03-2014

MARCH 2014

: E D I S P I FL

THE PATTI PAGE STORY

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MARCH 2014

INTERMISSION MAGAZINE

10

features 10 Q&A: Mia Farrow The movie star and humanitarian talks about her work with UNICEF, raising 14 children, and her relationships with Salvador Dalí and Frank Sinatra Interview by Nancy C. Hermann

16

16 Bringing Page to

the Stage

The story of how Clara Ann Fowler became “The Singin’ Rage, Miss Patti Page” is told in the award-winning musical Flipside: The Patti Page Story

by Nancy Bizjack

5 Directions Ticket Talk by John Scott

7 Bravo The Mountaintop Acts of Absence Elias String Quartet Dual Ragtime Piano An Evening With Kathryn Stockett The Snail and the Whale [title of show] Fat Pig Brown Bag It

23 Spotlight Joseph and the Amazing Technicolor Dreamcoat Gentry Lee “Space Exploration” Tulsa Symphony: Higdon, Haydn and Strauss Men Are From Mars; Women Are From Venus Endurance American String Quartet

26 April Events

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19 Mazel Tov! The Maxwell Street Klezmer Band of Chicago raises the roof with a lively mix of traditional Jewish dance, theater and celebration music

by Megan Gay

in the gallery Dwelling Spaces Paintings by Linda Stilley March 6-27

20 A Few Good Men

20

The truth is, Aaron Sorkin’s military courtroom drama was a play before it was a movie, and Theatre Tulsa is staging it with a big, talented cast

by Scott Wigton

Cover photo by Wendy Mutz

Linda Stilley was an art teacher in Tulsa and Japan for more 30 years. A longtime potter, she changed direction in 1986 when decorating on large slabs turned into a love of painting.

On a recent trip to Europe, Stilley explored caves where she viewed the art of primitive man, intensifying her enduring fascination with surfaces. Their texture, layers, colors and mysteries are reflected in her most recent work.

M arch 2014 IN TERM ISSION

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9th Annual Fur Ball March 8, 2014

6:00 PM to 10:00 PM Hyatt Regency – Downtown Tulsa

WEAR YOUR “BEST WESTERN” Live Western Music & Entertainment, Live and Silent Auctions, Wine and Beer Pull, Special Dog Treat Bar for Doggy Bags, Raffle Drawing FOR TICKETS OR SPONSORSHIP CONTACT Jamee@animalallianceok.org

CHAIRS Emily & Greg Bollinger Jim Langdon & Juley Roffers

OklahOma alliance fOr animals Reducing Pet Overpopulation and Fighting Cruelty to Animals

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Ma rc h 2 0 1 4 I N TE R M I S S IO N

Ar t by Dana Gilpin

INTERMISSION director’s page

TICKET TALK THIS WINTER, we’ve had John Scott too many occasions where inclement weather hampered patrons from attending PAC events. Only on very rare occasions are PAC events ever canceled and that leaves some, particularly those traveling from outside Tulsa, frustrated when their hard-earned money cannot be refunded. I just want to gently remind everyone that all tickets to PAC events are sold with the condition that all sales are final. As much as we might like to give people’s money back under various dire circumstances, the policy of No Refunds and No Exchanges is consistent throughout all our user groups.

Another “buyer-beware” warning I cannot express strongly enough is to be careful about where you are buying tickets. Particularly with Disney’s The Lion King last summer, we encountered way too many instances of patrons coming to a performance holding what they thought were legitimate tickets. However, in every instance where those tickets turned out to be invalid, we discovered the patrons had made those purchases from an online ticket reseller (the polite term for scalper).

Let’s say you want to buy tickets for the fabulous Wicked this summer, so you quite naturally Google “wicked tickets tulsa.” You’ll get a list of sites purporting to sell those tickets. Please pay attention to the web address of any site listed. You’ll see names like vividseats.com, ticketnetwork.com, bigstub.com, even wickedticketstulsa.com and many others. I checked one of those sites, and the tickets it claimed to have for sale ranged in price from $61 to $648 each, while the actual range is $35 to $135. Besides, Wicked tickets don’t go on sale to the public until April 7. The safest route for buying tickets online to PAC events is through the PAC websites: tulsapac.com and myticketoffice.com. Don’t get scammed by those other sites!

Enjoy all the wonderful March events at the PAC and don’t forget: buy your tickets safely and securely through the PAC’s two websites, in person at our Third Street box office, or by phone, 918-596-7111.

Thanks for all your support and I’ll see you in the lobby.

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 Morgan Welch ADVERTISING SALES Jim Langdon, Rita Kirk

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

Publisher of TulsaPeople Magazine 1603 S. Boulder, Tulsa, OK 74119

John E. Scott Director, Tulsa Performing Arts Center

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.

R

DERS A ’ E

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THIS MONTH AT THE PAC

THE ATRE NORTH

LIVING ARTS OF TULS A

THE MOUNTAINTOP by Katori Hall is a gripping fictional depiction of the Reverend Martin Luther King Jr.’s last night on earth.

On April 3, 1968, after delivering one of his most memorable speeches, an exhausted Dr. King (Justin Daniels) retires to his room at the Lorraine Motel while a storm rages outside. When a mysterious woman (Whitney Davis) arrives with some surprising news, King is forced to confront his destiny and his legacy to his people.

The Mountaintop premiered in London in 2009 to great critical acclaim, winning the Olivier Award for Best New Play. It

ACTS OF ABSENCE is an evening of dance, music and digital media performance that explores notions of absence and vast space reminiscent of movement on a prairie landscape. The cluster of dance works within the frame of Acts of Absence, choreographed and performed by Sarah Gamblin and the Big Rig Dance Collective, will explore a range of physicality, from the sparse and subtle to the extremely athletic.

