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JULY/AUGUST 2013

INTERMISSION MAGAZINE

features 19

Evan Taylor

12 Janet Rutland and Shelby Eicher

15 Little Women The Playhouse Tulsa premieres Cody Daigle’s original adaptation of Louisa May Alcott’s classic novel about family loyalty and separation, change and growth

by Susan Young

It was love at first sight for these two talented performers who have maintained successful careers and raised three sons during their 29-year marriage Interview by Nancy Bizjack

20

Steven Michael Hall

15

Michele Cantrell

12

25

23

19 Thinking Outside the Toy Box A young girl’s toys come to life in Portico Dans Theatre’s innovative combination of aerial techniques, large-scale installation art and several dance styles

by Marti Going

27

20 Local Flavor American Theatre Company, Theatre Pops, Theatre Tulsa and The Playhouse Tulsa announce upcoming stagings of classic plays, comedies, Broadway musicals and original works Compiled by the editors

departments 7 Directions

Summer Fare by John Scott

Sarah Small

J. Shelton Photography

9 Bravo

23 Seasonal Concepts 25 Music That Lingers 27 Talk It Up! Tulsa Ballet kicks off its season with Rite of Spring and A Midsummer Night’s Dream, followed by The Nutcracker and Cinderella

by Nancy Bizjack

Chamber Music Tulsa offers more than one opportunity to hear masterful musicians from Israel, Austria, England and the U.S. in intimate settings

by Nancy C. Hermann

Cover art by Devinn Parks, University of Tulsa Third Floor Design

Veteran journalist Dan Rather and actress/activist Mia Farrow are just two of the five fascinating speakers Tulsa Town Hall has lined up

by Marti Going

1964…The Tribute Dhadkan Appassionata Duo Native Women’s Voices Children’s Letters From God Tinkerbell’s Greatest Hits Moksha

29 Spotlight

Wahzhazhe, an Osage Ballet I Hate Hamlet Tulsa Symphony

30 August/ September Events

Joseph W. Morris

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Dennis Cameron

Ron Ricketts

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INTERMISSION director’s page

is the official magazine of the Tulsa Performing Arts Center.

PUBLISHER Jim Langdon

SUMMER FARE WHILE 40 performances of Disney’s The Lion King kept Chapman Music Hall extremely busy throughout the month of June and into the first part of July, there has been an abundance of activity, under the banner of SummerStage, taking place in our Williams, Doenges and Norman Theatres. This annual festival presented by the PAC Trust continues through July 27.

As you flip through this magazine, take a few moments to read the Q&A with SummerStage’s talented married couple Janet Rutland John Scott (A Song is Born) and Shelby Eicher (Mischievous Swing). These popular Sand Springs residents took time out from their regular local gigs to speak with Intermission about their shows, their careers, and their family.

While Janet and Shelby lend musical talent to the SummerStage roster, dance and theatre are also included in the festival, including The Playhouse Tulsa’s original adaptation of Little Women and Portico Dans Theatre’s innovative dance production, Combined Minds. The PAC Trust’s support helps keep ticket prices low, so you can include many shows in your summer entertainment fare.

Things slow down a bit at the PAC in August, allowing time and space for maintenance and repairs to our building, including returning Chapman Music Hall to its normal configuration after some special Lion King renovations. However, we are proud to host one special event next month, Osage Ballet’s Wahzhazhe, August 16-18. Then, before you know it, the 2013-14 arts season will begin. Upcoming productions staged by Tulsa Ballet and by local theater companies are previewed in this issue, along with Tulsa Town Hall’s speakers and Chamber Music Tulsa’s guest ensembles.

Take a look at what’s coming up and consider buying season tickets for a series or two. You’ll feel a real sense of belonging, and there will always be something on your calendar to look forward to!

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

EDITOR-IN-CHIEF Nancy Bizjack, PAC CONSULTING EDITOR Nancy C. Hermann, PAC CREATIVE DIRECTOR Amanda Watkins GRAPHIC DESIGNER Morgan Welch ADVERTISING SALES Jim Langdon, Rita Kirk INTERNS Marti Going, Hayley Higgs, Sharry Mouss

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

DIRECTOR John E. Scott ASSISTANT DIRECTOR Steven J. Fendt TECHNICAL DIRECTOR Pat Sharp MARKETING DIRECTOR Nancy C. Hermann TICKET OFFICE MANAGER Terri McGilbra TULSA PERFORMING ARTS CENTER TRUST CHAIR Ken Busby VICE-CHAIR Glenda Silvey TREASURER Michael P. Kier SECRETARY Robyn Ewing ASST. SECRETARY John E. Scott TRUSTEES Billie Barnett Jenny Helmerich Mayor Dewey F. Bartlett Robert J. LaFortune Kristin Bender Rodger Randle Stanton Doyle 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.

J ULY/ AUGUST 2013 ~ IN TERM ISSION

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1964 The Tribute

CELEBRITY ATTRACTIONS

1964…THE TRIBUTE WE LOVE THEM, yeah, yeah, yeah!

1964…The Tribute is back for its 28th consecutive summer in Tulsa.

Lauded as the “best Beatles tribute on Earth” by Rolling Stone magazine, 1964…

The Tribute takes you back to the early days of the “British invasion” when John, Paul, George and Ringo appeared on The Ed Sullivan Show, and music, hairstyles and fashion changed in a drumbeat.

From their Beatle boots, “Shea” jackets and stovepipe pants to their mannerisms, musicianship and unmistakable harmonies, the stars of 1964…The Tribute capture the essence of the Fab Four as they perform a live concert of their early hits, including “Please, Please Me,” “I Wanna Hold Your Hand,” “A Hard Day’s Night” and many, many more.

