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APRIL 2013





11 Q&A: James B. Stewart

Always Looking to Improve by John Scott

The Pulitzer Prize-winning financial journalist and best-selling author explains the 2008 financial meltdown and how liars and cheaters are undermining America Interview by Barry Friedman

8 Bravos

16 Aïda

25 Spotlight

Tulsa Opera, Tulsa Oratorio Chorus and Tulsa Ballet II join forces for a spectacular production of the grandest of grand operas by D. J. Morrow Ingram

18 MOMIX ‘Botanica’

18 20

5 Directions Unto Others Love, Loss and What I Wore Gatha Odissi and Krishna Angelina Ballerina Gryphon Trio Dustin Lance Black’s ‘8’ A Grand Night for Singing Boeing-Boeing Rex Ziak

26 May-June Events

in the gallery

Connecticut-based MOMIX evokes a fantastical world where seasons change with the breeze, bodies morph into centaurs, and flowers bloom into dancing humans by Nick Saulnier

20 Playing Through Violinist Dylana Jenson surpassed her peers as a child prodigy and played through the pain of losing her “voice,” a 1743 Guarneri del Gesu violin, when she announced her engagement by Missy Kruse

23 Forbidden Broadway Four quick-change actors poke fun at Broadway’s biggest hits in the touring production of a long-running offBroadway revue by Matt Cauthron


Aïda cover design by Jeffrey W. Savage

Winston Peraza Dos Lugares, 2008

The Advertising Professional as Fine Artist April 4-28 This exhibition showcases members of the advertising and design community who also express their creativity through their fine arts work. The exhibition is curated in conjunction with the American Advertising Federation’s annual convention, which expects to attract approximately 400 advertising professionals to Tulsa between April 10 and April 14. The theme of the AAF convention is “WonderTulsa.” Apri l 2013 IN TERM ISSION 5

Joseph W. Morris

John Barker

Deborah Shallcross

Dennis Cameron

Ron Ricketts

John Gaberino

Drew Edmondson

Dean Luthey

Tim Thompson

The Law Firm of Choice for Judges and Generals Nine current and former Judges, Attorneys General and General Counsel attorneys all call GableGotwals home. Over 70 strong, the lawyers of GableGotwals are proud to count such a prestigious group of attorneys among their ranks. TULSA




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INTERMISSION director’s page

is the official magazine of the Tulsa Performing Arts Center.


ALWAYS LOOKING TO IMPROVE WITH THE ONGOING discussions about the City’s Capital Improvement Plan (CIP) and the upcoming vote on extending the Third Penny Sales Tax, I wanted to share a few things about the PAC’s proposed CIP projects and what we are trying to accomplish in the meantime. The Performing Arts Center has requested a total of $13.6 million for major capital improvements to our facility. Our project list includes replacing our 36-year-old fire alarm system; providing fire sprinklers John Scott to areas of the building that don’t currently have them; a couple of projects related to our 36-year-old HVAC system; replacement of our roof; and a wide-ranging replacement/renovation project that includes replacing carpet and wall coverings, remodeling and enlarging the ticket office, and adding a wheelchair-level sales window. Also on the list is a request for funds to replace old furniture and the stage floors in the Williams and Doenges Theatres. Finally, something we are extremely excited about is an $8 million expansion that would include enlarging the Third Street lobby, adding a 2 ½-story space on the west along Third Street, and creating new foyers outside the existing front wall on the orchestra, mezzanine and balcony levels, and then covering all that with a new glass front. As you might expect, there are many more dollars requested by all the City departments than there are dollars available. The proposed master list will have to be pared down considerably and, at this writing, no decisions have been made as to what projects will be placed on the final list that will go to Tulsa voters. The PAC will spend approximately $360,000 this fiscal year on smallerscope capital projects. And we have requested $379,000 in FY14 for similar improvements. Especially when dealing with a 36-year-old facility, we must stay proactive in maintaining Tulsa’s home to the arts. Just a note to mention the PAC’s collective sorrow at the passing in February of our colleague and friend Larry Payton, founder and president of Celebrity Attractions. I’ll have much more to say on that subject next month. Enjoy April’s events as our arts groups begin wrapping up their outstanding 2012-13 seasons. Thanks for all your support. I’ll see you in the lobby.