THE MOUNTAINTOP

ACTS OF ABSENCE

opened on Broadway in 2011. This is the play’s Tulsa and Oklahoma premiere.

February 28 and March 1, 7, 8 at 8 p.m.

C H A R L E S E . N O R M A N T H E AT R E Tickets are $20; $15 for students and seniors.

For mature audiences

CHAMBER MUSIC TULS A

Ettore Causa

ELIAS STRING QUARTET

THIS VIBRANT ensemble from England made its North American debut in 2012 to great acclaim, including a sold-out concert at Carnegie Hall. For three years, they were part of the prestigious BBC New Generation Artists program. The Elias’ concerts and educational outreach in Tulsa are part of their

three-year Beethoven Project, which will culminate with a recording of the complete Beethoven quartets.

In this concert, Sara Bitlloch (violin), Donald Grant (violin), Martin Saving (viola) and Marie Bitlloch (cello) will perform Haydn’s Quartet in F-Major, Op. 77, No. 2; Sally Beamish’s “Reed Stanzas”; and Beethoven’s Quartet in E-Minor, Op. 59, No. 2.

March 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.

The award-winning Hentai Improvising Orchestra will provide a rich accompaniment of original sound and music. All of the artists in this project share a deep expertise in improvised performance and sophisticated methods of creating spontaneous choreography and music, ranging from open to highly refined structures.

These performances are part of Living Arts’ New Genre Festival.

March 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 $15; $10 for Living Arts members and students.

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

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THIS MONTH AT THE PAC

RAGTIME FOR TULS A

DUAL RAGTIME PIANO: BRYAN WRIGHT AND DALTON RIDENHOUR Bryan Wright BRYAN WRIGHT was the 2013 Scott Joplin International Ragtime Foundation’s Artist in Residence. Classically trained, he now specializes in ragtime and early jazz piano styles. Wright has performed and lectured on ragtime across the United States and abroad and has released two full-length solo CDs. He holds degrees in historical musicology from the College of William and Mary and the University of Pittsburgh.

Dalton Ridenhour first performed at the Scott Joplin Festival when he was nine. For the next eight years, he was a featured performer at many ragtime festivals around the country. He earned degrees from Berklee College of Music and the Eastman School of Music. He now lives in New York City, where he performs regularly with numerous jazz, indie rock and funk bands.

March 25 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 $25; $5 for students.

THE SNAIL AND THE WHALE A TINY SNAIL longs to see the world, so she hitches a ride on the tail of a giant humpback whale. Together they go on an amazing journey, encountering sharks and penguins, icebergs and volcanoes. But when the whale gets beached, how will the tiny snail save him?

This Tall Stories of London production is based on the book by Julia Donaldson and Axel Scheffler, which won the 2004 Early Years Award for the best pre-school book, the 2005 Blue Peter Award for Best Book to Read Aloud, and the 2007 Giverny Award for Best Science Picture Book.

The show features storytelling, live music and lots of laughs for everyone age four and up.

March 28 at 7 p.m.

March 29 at 11 a.m.

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

OKL AHOMA CENTER FOR POETS AND WRITERS/OSU-TULS A

AN EVENING WITH KATHRYN STOCKETT AUTHOR Kathryn Stockett will share insights into her bestselling novel The Help, followed by a question-and-answer forum and a book signing.

The Help, published in 2009, is about African-American maids working in white households in Jackson, Mississippi, in the 1960s. It has been published in 35 countries and three languages. More than five million copies have been sold, and the book spent more than 100 weeks on The New York Times best-seller list. In 2011, the story was made into a movie starring Emma Stone, Viola Davis, Octavia Spencer and Jessica Chastain.

March 27 at 7 p.m.

CHAPMAN MUSIC HALL Tickets are $10; $5 for students, teachers and OCPW members.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM 8

Ma rc h 2 0 1 4 I N TE R M I S S I ON

Kem Lee

PAC TRUST

AMERIC AN THE ATRE COMPANY

CERTAIN CURTAIN THE ATRE

IN THIS uproarious post-modern homage to musical theatre, struggling writers Hunter and Jeff must race against a deadline to enter an original piece in a theatre festival. [title of show] depicts their journey as artists and friends as they write a musical about writing a musical.

Hunter Bell, who wrote and starred in [title of show] on Broadway and was nominated for the Best Book of a Musical Tony Award (2009) for the show, will be in Tulsa for talkback sessions following the March 7 and 8 performances.

COW. SLOB. PIG. How many insults can you hear before you have to stand up and defend the woman you love? Tom faces that question when he falls for a bright, funny, sexy, plus-sized woman. Forced to explain his new relationship to his shallow (although shockingly funny) friends, Tom finally comes to terms with his own preconceptions about the importance of conventional good looks.

Neil LaBute’s sharply drawn play not only critiques our slavish adherence to Hollywood ideals of beauty, but also boldly questions our own ability to change what we dislike about ourselves.

Directed by Rosalind Morris, this production stars Christopher Michael Miller, Jennifer Thomas, Blake Lewis and Grace Stump.

[TITLE OF SHOW]*

PAC TRUST

BROWN BAG IT

FAT PIG

Robert Young, Cathy Rose, Karlena Riggs and Matt Horton.

Jana Ellis directs Robert Young, Cathy Rose, Karlena Riggs and Matt Horton in this production.

March 7-8, 13-15 at 8 p.m.

March 9 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 $20; $14 for students. *[title of show] is the name of the play.

March 20-21 at 7:30 p.m.

March 22 at 2 p.m. and 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 $8.

Tulsa Opera Studio Artists Elizabeth Fischborn, Timothy Petty, Whitney Hollis, Ashley Cutright and Stefan Barner

THE SPRING Brown Bag It series begins on March 12 with Chris Middlebrook & Friends.