July 19 at 8 p.m.

CHAPMAN MUSIC HALL Tickets are $25-$50.

SUMMERSTAGE TULSA TULS A FOLKLORIC DANCE THE ATER

DHADKAN

“DHADKAN” means heartbeat.

This theatrical show, conceived and directed

by Priya Raju, is based on the notion that dance and music are the heartbeat of the human soul. The audience is taken on an adventurous journey through the eyes of a little girl trying to understand the positive impact of dance and music everywhere. Musical acts include Chinese spirited lion dance, colorful Indian classical and Bollywood dance, beautiful Middle Eastern belly dance, rhythmic salsa and contemporary hip hop. Dhadkan shows that cultural diversity can bring a spirit of unity and be the “heartbeat” reminding us that the world is one giant community.

APPASSIONATA DUO IN CONCERT APPASSIONATA’s debut performance at the PAC resulted in the first ever “screaming standing ovation” for the Brown Bag It concert series. Now this provocative duo is back to perform pop and rock hits as you’ve never heard them before: on viola and harp. Listen as Tulsa Symphony musicians Jeff Cowen and Jill Wiebe put a new spin on the music of Michael Jackson, The Beatles, Queen, Journey and more. From “Bohemian Rhapsody” to “Eleanor Rigby,” Appassionata performs iconic tunes that have shaped the history of pop and rock music, as well as modern hits such as “Yellow” by Coldplay. Experience a unique afternoon with the region’s only viola and harp duo as they perform today’s hits with the elegance of classical instruments.

July 14 at 4 p.m.

LIDDY DOE NGE S T H E AT R E Tickets are $12; $9 for students and seniors.

Table seating is $15.

July 12-13 at 7:30 p.m.

L I D D Y D O E N G E S T H E AT R E Tickets are $14; $12 for seniors, $11 for students.

TICKETS: 918-596-7111, TULSAPAC.COM AND MYTICKETOFFICE.COM J ULY/ AUGUST 2013 ~ IN TERM ISSION

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I NT ER M I S S I O N ~ J ULY/A U GU S T 2 013

Philbrook Downtown opens June 14, 2013.

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SUMMERSTAGE TULSA VANESS A ADAMS -HARRIS

NATIVE WOMEN’S VOICES: SOFKEE FOR THE SOUL SOFKEE IS A NATIVE AMERICAN food similar to grits, often kept in a big crock on the floor beside the stove. Just as sofkee is a sustaining food, eaten in the winter months, art and the art form of playwriting feed the soul of an artist playwright.

Native American Women’s Voices: Sofkee for the Soul is an exploration work on hearing new voices emerge, hearing how Native women are sustaining themselves and experiencing the world of Native identity through playwriting. How are Native women feeding their souls? How are they sustaining their connection to community through writing?

What’s going on in Indian Country and the border regions?

July 18-20 at 7:30 p.m.

July 21 at 2:30 p.m.

C H A R L E S E . N O R M A N T H E AT R E Tickets are $10; $8 for seniors, $5 for students and children over age 2.

THE ATRE TULS A

CHILDREN’S LETTERS TO GOD BASED ON THE best-selling book by the same name, Children’s Letters to God is a musical that follows the lives of several young friends as they voice beliefs, desires, questions and doubts common to all people but most disarmingly expressed by children. The tuneful music and delightful story, based on actual letters, explore timeless issues in a humorous and often poignant way. This entertaining show carries a universal message that crosses the boundaries of age, geography and religion. A spirited cast of some of Tulsa’s most talented youth performers brings this show to life with live music and energetic staging.

July 19-20 at 7:30 p.m.

July 20-21 at 2 p.m.

L I D D Y D O E N G E S T H E AT R E Tickets are $16; $12 for students and seniors.

S ANSKRITI SCHOOL OF DANCE

THE ATRE POPS

AFTER DAZZLING AUDIENCES all over the world with her performances, receiving international acclaim, and having taught dance as well, Vidhya Subramanian continues to bring tremendous energy and dedication as a Bharatanatyam artist. Known for modern themes and strong choreography, her performances have been an important part of many cross-cultural events in India and other countries. As artistic director of Lasya Dance Company, she has choreographed and directed several full-length, short ensemble and solo pieces, and has expanded the outreach of Bharatanatyam through collaborations with artists representing other styles of dance.

Subramanian is the principal dancer in Moksha, which means “liberation.”

She has trained students of Sanskriti School of Dance to perform a bold repertoire of pieces with her.

TINKERBELL IS DEAD, an evening of “stand-up theatre,” is a SummerStage staple.

With subtitles ranging from Free Beer to #Occupy Neverland, you never know what will happen as various actors take the stage to perform humorous, tragic and sexy monologues from works by authors such as Christopher Durang, David Mamet, Mark Twain and William Shakespeare.

This year’s production, Tinkerbell’s Greatest Hits, takes a look back at the funniest and most outrageous monologues from past years.

MOKSHA

TINKERBELL’S GREATEST HITS

July 26 at 8 p.m.

July 27 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 $12; $10 for children under 12.

C H A R L E S E . N O R M A N T H E AT R E Tickets are $15; $10 for students and seniors.

Recommended for mature audiences.

TICKETS: 918-596-7111, TULSAPAC.COM AND MYTICKETOFFICE.COM J ULY/ AUGUST 2013 ~ IN TERM ISSION

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Q+A

Interview by Nancy Bizjack

and Shelby Eicher How did you two meet? How long have you been married?

J: Shelby came to my gig at a big honky tonk called Duke’s Country because he’d loaned his fiddle to a friend in my band for a week.