110 E. Second St., Tulsa, OK 74103 918-596-7122 • 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 Mayor Dewey F. Bartlett Robert J. LaFortune Kristin Bender Rodger Randle Stanton Doyle Jayne L. Reed William G. von Glahn Kitty Roberts Jenny Helmerich M. Teresa Valero John H. Williams PAC TRUST PROGRAM DIRECTOR Shirley Elliott PAC TRUST MARKETING & PR Chad Oliverson OFFICE ADMINISTRATOR Carol Willis I N T E R MI S S I ON is published monthly by

1603 S. Boulder, Tulsa, OK 74119 For advertising information, Tel. 918-585-9924, ext. 217, Fax 918-585-9926.

John E. Scott Director, Tulsa Performing Arts Center

No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2368, Apri l 2013 IN TERM ISSION




UNTO OTHERS “UNTO OTHERS” is an evening of music, dance and entertainment performed by Tulsa Youth Ballet’s full company program and iMErge, a performing arts program for students with and without physical limitations. The first half includes three selections. Between Friends is a light, fun musical

about friendships. Lunch is a tap dance selection that provides a peek into the typical school lunchroom with tapping to the tunes of The Ventures. BEtween the Change is a powerful jazz selection addressing youth bullying, set to the music of Florence and the Machine. After a short intermission, the program



LOVE, LOSS AND WHAT I WORE NORA AND DELIA EPHRON’s intimate collection of stories is based on the best-selling book by Ilene Beckerman, along with recollections of the Ephron sisters’ friends. The play is organized as a series of monologues by female actors who use clothing and accessories and the memories they trigger to tell funny and often poignant stories that all women — and perhaps some men — can relate to. The off-Broadway production of Love, Loss and What I Wore won the 2010 Drama Desk Award for Unique Theatrical Experience and is still going strong. Kelli McCloud Schingen directs this local production starring Carla Ford, Paula Scheider, Lorie Lyons, Tiffany Tusia, Annette Rosenhecht, Jennie Lynn and Danielle Balletto. April 4-6 at 8 p.m. April 7 at 2 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 students and seniors. $7.50 “Ladies’ Night” tickets on April 4.

continues with Unto Others, a modern ballet in which performers journey through the Golden Rule using the powerful and moving music of Mumford and Sons. April 6 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 $5.


TWENTY DANCERS in two renowned troupes from India come together in one rich and colorful dance program. The Orissa Dance Academy presents Gatha Odissi, performed in the Odissi style from eastern India and featuring principal dancer Aruna Mohanty. References to the Odissi style have been found in historic caves dating back to the 2nd century B.C. Gatha Odissi traces the journey of the Odissi dance form from the temples to the stage.

Sharing the program is Parvathy Menon and Shijith Nambiar’s Krishna: A Divine Experience, performed in the Bharatanatyam style of classical Indian dance from southern India. The piece demonstrates the energy of Indian music and explores the divinity of the Hindu deity Krishna. The program has been staged in many prestigious dance festivals around the world. April 7 at 4 p.m. J O H N H . W I L L I A M S T H E AT R E Tickets are $15 and $25.


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John Beebe



GRYPHON TRIO IN Angelina Ballerina: The Musical, Angelina and her friends, Alice, Gracie, AZ and Viki, and their teacher, Ms. Mimi, are all aflutter because a special guest is coming to visit Camembert Academy! Angelina and her friends will perform all types of dance, including hip-hop, modern dance, the Irish jig and, of course, ballet, and they are excited to show off their skills to their famous visitor. Angelina is the most excited of all, but will she get the

starring moment she hopes for? Based on the animated series Angelina Ballerina: The Next Steps on PBS, Angelina Ballerina: The Musical is a family-friendly show that will have the entire audience dancing in the aisles. The show is appropriate for ages 3-12. April 12 at 7 p.m. April 13 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.