The popular vocalist will perform Broadway and jazz standards with piano accompaniment.

Each season, Tulsa Opera contracts 4-6 young professional singers to perform small roles in Tulsa Opera productions, do outreach functions for the company, and star in the annual Studio Artists production. On March 19, these Tulsa Opera Studio Artists will sing for Brown Bag It. The Ham Boys will perform jazz tunes on March 26.

March 12, 19 and 26 at 12:10 p.m.

K AT H L E E N P. W E S T B Y P AV I L I O N No ticket required

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

9

Q+A Mia Farrow Interview by Nancy C. Hermann

“Call Mia Farrow” isn’t

something I ever expected to see on my morning to-do list. As I counted down the minutes to our appointed interview time while checking the Internet for the latest in the current Farrow controversy, the words, “This is no dream. This is really happening,” came to me.

You may recognize those famous lines from Farrow’s celebrated role in Roman Polanski’s horror epic Rosemary’s Baby. Prior to that landmark film, Farrow was the gamine Allison MacKenzie in love with Ryan O’ Neal’s Rodney Harrington in the prime-time soap opera Peyton Place. One of the most dramatic moments of Farrow’s tenure on the show took place offcamera when she sheared her long locks down to a boyish cut. America was shocked.

The world would soon learn that a haircut paled in comparison to the next newsworthy event concerning the teen idol. She left Peyton Place at a high point of the show and subsequently married Frank Sinatra. She was 21 and he was 50.

Though much was made of the age difference at the time, Sinatra hadn’t plucked a callow Hollywood newcomer out of obscurity. Farrow was the eldest daughter of director John Farrow and actress Maureen O’Sullivan. Her godparents were gossip columnist Louella Parsons and director George Cuckor. She was among the first generation of Hollywood kids — wise to the biz and with a mind of her own.

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Ma rc h 2 0 1 4 I N TE R M I S SI O N

The Frank-and-Mia relationship burned with intensity, but had issues.

Sinatra wanted Farrow to leave her work on Rosemary’s Baby to star in a film with him, and she balked. The marriage cratered, and, following a time in India learning Transcendental Meditation with The Beatles, Farrow married composer/conductor André Previn in 1970.

They had three sons (Matthew, Sascha and Fletcher), and adopted three daughters (Lark and Daisy from Vietnam, and Soon-Yi from Korea).

When the Previn marriage dissolved, Farrow moved back to New York and adopted Moses, also from Korea, and Dylan. She gave birth to one more child, Ronan, born during Farrow’s 12-year relationship with Woody Allen. She has since adopted five more.

Farrow made over 50 films during her career. She appeared on the covers of Life, Time and Vogue, and on the very first cover of People Magazine for her role as Daisy Buchanan in The Great Gatsby (1974). In 2008 Time named her one of the most influential people in the world. That recognition came partially from Farrow’s most treasured role.

As a UNICEF Goodwill Ambassador, Farrow has helped

people in places deemed too dangerous for aid workers. In 2007 she was awarded the Presidential Medal of Honor. She and Ronan received the 2008 McCall-Pierpaoli Humanitarian Award for service to refugees and displaced people.

Tulsa Town Hall booked Farrow as a speaker primarily to address her humanitarian involvement. It was that part of her life she would focus on during her Tulsa visit, and with me.

When Farrow picked up the phone at the family’s home in Connecticut, I could hear pets and children in the background. I pictured her as we saw her in her real-life family kitchen in Hannah and Her Sisters — a calm presence surrounded by a bit of chaos. She was pleasant, focused, playful at times, and, as always, brilliant.

You have deep compassion for the downtrodden and suffering humans among us. Can you trace the seeds of that back to anything in particular?

Three years after André Previn and I had twins, it was the time of the Vietnam War and Ethiopian famine, and there were pictures in the paper of orphans from both situations. We thought, why not see if we could adopt a child from one of those war zones or any child, really, who needed a home. I ended up adopting the first of 10 children. I never could have imagined that I could have 14 children. It just was one child, and then after a time, another child.

They were all so wonderful and brought such joy, and I had the home, the love, the capacity, the time. I knew they would be a great joy and an honor, and certainly they did bring tremendous meaning to my life.

Many of your children have special needs. How have you managed?

Each of the children we adopted was challenged in some way or other. The first two children were very, very ill. One of them we couldn’t take from the hospital in L.A. for two months.

She was about the size of a Time magazine, a tiny sevenmonth-old baby weighing less than seven pounds. It was a serious business taking care of children who were not well. It took everything that I had, and I was completely engrossed in my life. I didn’t make movies. I was raising our children.

I did that and so did my son, Thaddeus, who is from India. We spoke at the U.N. From his wheelchair, along with Kofi Annan, Thaddeus pushed the button on the countdown for the global eradication of polio. At that point there were hundreds of thousands of cases per year of paralytic polio. Now there have been none for at least two years. Bill Gates has really put his shoulder to this — Bill and Melinda Gates and their magnificent foundation.

Among the countries you have visited for UNICEF are Nigeria, Angola and Chad. What was that like? I made many, many trips for UNICEF — maybe 14, and I have traveled more on my own.

Those trips — they really do rearrange one. After 27 years of warfare, the entire country of Angola had been decimated.

Mia Farrow cared for the children of the droughtstricken Sahel region of Chad in 2010.

Your son Ronan has accompanied you on many trips, beginning at age 11.

How was he involved? On the Angola trip, he told me he had $130 saved and wanted to buy stocks in the oil companies that had invested there, so he got a list of investors. He wanted to write to them and tell them that there should be transparency in the oil business so that the money that comes and goes in a country like that should go to the people for housing and education. We talked a great deal about proxy wars — who had funded that war.