S: At the end of the week, I asked Janet if she’d like to go on a date.

J: Six months later, we were Mr. and Mrs. That was 29 years ago.

Sounds like it was love at first sight for you two. Shelby, what was it about Janet that attracted you?

S: She was pretty and talented!

Evan Taylor

And Janet, what was it about Shelby?

Performing back-to-back in separate SummerStage

shows are vocalist Janet Rutland and her husband, fiddler Shelby Eicher. Janet, a mainstay on the Tulsa theater and music scene for more than 20 years, is presenting her ninth SummerStage cabaret, titled A Song Is Born. Shelby is performing as part of Mischievous Swing, an acoustic gypsyjazz ensemble that includes guitarist Ivan Peña and two of the couple’s three sons, Nathan (bass) and Isaac (mandolin). Middle son Paul, a guitarist, plays with his father and brothers in another family-centered band, The Eichers, which Janet sometimes joins.

Janet’s theater roles include American Theatre Company’s productions of Always…Patsy Cline (1996-2007), Honky Tonk Angels, The Immigrant and The Full Monty, to name a few. She has also been in Sand Springs Community Theatre’s productions of The 1940s Radio Hour and Quilters, and The Playhouse Tulsa’s 2012 TATE award-winning production of The Unmentionables.

Janet is a featured performer at the Oklahoma Jazz Hall of Fame and frequently performs vintage jazz, country and pop standards in concert halls throughout the state as well as local clubs and restaurants.

Shelby grew up in Northern Ohio playing at square dances with his mom, dad and grandmother. A member of Country Music Hall of Famer Roy Clark’s band for 15 years, Shelby recorded five albums with Roy and appeared numerous times on The Tonight Show and Hee Haw. Currently, he performs with Mischievous Swing, The Tulsa Playboys, Mark Bruner, Annie Ellicott, The Eichers, The Grasshoppers and Riders of the Cimarron. He also teaches fiddle, mandolin and guitar.

The couple make their home in Sand Springs, where Janet grew up.

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J: You’ve seen his dimples, right? Also, I had traveled with a band when I was 21, and he was touring with Roy Clark at the time, so we had that in common.

Shelby, few people get to play in a band with their grandmother. How old was she then, and what was she like?

S: My grandmother was amazing. We were a very tight-knit family. We ate all of our meals together. We raised a huge garden. We canned vegetables and made apple butter, sauerkraut and vinegar. We had a cider mill and a dance hall.

My grandmother was in her forties and had played in dance bands for years and years. She had five great uncles who were fiddlers. When I was five years old, I got a violin for my birthday. She said it was time we had another fiddler in the family. It was an incredible childhood.

Janet, when did you start singing and acting? Did you also grow up in a musical family?

J: My folks sang at church and with the radio. But I can remember entertaining my second-grade class at the end of the day when my teacher would give me the floor. In junior high I fell in love with choir, and in high school I discovered theater.

All three of your sons are accomplished musicians. Did you decide before they were born that you were going to actively work on developing their musical talent, or did it just happen sort of naturally?

J: They took piano lessons to satisfy me. Someone gave Nathan a bass when he was around 12 or 13. The other boys became interested after that. Their piano training made the transition easier because they could read music.

S: As parents we wanted to have them exposed to music in some kind of educational way. Piano made the most sense.

They all played horns and gravitated to strings as time went by.

How do you feel when you’re performing with your sons?

J: When they were young we had a family band, and I vividly recall every event we ever played — lots of bluegrass festivals and Mayfests. I never dreamed the years would fly by at the speed of light. We recently played an event in Broken Arrow, and I treasured every second of our time together.

S: I would say I feel pride not only performing with them, but when I hear them play. I’m very proud of them!

Shelby, what are some of your favorite memories of being in Roy Clark’s band and performing on Hee Haw and The Tonight Show?

S: The first time we taped Hee Haw, we were instructed to go get shirts out of wardrobe. I ended up with a shirt that was three sizes too big. They said, “We’ll fix that.” A box of safety pins and a roll of duct tape later, it looked great from the front. While we were taping our segments, Sam Lovullo, producer of Hee Haw, told us to bring our instruments and follow him. We were escorted to the Grand Ole Opry stage where Roy Acuff introduced Roy and the band. The crowd went crazy and as we were playing, I realized the 200 audience members that were sitting on the back of the stage could see all of the duct tape and safety pins on my shirt!

I’ll always remember the time Johnny Carson was driving his DeLorean up to the NBC studio as I was entering the bus to get my show clothes. When I came out of the bus, he was about 15 feet ahead of me. When he reached the door, he opened it and turned to ask me how I was doing. It was an experience to have Johnny Carson hold the door for you. He was kind.

When you were touring with Roy Clark, your sons were very young. Were you away from home for long stretches of time?

S: The schedule was always different. I had periods where I was gone a lot and other times when I had long stretches at home.

Janet, what was that time like for you, besides very busy? How did both of you balance your family and careers?

J: My folks were a big help. Sometimes we needed to be three places at once for ball games, etc. But when Shelby was home, he

was really home. Nathan, our oldest, was 10 when we realized our time with him was half over, and we made the leap of faith.

Shelby left his gig with Roy and I took a job as a dental assistant. We never looked back.

Shelby, some of your more unusual credits include performing on the soundtracks of the TV show SpongeBob SquarePants and the Sony PlayStation video game The Dukes of Hazzard. How did those opportunities come about?

S: SpongeBob came about from a studio session I was called to do with Junior Brown.