DUSTIN LANCE BLACK’S ‘8’ THEATRE TULSA, Theatre Pops, Odeum Theatre Company and Nightingale Theatre join forces for a staged reading of Dustin Lance Black’s play 8. 8 portrays the closing arguments of Perry v. Schwarzenegger, a 2009 federal trial that led to the overturn of Proposition 8, an amendment eliminating the rights of same-sex couples to marry in California. The play premiered in 2011 at the Eugene O’Neill Theatre in New York City and was broadcast worldwide from

the Ebell of Los Angeles six months later. In the trial, the plaintiffs, two samesex couples, were represented by David Boies and Theodore Olson, two highprofile attorneys who opposed each other in the 2000 U.S. Supreme Court case Bush v. Gore. Arnold Schwarzenegger was governor of California at the time of the trial. April 25-27 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 $12. For mature audiences.

HAVING impressed international audiences and the press with their highly refined, dynamic performances, the Gryphon Trio has firmly established itself as one of the world’s preeminent piano trios. With a repertoire that ranges from the traditional to the contemporary and from European classicism to modernday multimedia, the Gryphon is committed to redefining chamber music for the 21st century. In this concert, the trio — cellist Roman Borys, pianist James Parker and violinist Annalee Patipatanakoon — will perform “Lonesome Roads,” composed in 2012 by prize-winning 30-year-old Dan Visconti and commissioned specifically for the Gryphon and two other piano trios. Also on the program are Haydn’s Trio in C Major, Hob. XV:27; Dvorák’s Piano Trio in E minor, “Dumky”; and Shostakovich’s Trio No. 2 in E minor, Op. 67. April 14 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.



Hello, Dolly! by Jerry Herman

The Drowsy Chaperone music and lyrics by Lisa Lambert and Greg Morrison book by Bob Martin and Don McKellar

Side By Side By Sondheim

by Sondheim and many others

June 14-June 30 Tulsa Performing Arts Center

PAC 918-596-7111 LOOK Box Office 918-583-4267


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James B. Stewart Interview by Barry Friedman

Sigrid Estrada

James B. Stewart is the author of 11 books,

Before we get to your book, explain what happened during the financial meltdown of 2008-09, specifically in terms of the housing collapse — and, if you would, talk to me like I’m a 10-year-old. [laughs] Well, there is no short paragraph to explain that, but it was a matter of unqualified buyers getting mortgages — subprime mortgages [those mortgages given to high-risk borrowers] — which were then bundled together, then cut up, and then rated as secure by credit agencies. Wall Street then went out and hawked them, sold them to other institutions based on those secure ratings. Now, it was ludicrous how these loans were approved — ludicrous. Ultimately what happened is they eventually stopped lending, people who couldn’t afford the mortgages went into default, and property values came down.

including Den of Thieves, about Wall Street in the 1980s; Blind Eye, an investigation of the medical profession; Blood Sport, inside the Clinton White House; Heart of a Soldier, the story of Rick Rescorla, a victim of 9/11; and DisneyWar, which chronicles Michael Eisner’s time as head of the entertainment giant. A former “Page One” editor for the Wall Street Journal, Stewart now writes the “Common Sense” column for the Business Day section of the New York Times and contributes regularly to The New Yorker. He is the recipient of a 1988 Pulitzer Prize for his reporting on the 1987 stock market crash and insider trading scandals, as well as a winner of the George Polk award and two Gerald Loeb awards. In reviewing Stewart’s latest book, Tangled Webs: How False Statements Are Undermining America: From Martha Stewart to Bernie Madoff, novelist Scott Turow wrote, “Part of Mr. Stewart’s magic as a writer is that he is both exhaustive and engrossing.” A graduate of Harvard Law School and DePauw University, Stewart is the Bloomberg professor of business journalism at the Columbia School of Journalism.

How, why did it all break down? The key flaw in the system was that rating companies like Moody’s get paid by the issuers so, for instance, if Moody’s didn’t slap a good rating on these mortgages, the firms would be able to just go down the street to another agency that would. There was also the matter of people getting into homes over their heads. I interviewed a woman who went to sign her mortgage documents, and when she looked at her monthly payment, she said, “I can’t afford this.” She never made a payment — not one. Another guy said he was a sign painter on his loan application. I don’t know if he ever painted a sign in his life, but there was so much money to be made lending money — in the fees collected — that these companies were looking for warm bodies. He got a loan based on what other sign makers in the area were making.

Another great weakness: these mortgages were instantly flipped and then sold immediately at a profit.

How fast would they be flipped? A company like Countrywide Financial literally would have these mortgages on its books for a nanosecond.