How was it that a country could be that destroyed? Incrementally, I became aware of the larger situation and also that we could have a role in our country. We can write, we can vote, we can call our legislators. We got a hearing in Congress on this. Ronan wrote to all the shareholders, making them aware of the situation. This is the beginning.

Was the situation in Rwanda comparable to what you had seen elsewhere? I belatedly

You continued to do so as a single mother. Things went a different way with my marriage to André. Like so many couples, our marriage fell apart, so the children and I moved in with my mom, God bless her. She said, “Sure, stay with me” in New York, and I took on a Broadway play there. After the children got older, more recently, I was invited to join UNICEF on the initiative to eradicate polio. They knew that I had polio as a nine-year-old, and that I had adopted a child who is paraplegic as a result of polio.

So they thought I could be a spokesperson.

the children a liquid nutrient. They were silent. Incredible. Two or three hundred sitting in silence.

There was no infrastructure. There were just pockets of people starving to death.

The country was littered with landmines.

It was a terrible situation. Even our U.N. plane had to descend in a corkscrew fashion so we wouldn’t get fired upon. I came into the town of Kuito. There wasn’t more than one building standing, and children were emaciated more than anything I had seen in my life. UNICEF was giving

learned about the genocide in Rwanda, and I was so sad, shocked and appalled. How can you not know that almost a million people died in a frenzy of murder? How did I not know? I found that during that time I, along with most Americans, had been watching a celebrity murder trial. O.J. Simpson. And so, the press had turned away. The abject failure of my country, my church — Rwanda is largely Catholic — all the nations of the world.

The failure was everyone’s. Then I read a piece on the 10th anniversary of the Rwanda genocide written by Samantha Power in the New York Times, an op-ed piece. She mentioned that another genocide was unfolding in a place I had never heard of, in the Darfur region — in a remote part of Sudan. I told my children that with knowledge comes responsibility, but what does that mean? So I called Continued on p. 12 M arch 2014 IN TERM ISSION

11

Q+A Mia Farrow Continued from p. 11

UNICEF and asked, “Can I go there?”

I got there in 2004, and I left there as a witness to genocide.

Are you optimistic about the recent changes in the Papacy? I love this new Pope! Just love him. Who doesn’t?

He’s almost brought me back to being a Catholic again. But I have this feeling [laughing] that this Pope would say, “You are a Catholic! Don’t worry about it.” One time I worked with Martin Sheen. He’s a very devout Catholic. He persuaded me to go to church. I went to confession and the priest said, “You can’t call yourself a Catholic — you’ve not been to the sacraments in seven years.” I was like, “Martin,” in near tears, “he said I wasn’t really a Catholic.” I said, “I’m trying to live the words of Jesus, I’m trying.” He got me a different priest! [laughing] My father used to go to the Spanish-speaking section of L.A. so the priest wouldn’t understand what he was saying!

In your UNICEF role, you sat with a man whose eyes had been gouged out.

When you want to comfort someone, what is the most compassionate thing you can say or do? I never thought of it that way. For this man, we didn’t share the same language. I just held his hand and I asked if I could do anything. The worst thing you could do when people are suffering is to belittle that in any way, like saying, “This could be worse,” or if someone loses a child, saying something like, “Well, thank God you have another child.” In some way you have to affirm that this is horrible and that you get it.

And then to be there for them in whatever way that person might need. Somebody might want to hear a joke and another person might want to hear some Bach, and another person might want silence.

Another person might want their hand held. Anyway, I’m just a person. I don’t know these answers! Who do you think you’re talking to, the Pope? [laughing]

What are you reading these days?

I read some Alice Munro recently, and I plan to read The Orphan Master’s Son next, 12

Ma rc h 2 0 1 4 I N TE R M I S S I O N

and after that reread The Noonday Demon

by Andrew Solomon, because I had read [Solomon’s] Far From the Tree. I finished Team of Rivals [Doris Kearns Goodwin].

I came very late to that, and there’s a book called The Warmth of Other Suns [Isabel Wilkerson], which I have by my bedside.

This is my pile at the moment. There’s a George Saunders book called Tenth of December that I’m looking forward to reading. I have a biography of Catherine the Great by Robert Massie that I want to read.

You’ve had friendships with numerous celebrities from across many disciplines. What traits, in your opinion, do these people have in common that brought them to prominence in their fields? I really think a work ethic. The people I’ve known that have been very successful, and I’m not talking about just celebrities, whatever happens in their lives, however one might criticize their lives, they have a tremendous work ethic, and that is the skeleton of them and that is the soul of them.

Who would be an example of that?

Frank Sinatra. Maybe people forget that when they talk about his life because it was so colorful. People forget. Of course there was a brilliance of the voice, but that just didn’t come out of nowhere. He was blessed with that, but he never compromised it. He sang what was best for him.

He learned from behind Tommy Dorsey and the band. He had a tremendous, tremendous work ethic. When he recorded something, he stopped smoking for two months. He vocalized every day. When he went in to record, he had people in. He didn’t like to sing in empty studios. It was an all-male band in those days, so he invited the band to bring their girlfriends or wives. They were all welcome. He might do a whole album in one night. And then we would go out to dinner. He might go to Las Vegas. He might go gambling. He might go carousing. That was playtime.

When it came to work, he was super, super serious. André Previn, same thing. For

those people, it was the first thing in their lives and the main thing in their lives.

Tell us about Salvador Dalí. Why did you two bond? I have no idea. I can only speak from my part. I think I was symbolic for him. Everything was symbolic for him.

What did you symbolize? I symbolized a certain thing at that point. The way I looked. What I said. How I said it. And we just clicked. I was eager to learn. I appreciated his particular kind of humor and his vision. It was absolutely thrilling.

We loved each other over a long time, and Gala too. He could not have ever gotten through the day without his wife. She took care of everything. He would not have known where to eat or how to pay the bill, how to pay the hotel. She really took care of him and that was a true love affair.