I had worked at Drapp Studios many times doing various sessions, and when they needed a fiddle player for this session, I was on call. The Dukes of Hazzard project was produced by my friend Steve Ripley, and I was honored he called me to do that project.

It’s who you know!

Janet, what are some of your favorite moments as a singer and as an actor?

J: I’ve been lucky to do several shows with American Theatre Company, Sand Springs Community Theatre and Playhouse Tulsa. Most people identify me with the Patsy Cline role and I’m grateful for that.

But I’m equally proud of the work in The Immigrant, which fewer people saw. My cabaret shows are my babies, and there are moments in each of those that thrill me into doing it again.

It’s not always easy to make a living as a performing artist. What other jobs have you two held along the way?

J: Support staff for an ad agency, dental assistant and currently social work at Sand Springs Community Services. I’ll never get rich, but I enjoy helping people and the need is so much greater than I realized before working there. It’s really opened my eyes and made me grateful for my very blessed life.

S: I flipped burgers one summer during college. Besides that, I have been very fortunate to play music, and diversity has been the key. Live performances with multiple groups, studio work, lessons, arranging/ transcribing, etc.

With all your gigs and jobs and rehearsals, is it hard to find time to be together? What are some of your favorite things to do as a couple?

J: We have dinner together almost every night at home. That’s sacred. We like to go with friends and hear music, but it doesn’t happen often. We’re due for a night out.

S: I enjoy the simple things: good food, good music and friends.

You’ve worked together occasionally. Tell us about some of your collaborations.

J: I’m proud of the work Shelby did on my jazz CD. He took it to another level by adding string arrangements, which was beyond my expertise. And he produced my Pure Country CD. He even played most of the instruments.

S: Janet has had me play on some of her projects, and I always enjoy when she sings with the Tulsa Playboys. It’s great when we can work together.

Janet, what’s the theme of your cabaret show this month?

J: A Song Is Born features great songs by various living composers, including Stephen Sondheim, Burt Bacharach, Billy Joel and more. I’ve invited Emily Chappell and Alex Walter to sing and my son Isaac to play mandolin. Piano man Scott McQuade will guide us through.

Shelby, what can audiences expect when they see Mischievous Swing perform at SummerStage?

S: I like to call it the wow factor. I think audiences buy a ticket because they want to be wowed! You don’t go the circus to see the tightrope walker three feet off the ground with safety harnesses. We will be performing tunes from our newly released self-titled CD. Mischievous Swing has an exciting show filled with classic swing tunes, modern pieces by Dave Brubeck and Chick Corea, and many original tunes. It’s acoustic jazz hot!

A SONG IS BORN

Presented by Janet Rutland July 11-12 at 7:30 p.m.

C H A R L E S E . N O R M A N T H E AT R E Tickets are $10; $15 for table seats.

MISCHIEVOUS SWING

Shelby, Nathan and Isaac Eicher with gypsy-jazz guitarist Ivan Peña July 13 at 7:30 p.m.

July 14 at 2 p.m.

C H A R L E S E . N O R M A N T H E AT R E Tickets are $12; $17 for table seats.

J ULY/ AUGUST 2013 ~ IN TERM ISSION

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LITTLE WOMEN

by Susan Young am angry nearly every day of my life.” Quick, which literary heroine said those words? You might, understandably, think of Lisbeth Salander, aka The Girl With the Dragon Tattoo, or Martha, the aging and raging harridan of Who’s Afraid of Virginia Woolf? But the truth is that these words were uttered by the saintly Marmee, mother of Meg, Jo, Beth and Amy March, the four lively and endearing girls who are at the center of Louisa May Alcott’s beloved classic, Little Women. As the above quote suggests, if your impression of Little Women is that it’s the story of a group of angelic sisters who grow up to be perfect Victorian ladies, prepare to have your beliefs challenged!

Courtneay Sanders, artistic director of The Playhouse Tulsa, says the company is aiming for an honest, unsentimental take on the story. “Everyone has an idea about Little Women, and we think we know what happens. I want the audience to walk away feeling like they’ve heard the story for the very first time.”

That story has been heard and loved by millions since it was first published in 1868, just after the end of the Civil War. Alcott wrote it reluctantly, for money, and didn’t think it was any good, but from the first it was received enthusiastically by the young women who were its original target audience. This new adaptation was commissioned exclusively for Playhouse and

wanted it to be the story as she wrote it,” Sanders says. And yet the contemporary parallels are hard to miss: the poverty, the struggling families, and the war that is far away by the standards of the 19th century, but which forms the background and context of the action and shapes much of the characters’ lives.

Sanders describes Little Women as a story of selfdiscovery: finding out who you are, being that person no matter what, and coming to terms with that person, whatever society may think. Jo, even today, gives courage to girls who are different, who want something more than marriage and a family, but all the characters grow, change and make hard choices during the course of the story.

The cast for this production includes several Playhouse veterans, including Tabitha Littlefield as Jo, John Knippers as Mr. Laurence, and Sanders as Marmee. Sanders glows when talking about casting the sisters: “It was so important to get the personalities and chemistry right, and these girls are such individuals but are so dynamic together.”

Michele Cantrell

“I

Clockwise from left: Courtney Farney (Beth), Anna Bennett (Meg), Tabitha Littlefield (Jo), and Grace Stump (Amy) gather around Courtneay Sanders (Marmee).

written by their resident playwright, Cody Daigle, who also wrote William and Judith, which Playhouse premiered in 2012.

Daigle’s adaptation has the story moving quickly — but not too quickly. “We didn’t want it to be the CliffsNotes version of the novel,” says Sanders, so to keep the play to a reasonable length, things that take place offstage are conveyed through letters read by the characters as a means of telescoping the action of a long, complex novel. There was no effort to update the story or make it more relevant. “We

LITTLE WOMEN Presented by The Playhouse Tulsa July 12-13 at 7:30 p.m.