What could the mainstream press, generally, and the business press, specifically, have done better? Well, first off, it was hard, because you had to work backwards — it was tough to follow that line. In fact, it wasn’t a straight line at all. The crisis was first spotted in California with a number of mortgages going into default. But let me just say, once it was determined what had happened, I think the press, generally, did a good job of covering it. Did they do a great job? No. But the Federal Reserve couldn’t piece it all Continued on p. 12 Apri l 2013 IN TERM ISSION



Continued from p. 11

together, so how do you expect journalists to? I remember being on Glenn Beck and I was astonished at some of the accusations and misinformation that were out there. I was on FOX once and some guy was rampaging against TARP [The Troubled Asset Relief Program, started under President Bush and continued under President Obama, that was used to purchase assets and equity from financial institutions, especially those caught up in the subprime mortgage crisis] who said he wanted to send the bankers to prison. I said it would be reckless and would he really be willing to force the economy to seize up, because that’s what would have happened. He said, “Yeah,” which was irresponsible, but that’s the kind of mentality that was out there. But I will tell you, there was guilt on both sides and valor on both sides. Culprits and heroes, too, from both political parties.

In testimony before a Congressional Committee for Oversight and Government Reform on October 23, 2008, Alan Greenspan [Chairman of the Federal Reserve from 1987 to 2006] said, “I still do not fully understand why it happened.” If he couldn’t understand it, how could the rest of us ever hope to? Well, I think Greenspan understood some of it — he certainly does now. In fact, I tried to read some of the Nobel Prizewinning papers on the risk involved with these loans, as well as the models used to sell the collateral debt obligations [an investment-grade security backed by a pool of bonds, loans and other assets], but after the third paragraph or so — what with all the symbols — I couldn’t understand what they were talking about. And the number of people, like mathematicians, who could understand it were minimal. They believed it and sold it.

Was it cynically designed that way so people couldn’t understand it, wouldn’t be able to investigate or prosecute it? I don’t think so; I think they were just wrong.

What of the system itself? Well, the whole idea of homeownership needs to be 12

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looked at … that maybe it isn’t the end all and be all. Other countries, like Switzerland and France, for instance, have lower rates of homeownership. And flipping will be out of favor, which is probably a good thing, too.

What do you think of the following financial players? LLOYD BLANKFEIN CEO, Goldman Sachs I know Lloyd and I think the characterization of him in the media is unfair. I mean, my cat runs out and kills mice. It’s what he does. Goldman does what Goldman does and I’m sure Lloyd can be tough — well, I know he is — but except for its mortgage fraud cases, which I admit is a huge caveat, it wasn’t the worst. Blankfein supports the repeal of DOMA [Defense of Marriage Act, now before the Supreme Court], says it’s the civil rights issue of our generation, so this is not a two-dimensional guy. He’s well read, concerned about his legacy. BARNEY FRANK Former U.S. Congressman and, from 2007 to 2011, chairman of the House Financial Services Committee Again, I think some of what you read is unfair. He’s been attacked for promoting homeownership, which, face it, everyone has been doing for decades — both parties have. And did Freddie Mac and Fannie Mae get too big? Sure. And he was a proponent of them, but the criticism that he caused the meltdown is undeserved. It wasn’t his fault. And what’s not known: he’s very smart, understands financial markets. Oh, sure, he speaks a populist rhetoric, but he was instrumental in keeping the meltdown from getting worse, as was Henry Paulson [Treasury Secretary under President Bush] ELIZABETH WARREN U.S. Senator from Massachusetts Wall Street hates her, which is probably a good counter-balance. As to that, I’ll say that the revolving doors between business and government are prominent. The norm has gotten to be too crazy.

PAUL KRUGMAN Nobel Prize-winning economist and New York Times op-ed columnist Paul is a colleague of mine and I admire him. He’s an über Keynesian, which I’m not. And Paul is a lot like a dog with a bone between its teeth; he will not let go. Like the Wall Street Journal, he’s also good on counter-facts. You give your argument and he’s great at tearing it down. Now, whether he and they need to do that as often as they do is another matter.

About Tangled Webs, which is about lying and its corrosive effects on America: a question about the case of Mark Sanford, former governor of South Carolina, who’s now running for the U.S. Senate. He cheated on his wife and lied to his staff. What if he wins? Yeah, I can’t believe he’s running, but the case to me that’s most egregious is the one of John Edwards [former U.S. Senator and vicepresidential candidate], who asked another man to take the responsibility for getting his mistress pregnant.