Do you have a fondness for any particular performance of yours? I guess my first great role in Rosemary’s Baby was the best role that I was ever offered. It demanded so much of me and took so long.

It was so intense. I was literally in every scene. It was so important. It changed my life because I was taken seriously as an actor and, even now, if I ever wanted to go back to acting, it would be because of that performance. That was really the luckiest thing. I wasn’t even the first choice for that movie. I know Jane Fonda was. I was lucky that I got that part, and I loved doing it. I loved the whole experience of making it.

MIA FARROW

“HAVING A MEANINGFUL LIFE: ONE WOMAN’S JOURNEY TO FULFILLMENT” Presented by Tulsa Town Hall March 14 at 10:30 a.m.

CHAPMAN MUSIC HALL Tickets sold by subscription TulsaTownHall.com or 918-749-5965

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han yo t e r o m in a “You g e.” like you giv

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M arch 2014 IN TERM ISSION

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E G A T S E H T O T E G A P G BR I NGI N

by Nancy Bizjack

Lindsie VanWinkle as Patti Page with Haley Jane Pierce as her flipside, Clara Ann Fowler

W

Dan Smith

hen I was growing up in Claremore in the 1960s and ’70s, Patti Page was more familiar to me as a street than a person. Her namesake boulevard was, and still is, a 10-block stretch of Highway 20 running parallel to the street named for my hometown’s better-known native, Will Rogers. But just as the multitalented Rogers was reintroduced to modern audiences via the 1991 musical The Will Rogers Follies, Page — the topcharting and best-selling female vocalist of the 1950s and one of the biggest-selling female recording artists in history — deserves to have her story told as well.

To help today’s audiences comprehend Page’s popularity, Greg White, writer, director and producer of Flipside: The Patti Page Story, explains that she was sort of the Carrie Underwood of her day: “Very glamorous, that stellar sound, an Oklahoma girl’s soul — truly America’s sweetheart with a universal appeal.”

Like Underwood, Page was a crossover artist who blended pop and country and topped the charts in both categories. “Patti was one of the very first crossover artists,” White points out, adding that her biggest hit, “Tennessee Waltz,” was simultaneously No. 1 on the pop, country and R&B charts.

Page was also an innovator who pioneered the overdubbing technique, first on “Confess” and later on the hit song “With My Eyes Wide Open, I’m Dreaming.” On the latter, she sang fourpart harmony with herself and was billed as The Patti Page Quartet.

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Ma rc h 2 0 1 4 I N TE R M I S SI O N

“As a fellow Okie and a fellow artist, I’ve always idolized Patti Page,” White says.

“My dad introduced me to music from his era when I was very young, so I grew up listening to all of the great crooners. I could never get over Patti’s sound. I’ve always said Patti has a simple complexity and a complex simplicity. She’s an Oklahoma artist who went on to such incredible acclaim, yet remained so humble and always seemed so accessible.”

Born in Claremore in 1927 as Clara Ann Fowler, Page was one of 11 children. Her father was a railroad worker and her mother and older sisters picked cotton. They lived in several other small Oklahoma towns before settling in Tulsa, where Fowler graduated from Webster High School. When she was 18, Fowler was asked to perform as “Patti Page” on a KTUL Radio country music show sponsored by Page Milk. That’s where she was discovered by saxophonist and band

manager Jack Rael, who set her up to tour with the Jimmy Joy Band and later became her manager.

White met Page at the Oklahoma Centennial celebration in 2007. “I was over-the-moon when she agreed to allow me to create Flipside,” he recalls.

“I knew the show had such potential to preserve her personal and musical legacy, and I had the honor of collaborating with her on the piece from 2007 until the world premiere in April 2011 at the University of Central Oklahoma.”

White says selecting the 28 songs featured in the show was one of the most difficult parts of the process.

“Patti had 111 songs on the Billboard charts, not to mention the songs that so many of her fans love that weren’t charttoppers. Of course we included the megahits: ‘Tennessee Waltz,’ ‘Old Cape Cod’ (her favorite), ‘Allegheny Moon,’ ‘Mockin’ Bird Hill’ and, of course, ‘(How Much Is That) Doggie in the Window?’

“Patti guided me to most of the selections.

She didn’t dictate; I just listened and the selection became more natural. I have even included a few tunes in the show that were songs she sang in the early days at KTUL Radio and on the road with Jack Rael. These were never recorded. While constructing the piece, however, I found the lyrics to those early songs to be very revealing, perfectly telling Patti’s story.”

The result is a show that, while similar in style to works like Always...Patsy Cline, is very different, White says. “It’s much more honest and fragile, dealing with identity,

Flipside: The Patti Page Story

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Courtesy of The Beryl Ford Collection/Rotary Club of Tulsa, Tulsa City-County Library

Wendy Mutz

fame, loss. Our audiences have White believes Oklahomans, and had a very emotional reaction to especially Tulsans, will enjoy the the piece. They love the music show. and the laughs, but it’s the “I think Tulsans will be very spiritual, emotional aspect that proud of the Tulsa connection,” really grabs them.” he says. “The piece is set in the old Greg White (top center) with Flipside cast members In the show, two actresses KTUL Radio station, which still encore. “We were thrilled with the effusive portray Page onstage at the same stands today, beautifully restored, audience response,” White says. “We had time. One is the younger, more glamorous as Boulder on the Park. Several other Tulsa patrons come see the show multiple times.

Page, and the other is an older version landmarks are mentioned in the piece, Critics may have been mixed, but I am of her, looking back on her life. White including Webster High School and Casa proud to say that New York City audiences Loma [now the Campbell Hotel].” explains: went wild.”

