (Courtneay Sanders) arrives at the seedy New Orleans apartment of her sister, Stella (Norah Sweeney), via a streetcar named “Desire.” Having left a lost family plantation, her job as a teacher, and a host of secrets and lies behind in Mississippi, Blanche is desperate for a new start, but her fragile illusions won’t endure the scrutiny of Stella’s macho husband, Stanley Kowalski (Cody Shelton).

A Streetcar Named Desire received the Pulitzer Prize for Drama in 1948. The play’s original Broadway production ran for two years, and there have been numerous revivals and adaptations.

Sanders and Shelton

Michele Cantrell

TULS A PRES S CLUB EDUC ATIONAL AND CHARITABLE TRUST

February 14-15, 20-22 at 7:30 p.m.

February 16 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 $24; $21 for students and seniors, $9 for children.

TULS A BALLET

CINDERELLA A PRINCE, a fairy godmother, a glass slipper — and a little magic — come together to make a princess out of a cinder maid in this lavish story ballet. The antics of Cinderella’s awkward stepsisters (portrayed by men) add hilarity to the romantic fairy tale choreographed by Ben Stevenson to music by Sergei Prokofiev.

“In putting Cinderella on the stage, I have tried to appeal to adults and children alike, from the romance of Cinderella and the Prince to the humor of the Ugly Stepsisters,” Stevenson says. “It is always wonderful for me to hear the laughter of the children in the audience.”

The Houston Ballet Artistic Director Emeritus’ works are Tulsa Ballet favorites. This is the fourth time the company has performed Stevenson’s Cinderella, and they’ve danced his Dracula twice.

February 14-15 at 8 p.m.

February 16 at 3 p.m.

CHAPMAN MUSIC HALL Tickets are $20-$109.

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

J a nu a r y 2 0 1 4 I N TE R M I S S I O N

THE ATRE TULS A

TULS A OPERA

BRUCE NORRIS’ wickedly funny and fiercely provocative play about race, real estate — and the volatile values of each — won nearly every honor the theater world has to give, including the 2012 Tony Award for Best Play and the 2012 Pulitzer Prize for Drama.

Clybourne Park explodes in two outrageous acts set 50 years apart. Act One takes place in 1959 as nervous community leaders anxiously try to stop the sale of a home to a black family. Act Two is set in the same house in the present day, as the now predominantly African-American neighborhood battles to hold its ground in the face of gentrification. Clybourne Park acts as both a prequel and a sequel to Lorraine Hansberry’s A Raisin in the Sun.

DON’T MISS the Oklahoma premiere of this new Grammy Award-winning opera by Robert Aldridge. Based on the 1926 novel

by Nobel laureate Sinclair Lewis and the 1960 film starring Burt Lancaster, this is the story of the rise and fall of a charismatic but unscrupulous adventurer who finds fame and fortune by joining the Evangelical movement in the 1920s Midwest.

This American opera uses gospel, folk and classical music to tell Gantry’s story. Aldridge says that he and librettist Herschel Garfein composed Elmer Gantry “not only for opera fans but for people who might never have seen an opera.”

Elmer Gantry, which premiered in Nashville in 2007, is sung in English.

CLYBOURNE PARK

ELMER GANTRY

Steven Michael Hall

February 21-22, 27-28 at 8 p.m.

March 1 at 8 p.m.

February 23 and March 2 at 2 p.m.

L I D D Y D O E N G E S T H E AT R E Tickets are $18; $14 for students and seniors.

CHAMBER MUSIC TULS A

ADASKIN-SCHUMANN ENSEMBLE ENJOY the talents of two chamber music ensembles for the price of one when the Adaskin String Trio and Ensemble Schumann team up to perform works

by Mozart, J.C. Bach, Martinu and Brahms.

Violist Steve Larson is a member of both groups, and they collaborate frequently to perform masterworks with uncommon instrumentation, charming audiences with their passion and warmth. In Tulsa, the five players will explore the

February 28 at 7:30 p.m.

March 2 at 2:30 p.m.

CHAPMAN MUSIC HALL Tickets are $25-$98; discounts for students and seniors.

Ensemble Schumann

timbres of piano, strings and oboe in different and delightful combinations.

February 23 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.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM J anuary 2014 IN TERMISSION

25

ON UPCOMING EVENTS FEBRUARY THEATRE TULSA

I LOVE YOU, YOU’RE PERFECT, NOW CHANGE Feb. 1 at 8 p.m.

Feb. 2 at 2 p.m.

Liddy Doenges Theatre CELEBRITY ATTRACTIONS

BEAUTY AND THE BEAST Feb. 1 at 2 p.m. and 8 p.m.

Feb. 2 at 2 p.m. and 7 p.m.