July 13-14 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; $19 for students and seniors.

MyTicketOffice.com and 918-596-7111

J ULY/ AUGUST 2013 ~ IN TERM ISSION

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The New FroNTier Organized by the Palazzo Pitti and Gilcrease Museum.

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I N T ER M I S S I O N ~ J ULY / A U GU S T 2 013

A letter to Lindsay Hurley Fick, Saint Simeon’s President and CEO

Saint Simeon’s is such a special place. I recently watched the vegetable garden grow with my mom, Pat, a Resident in the Memory Center. We had such fun touching plants, finding bugs, and eating tomatoes off the vine. Luckily, your magnificent peacocks and pigeons cooperated with “wheelchair access spying,” which my dog also enjoys. My mom tells me Saint Simeon’s is the most beautiful home she has ever lived in.

Sincerely, Barbara Ann

Personalized care for the people who mean the most to you.

Cottage Living Assisted Living Memory Center 918-425-3583 | www.saintsimeons.org

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I NT ER M I S S I O N ~ J ULY /A U GU S T 2 013

T

Thinking Outside the Toy Box

hink back to that bridge between childhood and adolescence.

Remember the awkward body changes and peer pressure? Remember the time when your toys came to life and helped you plot revenge on your school bully? No? Maybe plotting toys only come to life in Portico Dans Theatre’s original production, Combined Minds.

Portico Dans Theatre brings a unique edge to all of its productions but especially Combined Minds. The combination of aerial techniques, large-scale installation art, several styles of dance, videos, you name it, is what sets this show apart. Jennifer Alden, PDT artistic director, explains that initially it was difficult to incorporate aerial choreography. “It can be dangerous, so theaters were hesitant, but over time we

built a reputation of being safe and doing things correctly, so I think it is easier now and we have more opportunities.”

The lead part in Combined Minds was made for 12-year-old Zoe Vogel, quite literally, as the artistic directors consulted Vogel’s mom before even deciding to do the show. “She is 12, but in terms of how she performs and how she presents herself within our company, she is as professional as any of the adults here,” Alden says.

In a similar way, Glenn Herbert Davis’ art was the perfect match for the set of this show. Davis is known for his massive, 3D installation pieces, but for Combined Minds he was able to go a step further with his creativity and make his art move.

Pieces modified by Davis include a large toy box, a jack-in-the-box, barrels for the

by Marti Going

monkeys and a life-size carousel. Davis’ work adds a new dimension to the show, creating “not just a set piece, but a living part of the set,” Alden explains.

As if the set isn’t multi-dimensional enough, dancers will use silks and bungee cords to interact with it. This production also marks the first time PDT will use the aerial apparatus lyra, a hanging circular steel hoop. Davis’ artistic additions and the tilting of the lyra animate the carousel horses on stage.

In addition to PDT’s diverse choreography, a mix of music and concepts from ballets such as The Nutcracker, Petrushka and Coppelia truly make this production, for lack of a better word, combined.

Most of PDT’s dancers have professional careers and families outside of dance. This only adds to the theatrical aspect of their shows, giving dancers a frame of reference to pull from. “Each of the toy characters represents a facet of the girl’s personality,” Alden explains. “So when I tell a dancer ‘You are the baby doll, representing the bratty, whiny part of her personality,’ she can use personal experiences with her own children to portray that to the audience.”

The fact that the dancers make time to dance outside of careers and family life is evident on the stage. They truly love what they are doing and want to spend their time dancing. “The dancers get paid for performances, but they aren’t dancing for their financial well-being,” Alden laughs.

“They love to dance and want to be there to perform.”

COMBINED MINDS Presented by Portico Dans Theatre July 19-20 at 8 p.m.

July 21 at 2 p.m.

JOHN H. WILLIAMS THE ATRE MyTicketOffice.com and 918-596-7111

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G

ood theater is plentiful in our city and much of it is produced locally on the Tulsa Performing Arts Center’s stages. Along with the offerings described here, companies such as Theatre North and American Indian Theatre Company present shows that are added to the theater lineup during the year.

Theatre Tulsa

The longest continuously operating community theater west of the Mississippi River — and the seventh oldest in the United States — Theatre Tulsa has entertained the community since 1922. The company premiered the first-ever community theatre production of Our Town in 1939, All My Sons in 1947, I Love You, You’re Perfect, Now Change in 1993, and the first-ever American production of The Pitmen Painters in 2011. TT’s production of Up the Down Staircase won the 2009 TATE for Outstanding Play. Under the lively leadership

Characters from each of Theatre Tulsa’s six 2013-2014 shows

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of Sara Phoenix, Theatre Tulsa is stronger than ever at 91 years old!

Legally Blonde: The Musical

Book by Heather Hatch Music and lyrics by Laurence O’Keefe and Nell Benjamin September 20-29

The Importance of Being Earnest

by Oscar Wilde November 8-17 I Love You, You’re Perfect, Now Change

Book and lyrics by Joe DiPietro Music by Jimmy Roberts January 24 – February 2 Clybourne Park

by Bruce Norris February 21 – March 2 A Few Good Men

by Aaron Sorkin March 21-30 The Sound of Music

Music by Richard Rodgers Lyrics by Oscar Hammerstein II May 9-19

The Playhouse Tulsa

The Playhouse Tulsa has created a reputation for staging high-quality plays, musicals and children’s theater.