“Once I’d interviewed Patti multiple I regret that, for many years, I didn’t Of course, the person White most times and completed the research, I really realize how proud I should have been of struggled with how to frame the piece. After wanted to please was Patti Page herself.

“The Singin’ Rage, Miss Patti Page,” with “Patti saw Flipside via DVD, as her much deliberation, Patti’s duality is what whom I share not only a birthplace but also health did not permit her to travel struck me the most about my time with a birthday. I’m looking forward to seeing her. She had such a vibrant onstage persona, [to the premiere]. She sent heartfelt Flipside, and the next time I drive down congratulations, including a letter that we while her offstage demeanor was so quiet Patti Page Boulevard, I reckon I’ll hum a still print in every program. I think Patti and reserved. When I asked her to name few bars of “The Tennessee Waltz.” her biggest regret, she mentioned regretting was very pleased with the piece.”

Page died January 1, 2013, giving up her given name. After she ended at age 85. She was honored her relationship with Jack Rael, she formed later that year with a Lifetime her own label, CAF Records. CAF, she told me, stood for Clara Ann Fowler. I definitely Achievement Grammy Award. sensed her longing to reclaim herself.

Casting two women in Patti Page (1958) the role aids the onstage duality and confronts this issue.

“Not to mention, it’s sure nice to have two vocalists up there to recreate Patti’s famous vocal overdubbing technique!” he adds.

Flipside won 18 awards at the 2011 Kennedy Center National Theatre Festival in 2011, and it played in New York City for several weeks in Presented by the PAC Trust 2012. White says Flipside March 16 at 7 p.m. set box office records at CHAPMAN MUSIC HALL the off-Broadway 59E59 Tickets are $25-$50; discounts for seniors. theater complex, which has MyTicketOffice.com and 918-596-7111 invited the show back for an

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THIS IS NOT A LARRY CLAR K SHOW

Mazel Tov!

by Megan Gay

L

ori Lippitz wanted to recreate a sound she had experienced at a traditional Jewish wedding when she was in her early twenties. That sound, called klezmer, is the traditional dance music of the Jewish people of Eastern Europe.

“It had an old-world soul that I loved,” Lippitz recalls. “I thought that if I were to start up a klezmer band, we would be filling a vital niche. My own feeling about [most] Jewish celebrations was that they lacked authenticity and spirit, and I wanted to change that.”

In 1983, Lippitz started rehearsing with some local musicians in Chicago. As word got out, the band received offers to play at concerts and festivals as well as weddings and bar mitzvah parties.

Maxwell Street Klezmer Band, one of the first bands to launch the klezmer revival in the Midwest, was born.

The name of the band came from Lippitz’s grandmothers, who both lived in the Maxwell Street area of Chicago, traditionally a gateway neighborhood for immigrants, including many Eastern European Jews.

Lippitz, the band’s leader, guitarist and vocalist, says that, in addition to klezmer dance music, Maxwell Street performs Yiddish folk and theater songs.

“The music is pure fun, whether or not one speaks the language, and most people don’t understand Yiddish, of course, so we keep it very accessible.”

A klezmer band usually contains about eight to ten musicians with a variety of instruments, including clarinet, tenor saxophone, bass fiddle, drums and piano. Lippitz says the current band members have been playing together since the late 1990s, and each is a highly disciplined and talented artist.

At the two performances presented by Tulsa Children’s Museum, the band will play music from many facets of the Jewish culture, including love songs, comic songs and ballads. Since the band typically plays for a variety of celebration events, they try to change things up for each type of crowd and performance.

“No matter who the audience is,” Lippitz says, “our main focus is to provide a constantly changing variety of styles, so that each song or dance is distinctively different from the next. Since we draw upon centuries of music and diverse sources, this isn’t hard. I like to think of a Maxwell Street concert as a box of chocolates, each piece with its own interesting and different flavor.”

Maxwell Street Klezmer Band Presented by Tulsa Children’s Museum March 30 at 2 p.m. and 4 p.m.

J O H N H . W I L L I A M S T H E AT R E Tickets are $10; $9 for museum members.

MyTicketOffice.com and 918-596-7111

M arch 2014 IN TERM ISSION

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M

J

arrod Kopp thinks you can handle the truth.

And the truth is, he’s determined to present one of the most iconic dramas of modern times (both on stage and screen) in a fresh and original way.

That show, featuring Kopp making his directorial debut for Theatre Tulsa, is A Few Good Men. Probably about now, images of Jack Nicholson, Tom Cruise, Kevin Bacon and Demi Moore in military dress uniforms are flashing through your mind. Chances also are good that a famous line or two from the movie are about to roll off your tongue.

Such has been the extent of the Oscarnominated film’s cultural penetration that Kopp admitted to more than a touch of trepidation before accepting directing responsibilities.

“I kind of tiptoed around it for a while, not sure whether to take it on. A lot of it had to do with the fact that any production will inevitably be compared to the Rob Reiner movie version. It was such a huge hit. You can’t do this show in a vacuum.”

Kopp, who studied theater as a second major at Oklahoma State University and has been directing and acting off and on in Tulsa since, decided he needed to 20

Ma rch 2 0 1 4 I N TE R M I S S I O N

N E

really investigate the source material — Aaron Sorkin’s script — before making a decision.

“I read it fresh and thought, ‘There are a lot of things we can do with it. There’s a whole different way to tell this and make it fresh. There is stuff here that wasn’t explored in the movie.’”

Studying the script gave him insight into Sorkin’s celebrated style, tempo and characterizations.

“If you watch some of his other work — Sports Night, The West Wing, The

by Sc

gton ott Wi

Newsroom — you see he writes a lot about work and office stuff, basically really smart people doing hard work at a really fast pace and everyone is on top of their game. The characters are always prepared, zinging back and forth, and then there are these great monologues. That’s what I really like.”