What about those who say that the difference between John Edwards and Newt Gingrich, considering their infidelities and the cancer-stricken wives, is that Edwards’ mistress had a baby? Well, [laughs] there’s a point there, which is why I deliberately decided not to use sex cases in my book [The four explored in the book: Barry Bonds, Scooter Libby, Martha Stewart and Bernie Madoff]

What about forgiveness? How much does it erase; how much does it fix? Sure, there’s a place for redemption, but then there are people like Martha Stewart. To this day, she still doesn’t know why she was in court.

JAMES B. STEWART “TANGLED WEBS: HOW FALSE STATEMENTS ARE UNDERMINING AMERICA” Presented by Tulsa Town Hall April 5 at 10:30 a.m. CHAPMAN MUSIC HALL Tickets are sold by subscription; call 918-749-5965.

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Midtown/Cherry Street Location (918) 906-2525

Enjoy your drinks in the theater Enjoy your drinks in the theater with our souvenir cups. with our souvenir cups.




The Meaning and Message of Dance and Regalia April 13, 2013 1:30 p.m. Tom Gilcrease Jr. Auditorium Free with paid museum admission

Reusable at all Reusable atPAC all events. Two sizes available at the PAC events. Two concession sizes available at the stand. concession stand. Reusable at all PAC events. Two sizes available at the concession stand.

Your logo Your logo on our cup? on ourCallcup? 918.596.2368

This program is funded by The Oklahoma Humanities Council and the National Endowment for the Humanities.

Call 918.596.2368

1400 North Gilcrease MuseuM road 918-596-2700 tu is aN eeo/aa iNstitutioN. Presented in conjunction with the exhibition Bending, Weaving, Dancing: The Art of Woody Crumbo.

Apri l 2013 IN TERM ISSION


by D.J. Morrow Ingram

he Italians have a word for the sense of dazzling beauty produced by effortless mastery: sprezzatura. Perhaps no cultural form associated with Italy is as steeped in the love of sprezzatura as opera, a genre the Italians invented. And no opera has embodied the ideal of sprezzatura as magnificently as Aïda. Tulsa Opera closes its season with this grandest of grand operas, and perhaps Giuseppe Verdi’s best-known work. Aïda was the first production Tulsa Opera staged at the Tulsa Performing Arts Center when it opened in 1977 and the first outdoor opera performed at Skelly Stadium in 1933. It hasn’t been seen in Tulsa since 1996. Adding to the excitement of this production are dancers from Tulsa Ballet II (choreographed by Ma Cong) and singers from the Tulsa Oratorio Chorus as they join forces with Tulsa Opera for this spectacular production. “It’s appropriate that we end our season with this vivid, colorful and famous opera as 2013 is Verdi’s 200th birthday,” says Kostis Protopapas, Tulsa Opera’s artistic 16

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director. “It is a complete 360-degree experience of voice, symphony, color, costume and beautiful sets.” The opera’s story focuses on Aïda, an Ethiopian princess. After the Egyptians defeat her people, she is forced to become a slave to Amneris, daughter of the Egyptian king. When she falls in love with Radames, leader of the Egyptian forces, Aïda must choose between her devotion to him and her duty to her people. Radames

“It is a complete 360-degree experience of voice, symphony, color, costume and beautiful sets.” — Kostis Protopapas

also struggles to choose between his love for her and his loyalty to the Pharaoh. To further complicate the story, Radames is loved by the Pharaoh’s daughter as well, although he does not return her feelings. “It is a bitter love triangle that plays itself out against a backdrop of war and cultural oppression in this compelling

tale of conflicting loyalties and forbidden passion,” Protopapas says. “It is precisely the type of dramatic, complex theatre for which Verdi is so famous. He is truly the Shakespeare of opera.” Aïda has been a hit since its debut 130 years ago — enough time to generate its own mythology. A common misconception is that Verdi wrote Aïda in honor of the opening of the Suez Canal in 1869. In actuality, Verdi had rejected an offer to write an inaugural hymn for the opening of the Canal, but the Khedive (Ismail Pasha, the Viceroy of Egypt for the Ottoman Empire and a fan of all things European) was determined to commission a magnificent opera to open the new opera house in Cairo. Verdi wouldn’t do this either, so the new opera house opened with Verdi’s existing Rigoletto. Director/librettist Camille du Locle, using a little Psychology 101, persuaded Verdi to take on a future commission. He told him that if Verdi didn’t want the job, German composer Richard Wagner might