Chapman Music Hall MICHELLE FIRMENT REID

THOUGHTS ON A WINTER’S JOURNEY Feb. 6 – Mar. 2 PAC Gallery

TULSA SYMPHONY

SAINT-SAËNS AND MOZART WITH GUEST PIANISTS CHRISTINA AND MICHELLE NAUGHTON Feb. 8 at 7:30 p.m.

Chapman Music Hall TULSA BALLET

CINDERELLA Feb. 14-15 at 8 p.m.

Feb. 16 at 3 p.m.

Chapman Music Hall PLAYHOUSE TULSA

A STREETCAR NAMED DESIRE Feb. 14-15, 20-22 at 7:30 p.m.

Feb. 16 at 2 p.m.

John H. Williams Theatre THEATRE TULSA

TIMOTHY EGAN Feb. 7 at 10:30 a.m.

Chapman Music Hall

CLYBOURNE PARK Feb. 21-22, 27-28 at 8 p.m.

Mar. 1 at 8 p.m.

Feb. 23 and Mar. 2 at 2 p.m.

Liddy Doenges Theatre

PAC TRUST

CHAMBER MUSIC TULSA

TULSA TOWN HALL

CHARLOTTE’S WEB Feb. 7 at 7 p.m.

John H. Williams Theatre TULSA PRESS CLUB TRUST

ADASKIN-SCHUMANN ENSEMBLE Feb. 23 at 3 p.m.

John H. Williams Theatre

TULSA GRIDIRON Feb. 7-8 at 8 p.m.

Liddy Doenges Theatre

TULSA OPERA

HOUSE NOTES

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.

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.

26

Ja nu a r y 2 0 1 4 I N TE R M I S S I O N

Christina and Michelle Naughton

ELMER GANTRY Feb. 28 at 7:30 p.m.

Mar. 2 at 2:30 p.m.

Chapman Music Hall

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 are subject to change.

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.

If you found a NEW friend under your tree … ...we want to see! Bring the new furry member of your family to see us during January and we’ll say “thank you” with a free tasting bag of healthy treats for your pup. And while you’re here, check out our free all-natural food samples, our Pupcakes, and January Clearance merchandise for dogs and cats.

If you are looking to adopt a NEW special friend in 2014…

In a perfect world, every dog would have a home and every home would have a dog.

Area Pet Adoption Resources Note 4 the Hounds Bassett Rescue, Inc. www.4thehounds.org

Lab Rescue Ok, Inc. 918-902-3800, www.labrescue.net

Animal Aid of Tulsa 3307 E. 15th St., 918-744-8280, www.animalaid.org

Oklahoma Airedale Rescue 918-836-5508, www.okairedales.com

Animal Rescue Foundation 622-5962, www.arftulsa.org

Oklahoma Aussie Rescue www.okaussies.org

Animal Rescue Foundation of Bartlesville 127 N.E. Washington Blvd., Bartlesville 918-766-0991, www.arfok.org

Partnering for Pets, Inc. 918-376-2525, www.PartneringforPets.org

Because of You Chihuahua Rescue 405-216-3994, www.becauseofyourescue.org Bonhaven Scottish Terrier Rescue bonhaven@cox.net, www.bonhaven.org Cat Adoption Center 918-486-7727, www.catadopttulsa.org City of Tulsa Animal Welfare Shelter 3031 N. Erie Ave., 918-669-6280 www.cityoftulsa.org/city-services/animal-welfare.aspx German Shepherd Rescue of Tulsa 918-291-2703, www.gsrtulsa.com

Y JANUAR LE CE SA CLEARAN ESS! R IN PROG

Golden Retriever Rescue 918-816-228-1458, www.goldenrecovery.org Halfway Home Greyhound Adoption 918-224-5359, www.halfwayhomegreyhounds.com

Pet Adoption League 918-365-8725, www.pet-adopt.org Poodle Club of Tulsa 918-346-7121, www.poodlecluboftulsa.org Small Paws Rescue www.smallpawsrescue.org Sooner Golden Retriever Rescue 405-749-5700, www.sgrr.org Spay Oklahoma 501 E. 36th St. N., 918-728-3144, www.spayok.com Streetcats, Inc. 6520 E. 60th St., 918-298-0104, www.streetcatstulsa.org Tulsa Boxer Rescue 918-860-2697, www.tulsaboxerrescue.net

Homeward Bound Pug Rescue 405-706-1492, www.homewardboundpugs.com

Tulsa Society for the Prevention of Cruelty to Animals 2910 Mohawk Blvd., 428-7722, www.tulsaspca.org

Humane Society of Tulsa 6232 E. 60th St., 918-495-3647, www.tulsapets.com

Whippet Rescue and Placement 284-4512, www.whippet-rescue.com

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