Inspired, Kopp accepted the daunting project of bringing the 1980s-era drama to the Tulsa stage for what may be the first time. And while the movie emphasized the theme of justice, Kopp Lieutenant Kaffee gets the truth out of Colonel Jessep

All photos by Josh New

F A

D O O G EW

Brian Rattlingourd as Colonel Jessep

seeks to explore more of the subtle gray areas found in the original script.

“I want to make it a little bit more of a personal story and look at the concept of honor and people’s definitions of honor, and how it drives the choices the characters make,” he says.

Sorkin’s plot focuses largely on the efforts of Lieutenant Daniel Kaffee, an underachieving, unmotivated Navy lawyer, and his attempt to defend two Marines facing court martial for murder.

Kopp will be relying on a large cast — there are up to 14 speaking roles — to bring the show to life. Fortunately, he has some of the Tulsa theater scene’s most experienced hands signed on for this tour of duty.

“We have this incredibly strong cast. I was really pleased that we had the people available who wanted to do it — some I had been hoping to work with for a long time,” he adds.

One of those actors is Brian Rattlingourd, who takes on the role of the irascible Colonel Jessep. Like Kopp, Rattlingourd took some time to persuade himself he was up to the task, in spite of his extensive acting experience.

“He [Kopp] told me the role was mine if I wanted it, and I was like ‘Whoa!

Hold on a second.’ I was flattered, but I wanted to mull it over and do a little research. You think about Nicholson’s role and it was near perfection. As an actor, I know it’s a play first and that everyone who takes on a role is going

Brittainy Boyer as Lieutenant Commander Galloway

to have a different interpretation. That’s what it’s all about.”

Rattlingourd last took the stage for Theatre Tulsa in the role of Danforth in Arthur Miller’s The Crucible. Last year, he played the role of George in American Theatre Company’s Of Mice and Men, which won the Tulsa Awards for Theatre Excellence (TATE) for Outstanding Play.

Jessep’s courtroom nemesis, Lieutenant Kaffee, is played by another longtime Tulsa stage veteran, Mitch Adams. His experience stretches back to Clark Theatre as a youth and through his college days at the University of Oklahoma.

Portraying Kaffee is a challenge he is looking forward to.

“It’s scary and incredibly exciting,” he says. “We really want to make this show our own and bring some new sensibility to it. For example, it won’t be set in the ’80s.

The political landscape is so different now.

For example, people today don’t think of Gitmo the same way they did back then.”

Adams was in the restaurant business for years, and when training his staff he often referred to the unforgettable courtroom face-off between Kaffee and Jessep.

“The reason that scene is so harsh is because you have two characters and each one believes he is right and he is doing what’s best for the side he is working for,” Adams says. “It’s phenomenal and no actor would not want to be a part of it.”

Other actors taking part in this production are Brittainy Boyer, Chris Williams, Mark Lawson, Alden

Mitch Adams as Lieutenant Kaffee

Anderson, Joe Thomas, Daniel Fugatt, Cassidy Begnoche, Sidney Flack, Timothy Hunter and Mike McEver.

The selection of A Few Good Men for Theatre Tulsa’s 91st season was a deliberate one, intended to boost the company’s resurgence after a major slump and near financial crash a few years ago. Theatre Tulsa is now on a better financial footing and is looking to strengthen and grow its audience and subscriber base.

“We wanted pieces that would draw in audiences and introduce or reintroduce people to Theatre Tulsa,” says Artistic Director Sara Phoenix, who grew up attending Theatre Tulsa shows and took to the stage as a teen.

“This show was big on Broadway before it became a movie, and Sorkin’s script is so powerful and entertaining,” she adds. “It’s not often that we have such a big cast, so this will be something special.”

A FEW GOOD

MEN

Presented by Theatre Tulsa March 21-22, 27-29 at 8 p.m.

March 23 and 30 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 seniors, students and children.

MyTicketOffice.com and 918-596-7111 Parental guidance suggested, due to language.

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After the show ...

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ON UPCOMING EVENTS

CELEBRIT Y AT TRACTIONS

TULS A SYMPHONY

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT Ace Young and Diana DeGarmo

HIGDON, HAYDN AND STRAUSS

ONE OF THE MOST enduring shows of all time, Joseph and the Amazing Technicolor Dreamcoat is the irresistible family musical about the trials and triumphs of Joseph, Israel’s favorite son.

Created by composer Andrew Lloyd Webber and lyricist Tim Rice, who also collaborated on Jesus Christ Superstar and Evita, Joseph blends pop, country and rock into an uplifting, technicolored story of biblical proportions.

Retelling the Bible story of Joseph, his eleven brothers, and the coat of many colors, this magical musical is full of unforgettable songs, including “Those Canaan Days,” “Any Dream Will Do” and “Close Every Door.”

April 1-6 CHAPMAN MUSIC HALL Tickets are $20-$55.

TULS A TOWN HALL

GENTRY LEE AS A CHIEF ENGINEER for the Jet Propulsion Laboratory, Gentry Lee is responsible for the engineering integrity of all robotic planetary missions managed by the JPL for NASA. In his presentation, “Space Exploration and the Curiosity Mission to Mars,” Lee explains how the Curiosity rover was created and gives a mesmerizing account of the mission.

In 1980, Lee partnered with Carl Sagan to create the award-winning tele-

Gentry Lee

vision series Cosmos.

He co-authored, with Arthur C. Clarke, the New York Times bestselling novels Cradle, Rama II, The Garden of Rama and Rama Revealed. In 2009, Lee narrated the Discovery Channel documentary Are We Alone?

Lee received the Distinguished Service Medal, NASA’s highest

TULSA SYMPHONY concludes its season with TSO Principal Cellist Kari Caldwell as soloist for Don Quixote, the 1897 tone poem by Richard Strauss.