Adrienne Danrich

be interested and would probably do a very good job with it! He also told Verdi that the Khedive would be willing to give him almost anything: “If you were to ask for a pyramid (the biggest one, of course) as a bonus, he’s just the sort of person who might give it to you.” It worked! Verdi wrote Aïda for the Cairo Opera House. The premiere of Aïda was originally scheduled for early January 1871, but the Franco-Prussian War caused a postponement for nearly a year. All the costumes and sets had been made in Paris, which was now under siege. They remained in a warehouse of the Paris Opera until the end of the year. Aïda finally premiered on December 24, 1871, but without its distinguished original cast members or composer, all of whom now had other engagements. Nonetheless, it was an enormous success. Verdi was awarded the title “Commendatore of the Ottoman Order,” and the opera was staged at 155 houses around the world in the next 10 years. Tulsa Opera’s production of Aïda features Emmy-winning soprano Adrienne Danrich in the title role. Some of her most recent roles include Serena in Porgy and Bess (Cincinnati Opera and Dayton Opera), Sister Rose in Dead Man Walking (Fort Worth Opera), and Rosalinda in Die Fledermaus (Lyric Opera of San Antonio).

Dana Beth Miller

Danrich also performed with Kenya Opera in various venues throughout Africa. Mezzo-soprano Dana Beth Miller is Amneris. Miller is rapidly establishing herself as one of the most promising and exciting dramatic mezzo-sopranos on the stage today. Some of her previous roles include Santuzza in Cavalleria Rusticana (Edmonton Opera), Dame Quickly in Falstaff (Deutsche Oper Berlin), Maddalena in Rigoletto (Florida Grand Opera), Amneris in Aïda (Arizona Opera), Azucena in Il Trovatore (Opera New Jersey), and Mother and Witch in Hansel and Gretel (Cleveland Opera and Tulsa Opera). Former Tulsa Opera studio artist Brian Landry will sing his first Radames in this production. Landry has a tenor voice that reminds people of the great tenors of yesterday, even as he is poised to become a great tenor of his own generation. He recently made other important debuts: Cavaradossi in Puccini’s Tosca with Harvard-Radcliffe Orchestra, MacDuff in Verdi’s MacBeth with the Boston Youth Symphony Orchestras, Canio in Providence Opera’s I Pagliacci, and the tenor soloist in Beethoven’s 9th Symphony with HarvardRadcliffe Orchestra. “Verdi possessed — in abundance — that one natural gift which is an essential

Brian Landry

skill for an operatist,” Protopapas declares. “He wrote, and orchestrally scored, melody lines which stir the audience’s emotions to match the dramatic intent of the story line. “Our audience, just as the many who have witnessed Aïda before, will not be disappointed.”

Presented by Tulsa Opera April 20, 26 at 7:30 p.m. April 28 at 2:30 p.m. CHAPMAN MUSIC HALL Tickets are $25-$98. and 918-596-7111 Apri l 2013 IN TERM ISSION


Photos by Max Pucciariello

by Nick Saulnier

magine a world more fantastic than our own, where seasons change with the breeze, bodies morph into centaurs, and flowers bloom into dancing humans. Such is the reality MOMIX dance company reveals in its illusionistic production Botanica, and you don’t need special glasses or brainbending drugs to experience it; all it requires is a ticket to the show on April 7 and an open mind. MOMIX, one of the most in-demand modern dance companies in the world, is the brainchild of the eclectic Moses Pendleton, a onetime cow herder, skier and English major, who is MOMIX’s co-founder and artistic director. Pendleton’s unusual background mirrors the typical MOMIX production: earthy, athletic and imaginative. “Much of the early work of MOMIX was kind of athletes dancing, trying 18