Founded in 2009 by Oral Roberts University Theatre Director Courtneay Sanders and nationally recognized actor/director Chris Crawford, Playhouse has an advisory board comprising members from New York, Chicago, Arkansas and Oklahoma.

The company’s productions of Macbeth and The Unmentionables earned the 2011 and 2012 TATE awards for Outstanding Play, and The Tempest, Shining City and Lilly’s Purple Plastic Purse won runner-up awards in each of the past three years.

I Hate Hamlet

by Paul Rudnick September 6-14 TULSA! : A Radio Christmas Spectacular

A world premiere by Cody Daigle December 5-8

Love, Loss and What I Wore

A Streetcar Named Desire

by Tennessee Williams February 14-23

by Nora and Delia Ephron October 10-13

Three Days of Rain

Seminar

by Richard Greenberg March 13-15

by Theresa Rebeck October 24-27

A Little Princess, The Musical

The Eight Reindeer Monologues

by Andrew Lippa and Brian Crawley April 4-13

by Jeff Goode December 12-15

Theatre Pops

Race

Founded in 1993 by the late Ken Spence, Theatre Pops focuses on well-written plays that tell interesting stories. The company has presented classics by such authors as Molière and Shakespeare, but its main focus is on contemporary theater, with Theatre Pops giving Tulsa premieres of works by Tracy Letts, Tim Blake Nelson and David Mamet.

Currently under the direction of Randall Whalen and his “tribal council,” the company is celebrating its 20th season.

Like most Theatre Pops productions, the ones listed in the next column are for mature audiences.

by David Mamet May 1-4

American Theatre Company

American Theatre Company was formed in 1970 by a group of University of Tulsa alumni under the leadership of Kitty Roberts. Along with more serious endeavors, ATC’s original productions of Eddie and the Ecclectics and Joyce Martel at the old Brook Theater are as much a part of 1970s and ’80s Tulsa lore as Leon Russell sightings and Mazeppa. Under Roberts’ guiding hand for 40 years, ATC continues to present great stories well told. The company’s production of 12 Angry Men won the 2010 TATE for Outstanding Play and their 2009 staging of A Picasso was named second runner-up that year.

A Christmas Carol

by Charles Dickens Adapted by Robert Odle and Charles Averill December 6-22 The Neverending Story

Based on the book by Michael Ende March 7-15 [title of show]

Book by Hunter Bell Music and lyrics by Jeff Bowen May 2-10 Season tickets to Playhouse Tulsa and American Theatre Company shows are sold through the PAC ticket office, 918-596-7109. Purchase season tickets for Theatre Tulsa at 918-587-8402. Theatre Pops tickets go on sale six to eight weeks prior to the show’s performance dates.

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Compiled by Nancy Bizjack pring rites and midsummer dreams heat up Tulsa Ballet’s fall schedule, while winter is the time to fall in love with The Nutcracker and Cinderella.

RITE OF SPRING (triple bill)

SEPTEMBER 27-29 Company B: Lighthearted tunes by The Andrews Sisters and elements from popular dances of the 1940s like the Jitterbug and Lindy Hop are juxtaposed with stark images of war and its impact on those left behind. Premiering in 1991, Company B instantly became a signature piece in the expansive canon of Paul Taylor, who has been an icon of American dance since he began dancing with Martha Graham in the 1950s.

One/End/One: Setting this work to Mozart’s stunning Violin Concerto No. 4 in D Major, Finnish choreographer Jorma Elo drew inspiration from the rhythmic pulses of the music and of life, using his signature style of combining classical steps and structure with highly articulated nonclassical movements. Elo, resident choreographer of Boston Ballet, conceived One/End/One in 2011 with a grant from the first-ever Rudolf Nureyev Prize for New Dance.

Rite of Spring: Famously inciting riots when it first appeared in 1913, Rite of Spring holds an iconic place in the world of ballet. Adam Hougland has accomplished the challenging feat of making this historical work — originally choreographed for the Ballet Russe by Vaslav Nijinsky with music by Igor Stravinsky — accessible to today’s audience without depriving it of its punch.

A MIDSUMMER NIGHT’S DREAM

NOVEMBER 1-3 Delight in the humorous tale of four crisscrossed lovers in this enchanting reimagining of Shakespeare’s classic, complete with magical flying effects and nearly 30 local children in the roles of woodland sprites and fairies.

Christopher Wheeldon, dancer and choreographer for New York City Ballet, was the wunderkind of the dance world when this, his first full-length ballet, premiered in 1997 when he was only 23. A Midsummer Night’s Dream is set to music

by Felix Mendelssohn.

THE NUTCRACKER

and his toy soldier brigade. New elements that premiered in 2012, including a brand-new opening party scene and the return of the beloved character Mother Ginger, will be part of the 2013 production. Tulsa Ballet Artistic Director Marcello Angelini choreographed The Nutcracker to music

by Tchaikovsky.

CINDERELLA

FEBRUARY 14-16 On Valentine’s Day weekend, get swept up in the romance of the fairytale you know and love, in which a prince, a fairy godmother, a glass slipper — and a little magic — come together to make a princess out of a disfavored stepchild.

Ben Stevenson, who served for nearly 30 years as artistic director of Houston Ballet and made a name for the company internationally, choreographed Cinderella to music

by Sergei Prokofiev.

Tulsa Ballet’s 2013-14 season includes the mixed-bill Paint It Black, March 14-16 and 21-23 at Lorton Performance Center, and Creations in Studio K, May 2-4, 7-11 at Tulsa Ballet headquarters. For season tickets, visit tulsaballet.org or call 918-749-6407.