Also on the program are Joseph Haydn’s popular Symphony No. 88 in G Major and American composer Jennifer Higdon’s blue cathedral. This one-movement tone poem, inspired by the death of Higdon’s brother from cancer, has been performed by more than 400 orchestras since its 2000 premiere, making it one of the mostperformed modern orchestral works by a living American composer.

Guest conductor Gerhardt Zimmermann is Director of Orchestral Activities at the University of Texas at Austin and Music Director and Conductor of the Canton (Ohio) Symphony Orchestra.

April 12 at 7:30 p.m.

CHAPMAN MUSIC HALL Tickets are $15-$70.

Gerhardt Zimmermann

award, in 2005.

April 11 at 10:30 a.m.

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

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

23

PLEASE JOIN US SATURDAY, APRIL 5, 2014 AT COX BUSINESS CENTER FOR THE 25th ANNIVERSARY OF CARNIVALE HONORING SUZANNE WARREN, CREATOR OF THE ORIGINAL “BEST PARTY IN TOWN” 2014 EVENT CHAIR, MONICA BASU VISIT BESTPARTYINTOWN.ORG FOR MORE INFORMATION

BENEFITTING MENTAL HEALTH ASSOCIATION IN TULSA

For more information about Carnivale, including sponsorship opportunities, please contact: Lisa Turner, Director of Development Ph: 918-382-2410, Fax: 918-585-1263, Email: lturner@mhat.org

ON UPCOMING EVENTS

CELEBRIT Y AT TRACTIONS

MEN ARE FROM MARS; WOMEN ARE FROM VENUS — LIVE! THIS ONE-MAN FUSION of theater and stand-up comedy is based on the best-selling 1992 book by John Gray. Moving swiftly through a series of vignettes, the show covers everything from dating to marriage to sex.

After premiering in Paris in 2007, Men Are From Mars; Women Are From Venus — LIVE! has been seen by more than one million people in Europe. It debuted in the United States in 2013.

Peter Story is the star of this theatrical comedy. He has appeared in the TV shows CSI, Without a Trace and Ugly Betty. Story’s tale of how he and his wife won a dream wedding competition was featured on NPR’s The Moth Radio Hour, a show featuring the country’s best storytellers.

April 23 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 $45.

Peter Story

PAC TRUST

CHAMBER MUSIC TULS A

ENDURANCE

by Split Knuckle Theatre Company of Storrs, Conn., is set during the worst economic meltdown since the Great Depression.

Hartford insurance man Walter Spivey is struggling to justify his recent promotion and save his co-workers’ jobs. In his search for inspiration, he begins reading the biography of British explorer Sir Ernest Shackleton, who kept 27 men alive for two years after their ship, Endurance, was crushed by ice in the Antarctic. Both stories are simultaneously told by four young actors who also collaborated to create the play. Endurance illustrates the qualities of true leadership and the power of optimism.

INTERNATIONALLY RECOGNIZED as one of the world’s finest quartets, the American String Quartet has spent 40 years honing its luxurious sound, performing in all 50 states and in the most important concert halls worldwide.

Formed when its original members were students at The Juilliard School, the American’s career began with the group winning the Coleman Competition and the Naumburg Award in the same year. The ensemble has been the resident quartet at the Aspen Music Festival since 1974 and at the Manhattan School of Music in New York since 1984.

On the program for this concert are Alban Berg’s Lyric Suite, Bach’s Four Preludes and Fugues from The Well-Tempered Clavier, and Beethoven’s Quartet in C Sharp Minor, Op. 131.

ENDURANCE

April 25-26 at 7:30 p.m.; April 27 at 2 p.m.

L I D D Y D O E N G E S T H E AT R E Tickets are $28; $25 for seniors and $12 for students.

AMERICAN STRING QUARTET

April 27 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 M arch 2014 IN TERMISSION

25

ON UPCOMING EVENTS

CELEBRITY ATTRACTIONS

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT April 1-6 Chapman Music Hall KARIN CERMAK, CINDY PARSONS, JANIE CREAN, MARY OSWALD AND MADELYN RASKA

DIVERSITY IN ART April 1-28 PAC Gallery PAC TRUST

BROWN BAG IT: TALLASI April 2 at 12:10 p.m.

Kathleen P. Westby Pavilion PAC TRUST

BROWN BAG IT: TRIO ALESZKY April 9 at 12:10 p.m.

Kathleen P. Westby Pavilion TULSA TOWN HALL

GENTRY LEE April 11 at 10:30 a.m.

Chapman Music Hall CERTAIN CURTAIN

MACBETH April 11-12 at 7:30 p.m.

April 13 at 2 p.m.

John H. Williams Theatre

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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Ma rc h 2 0 1 4 I N TE R M I S SI O N

TULSA SYMPHONY

HIGDON, HAYDN AND STRAUSS April 12 at 7:30 p.m.

Chapman Music Hall

American String Quartet

PAC TRUST

BROWN BAG IT: LORELEI BARTON & FRIENDS April 16 at 12:10 p.m.

Kathleen P. Westby Pavilion BLACKHOUSE LLC

DEF POETRY April 18 at 7:30 p.m.

Liddy Doenges Theatre CELEBRITY ATTRACTIONS

MEN ARE FROM MARS; WOMEN ARE FROM VENUS – LIVE! April 23 at 7:30 p.m.

John H. Williams Theatre PAC TRUST

ENDURANCE April 25-26 at 7:30 p.m.

April 27 at 2 p.m.

Liddy Doenges Theatre CHAMBER MUSIC TULSA

AMERICAN STRING QUARTET April 27 at 3 p.m.

John H. Williams Theatre Peter Schaaf

APRIL

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.

Artists, dates and 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, including e-cigarettes, 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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