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to put an aesthetic on the athletic,” admits Pendleton. Today, MOMIX is “much more of a dance company than in the early days,” he continues, “but my training has really been in athletics, which I think was very useful in terms of the athletic requirements of being a dancer.” Pendleton formed MOMIX in 1980 as an offshoot of the widely acclaimed Pilobolus Dance Theatre, a company Pendleton also helped found in 1971. MOMIX’s style is multimedia-heavy, melding dancers, props and music together into a post-modern artistic soup. Often described as “dancer illusionists,” they have performed for audiences across North America, Europe, Australia, South America and East Asia, collecting positive attention wherever they go. Botanica, which premiered in 2009,

comprises a lengthy meditation on nature and the changing of seasons. The production is broken up into more than 20 sections ceaselessly flowing into each other, like an extended DJ mix spinning tracks on a set of common themes and images. As Pendleton describes it, “Botanica doesn’t have a logic, other than the logic of surprise,” but don’t let this admission fool you: Botanica is every bit as sophisticated as any other quality modern dance production, and quite a bit more visually stunning than average. And what is the logic of surprise? Avoiding any strict definitions, it surfaces in Botanica’s quickly rearranging imagery, the story it tells of death and rebirth, and the multi-referential use of bodies. Indeed, much of Botanica’s magic stems from its illusions, and half of the fun involves teasing apart how the dancers and

technicians create such bizarre scenes and spectacles onstage in front of a live audience. Where there is clearly one body moving, if you look closely you may notice another manipulating a prop, or the first body changing forms. What you see in Botanica relies in large part on your own imagination and ability to see a multitude of images at once. A large part of the show’s success can be attributed to the quality of its stagecraft. Michael Curry, who collaborated with Julie Taymor to design the masks and puppets for The Lion King musical, designed the puppets for Botanica. His work is both realistic and fantastic, including giant Triceratops skeletons, blooming flowers, and looming mythical beasts. The lighting is absolutely masterful, relying on sharp, chiaroscuro contrasts to create a mystical, naturalistic atmosphere rich with color and life. Musically, the sounds tumble along through a mix of mostly ambient, downtempo electronic music with some tribal elements, and a bit of Vivaldi and birdsong for taste. The finished product feels crisp and not without an element of humor. Botanica presents the audience with a tension between lightheartedness and structure — which is perhaps an expression of the logic of surprise, and certainly an element of the natural world. “If Botanica evokes

a certain energy out of people and brings them a little excitement and less gravity in their step when they come out of the theater, that would be great,” imparts Pendleton. But his method of dance gets at something deeper through our capacity for wonderment and enjoyment. “I’ve always felt that there’s a philosophical meaning to entertainment,” he says. “I always think that if people can relax, it’s a mystical experience. You can’t say it’s non-intelligent for an audience to gasp at something beautiful or to laugh at something whimsical.” As for show-goers not accustomed to attending modern dance productions, there’s something to be found for anyone with a fleeting interest in art, multimedia production, music, and expression in general. And if nothing else, Botanica is certainly a spectacle that invokes all of the senses and leaves them buzzing. “Dance is a very general term,” argues Pendleton. “Whatever you can do out there that’s musical has potential to be dance. I think the overall effect, the magic and the mystery and the optical confusion that MOMIX puts out can

stimulate the collective brain of our audience, and hopefully they’ll get a little rust off their dendrites trying to figure out what it is they think they’re seeing.”

Presented by the PAC Trust April 7 at 7 p.m. CHAPMAN MUSIC HALL Tickets are $15-$52. and 918-596-7111