A Midsummer Night’s Dream

J. Shelton Photography

S

DECEMBER 13-15, 20-22 A young girl’s fantasy unfolds in this remarkable production that mixes the visuals of a Broadway show with the heartwarming story of a fairytale Christmas. More than 100 local children join the professional company to help the larger-than-life Mouse King battle the Nutcracker Prince J ULY/ AUGUST 2013 ~ IN TERM ISSION

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Music That Lingers Compiled by Nancy C. Hermann

“GREAT MUSIC IS THAT WHICH PENETRATES THE EAR WITH FACILITY AND LEAVES THE MEMORY WITH DIFFICULTY. MAGICAL MUSIC NEVER LEAVES THE MEMORY.” – Thomas Beecham, conductor

F

ill your performance season with a music magic that happens when masterful musicians perform in an intimate concert setting. The following concerts will be held on Sundays at 3 p.m. Check chambermusictulsa.org for specific program details, Saturday night salon series information and associated free events.

BROOKLYN RIDER

September 22

“ . . . one of the wonders of contemporary music.”

— Los Angeles Times This adventurous, classically trained, genre-defying string quartet from New York City combines a wildly eclectic repertoire with a gripping performance style that wows audiences in clubs and concert halls alike. Their creative balance of new music and fresh interpretations of familiar works has set the chamber music world on fire.

ARIEL QUARTET WITH MENAHEM PRESSLER

October 27

“[Menahem Pressler] is a national treasure.” — Los Angeles Times Formed in Israel, and quartet-in-residence at the University of Cincinnati College-Conservatory of Music, this young, awardwinning ensemble has quickly earned a glowing international reputation. The program includes music from Beethoven and Britten. Legendary pianist Menahem Pressler joins the Ariel for Dvořák’s Quintet in A Major for Piano and Strings, Op. 81.

VIENNA PIANO TRIO

Ariel Quartet

instrumentation, charming audiences with their passion and warmth. In Tulsa, the five players explore the timbres of piano, strings and oboe in different and delightful combinations.

ELIAS STRING QUARTET

March 23

“Few quartets . . . have this much personality.”

— Philadelphia Inquirer 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.

November 17

“ . . . quite simply, stunning . . . ” — BBC Music Magazine Steeped in the grand Central European tradition, the Vienna Piano Trio delivers electrifying performances with elegance and polish. They are the ensemble-in-residence at Vienna’s Konzerthaus and have held prestigious appointments in London at Wigmore Hall and for the BBC’s series at St. Luke’s.

ADASKIN-SCHUMANN ENSEMBLE

February 23

“Superb playing . . . power and eloquence and a nutty tonal richness.” — Gramophone The Adaskin String Trio and Ensemble Schumann collaborate frequently to perform masterworks with uncommon

AMERICAN STRING QUARTET

April 27

“ . . . a sense of ease that lets each piece of music unfold like a living organism.”— Cleveland Plain Dealer Celebrating its 40th anniversary in 2014, the American String Quartet is a Tulsa favorite and the perfect ensemble to celebrate the conclusion of CMT’s 60th season! Internationally recognized as one of the world’s finest ensembles, the American String Quartet is famous for a luxurious sound and thoughtful, innovative programming.

The Sunday subscription series (six concerts) is $110 for adults and $25 for students. Call 918-587-3802 to subscribe.

Individual concert tickets are on sale at MyTicketOffice.com J ULY/ AUGUST 2013 ~ IN TERMISSION

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After the show ...

Complete your evening with a nightcap at The Campbell Lounge or a night’s stay in one of our unique theme rooms!

The Campbell Hotel 2636 E. 11th St. Tulsa, OK • 74104

Westby Pavilion on the PAC’s Promenade Rental information 918.596.7124

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I NT ER M I S S I O N ~ J ULY/A U GU S T 2 013

TALK It Up! Compiled by Marti Going

T

ulsa Town Hall’s speakers will transport you back in time, to foreign countries and even to outer space this season.

The lineup showcases five speakers from very different backgrounds, each with a unique story to share with Tulsa.

OCTOBER 4

FEBRUARY 7

adopted), Farrow presents a revealing account of her personal struggles and successes and the quest to find deeper meaning in her life.

APRIL 11

Gentry Lee

Khaled Hosseini

Timothy Egan

“Afghanistan Through the Decades: An Émigré’s Personal Perspective”

“Dust Bowl and Beyond: Lessons for the Future from Past Hard Times”

“Space Exploration and the Curiosity Mission to Mars”

Best known for his profound novels The Kite Runner and A Thousand Splendid Suns, Khaled Hosseini is once again taking the literary scene by storm with his most recent book And the Mountains Echoed. His deep affinity for his homeland also galvanized the creation of The Khaled Hosseini Foundation, which provides humanitarian assistance to the people of Afghanistan.

Timothy Egan is a Pulitzer Prizewinning former reporter and current columnist for the New York Times.

His book The Worst Hard Time: The Untold Story of Those Who Survived the Great American Dust Bowl won the 2006 National Book Award for nonfiction and led to a featured role in Ken Burns’ 2012 PBS series The Dust Bowl. Through Egan’s colorful storytelling, events previously documented in blackand-white photographs become vivid, alive, and relevant to present-day life.

As chief engineer for the Jet Propulsion Laboratory, Gentry Lee oversaw several NASA space missions, including the Juno mission to Jupiter, GRAIL missions to the moon, the Viking mission (first successful landing on another planet) and most recently the Curiosity rover mission to Mars. He has been featured on a Discovery Channel documentary about the solar system, written several science fiction books, and received the Distinguished Service Medal, NASA’s highest award.

NOVEMBER 8

Dan Rather “A Morning with Dan Rather” Dan Rather is one of the most recognized and renowned reporters of our time. Best known as anchor of the CBS Evening News from 1981 to 2005, Rather was a White House and foreign correspondent before that, covering events like the Kennedy assassinations, the Vietnam War and Watergate. His legendary reporting skills and single-minded pursuit of the story have earned him the respect of his peers and the public.

MARCH 14

Mia Farrow “Having a Meaningful Life: One Woman’s Journey to Fulfillment” Recognized for her work in over 40 films, Mia Farrow is also a UNICEF Goodwill Ambassador working for children’s rights in conflict-ridden regions of the world such as Darfur, Chad, and the Central African Republic. The mother of 14 children (10 of whom were

All talks take place on Fridays at 10:30 a.m. in Chapman Music Hall.

Tickets are sold by subscription at TulsaTownHall.com and 918-749-5965.

J ULY/ AUGUST 2013 ~ IN TERM ISSION

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I N T ER M I S S I O N ~ J ULY /A U GU S T 2 013

ON UPCOMING EVENTS

OS AGE BALLET

WAHZHAZHE WAHZHAZHE is a contemporary ballet that brings together unique and diverse qualities of Oklahoma history and culture: a reverence for classical ballet that was the legacy of two famous Osage ballerinas, Maria and Marjorie Tallchief, and the richness of Osage traditional music, dance and textile arts. Creative set designs transform the stage into accurate depictions of Osage lifestyles, and the costumes recreate traditional tribal clothing that was worn during the past 200 years.

The first three scenes depict the Osage in pre-Columbian times in Missouri. Later scenes show some of the changes that took place after European contact when children were sent to boarding schools, their hair was cut, and they were dressed in citizen clothes. The final scene shows a strong, courageous and surviving people who have learned to walk in two worlds.

August 16-17 at 7:30 p.m.

August 18 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 $18; $12 for children, students and seniors.

THE PL AYHOUSE TULS A

TULS A SYMPHONY

ANDREW RALLY is a successful TV actor with a problem: Shakespeare’s Hamlet. He’s agreed to play the role in New York, but he’s not sure he has the chops for it. So he rents an apartment once owned by the late legendary actor John Barrymore, in hopes of finding inspiration. It arrives in due course — in the form of Barrymore’s belligerent ghost.

The magic of the theater and the perils of being taught by the ghost of a dead legend form the hilarious heart of I Hate Hamlet, by master comic playwright Paul Rudnick, who, in the late 1980s, lived in a Greenwich Village brownstone where Barrymore had lived in the 1920s.

New York Times theater critic Ben Brantley once said, “Line by line, Mr. Rudnick may be the funniest writer for the stage in the United States today.”

ENJOY AN EVENING of music

by Ludwig van Beethoven and Samuel Adler in honor of the 15th anniversary of the Rotary Club of Tulsa’s Crescendo Awards. Adler’s Violin Concerto, which will feature 2009 Crescendo winner Siwoo Kim as soloist, was jointly commissioned by the Tulsa Symphony and the Rotary Club of Tulsa. Another Adler work, “Song Cycle,” will also be performed, featuring several additional songs, by soprano Sarah Coburn. The evening will also include Beethoven’s “Lenore” Overture No. 3 and Symphony No. 5.

Guest conductor is Philip Mann, music director of the Arkansas Symphony Orchestra and former associate Sarah Coburn conductor of the San Diego Symphony.

I HATE HAMLET

September 6-7, 12-14 at 7:30 p.m.

September 8 at 2 p.m.

J O H N H . W I L L I A M S T H E AT R E

FEATURING SARAH COBURN AND SIWOO KIM Siwoo Kim

September 7 at 7:30 p.m.

CHAPMAN MUSIC HALL Tickets are $15-$70.

TICKETS: 918-596-7111, TULSAPAC.COM AND MYTICKETOFFICE.COM J ULY/ AUGUST 2013 ~ IN TERM ISSION

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ON UPCOMING EVENTS AUGUST OSAGE BALLET

WAHZHAZHE Aug. 16-17 at 7:30 p.m.

Aug. 18 at 2 p.m.

John H. Williams Theatre

SEPTEMBER TULSA GLASSBLOWING

BLUE GLASS GROUP Sept. 5-29 PAC Gallery

THE PLAYHOUSE TULSA

I HATE HAMLET Sept. 6-7, 12-14 at 7:30 p.m.

Sept. 8 at 2 p.m.

John H. Williams Theatre TULSA SYMPHONY

FEATURING SARAH COBURN AND SIWOO KIM Sept. 7 at 7:30 p.m.

Chapman Music Hall

CELEBRITY ATTRACTIONS

BLUE MAN GROUP Sept. 10-15 Chapman Music Hall THEATRE TULSA

LEGALLY BLONDE Sept. 20-21, 26-28 at 8 p.m.

Sept. 21, 29 at 2 p.m.

John H. Williams Theatre CHAMBER MUSIC TULSA

BROOKLYN RIDER Sept. 22 at 3 p.m.

John H. Williams Theatre TULSA BALLET

RITE OF SPRING Sept. 27-28 at 8 p.m.

Sept. 29 at 3 p.m.

Chapman Music Hall

Blue Man Group

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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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.

I N T E R M I S S I O N ~ J ULY /A U GU S T 2 013

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.

Hair – OSU student performance

OSU supports the arts OSU has a vibrant arts community, from theatrical performances and concerts to visits by accomplished artists.

Encourage the high school artist you know to visit our campus.

Go to admissions.okstate.edu or call 800-233-5019 to schedule a tour today.

OSU is focused on bright minds, building brighter futures and the brightest world for all.

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