Apri l 2013 IN TERM ISSION


by Missy Kruse

Dylana Jenson


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ylana Jenson probably doesn’t remember a time she wasn’t playing the violin. The former child prodigy began learning the instrument at age two and a half. On April 6, she will be the featured soloist at Tulsa Symphony’s final 2012-13 season concert, with her husband, David Lockington, as guest conductor. Jenson’s journey began because her mother wanted her children to become musicians. But no one taught small children until Shinichi Suzuki pioneered pre-school music education. After hearing him speak, Jenson’s mother got some books, taught herself to play, and began teaching her children. Eventually Jenson began lessons with professional teachers. By age 7, she was a child phenom, giving concerts and appearing on television shows, including a duet with comedian Jack Benny. By 13 she was playing with major orchestras. Four years later she won a silver medal in the International Tchaikovsky competition. At 20, she made her first recording with Eugene Ormandy and the Philadelphia Orchestra. Every stringed instrument has a unique sound, some better than others, and top musicians often rely on loaned instruments, because the best are worth millions of dollars. Part of what made Jenson extraordinary — at least in her mind — was the 1743 Guarneri del Gesu loaned to her by a collector. For Jenson, the antique violin was her voice, the perfect match to her abilities. But when she told her benefactor that she was getting married, he angrily asked for the violin to be returned, saying she wasn’t committed to her art. Professionally, the loss had a profound effect on Jenson, who searched years for the right instrument to replace it. In one year alone, she tried out 23 violins. Although Jenson continued playing while raising her family, the poorer quality of available instruments affected her playing. She lost a recording contract, a manager and important engagements. Eventually she heard about rising American luthier Sam Zygmuntowicz, who crafted the instrument she now plays. Intriguingly, Jenson had already been introduced to his work. She had served as a tone judge at a Violin Society of America convention, where Zygmuntowicz had won a gold medal. But contestants’ names are never revealed and they didn’t meet again for more than 15 years.

David Lockington

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The amazing fluidity and passion of Jenson’s playing will astonish Tulsa audiences, who will hear her play Dimitri Shostakovich’s Violin Concerto No. 1. Lockington, Jenson’s husband of 30 years, also enjoys an international reputation, acting simultaneously as music director for the Grand Rapids Symphony and the Modesto Symphony Orchestra in California. In 2012, Lockington was named principal conductor of Spain’s Orquesta Sinfonica del Principado de Asturias. In addition to the Shostakovich piece, Lockington will lead the Symphony in two other works. First is the Overture to the School for Scandal, Op. 5, by Samuel Barber. The title comes from an 18th-century comedy by Richard Brinsley Sheridan, which mocks the gossiping English gentry. Tulsa Symphony will round out the performance with Beethoven’s Symphony No. 7 in A Major, Op. 92. The second movement in particular will be familiar to the audience. And a work by Beethoven is not to be missed.

Presented by Tulsa Symphony April 6 at 7:30 p.m. CHAPMAN MUSIC HALL Tickets are $25-$70. or 918-596-7111

Westby Pavilion on the PAC’s Promenade Rental information 918.596.7124 Apri l 2013 IN TERM ISSION


1960 Utica Square 918.743.6634

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t’s a longstanding tradition among musical theater veterans in New York City to pass the time by making up funny or racy alternative lyrics to popular Broadway hits. For generations, this tradition was rarely mentioned outside of small backstage gatherings or after-show coffee shop hangouts. It was simply a goofy way to ease the stress of long days and late nights rehearsing. In the early 1980s, playwright and director Gerard Alessandrini had a notion that this brand of Broadway parody would appeal to a much wider audience. So he put his theory to the test by writing and producing a parody revue called Forbidden Broadway and staging it at a New York supper club. After more than 30 years, more than 9,000 performances, and a boatload of awards (including the Tony Honors for Excellence in Theatre), it’s safe to say that Alessandrini’s theory was correct. The show has seen many incarnations and updates throughout the years, but the original conceit — of Broadway looking at itself in a fun-house mirror — has remained intact. “The show isn’t trying to be mean, or to be elitist,” says Catherine Stornetta,

musical director and pianist for the off-Broadway revue. “We’re just poking loving fun at whoever and whatever is on Broadway at the moment.” When the touring production of Forbidden Broadway rolls into Tulsa, the show’s targets will be hits such as The Book of Mormon, Wicked and Spiderman: Turn Off the Dark, as well as old favorites such as Annie and The Phantom of the Opera. Stornetta says audiences don’t necessarily have to be overly familiar with the intricacies of each show to enjoy watching them be parodied. “When you see a girl come on stage with big red hair, a red dress and a cigarette hanging out of her mouth, singing, ‘I’m 30 years old … tomorrow!’ you don’t exactly have to be a Broadway insider to get a chuckle out of that.” The show features just four actors (two men and two women) plus Stornetta as accompanist. The actors cycle through character after character, making lightning-fast costume changes backstage and adopting various voices and inflections to perform each one. “When the four actors come out after the show to take their bows, the audience is always confused. They’re

wondering, ‘Where’s the rest of the cast?’” says Stornetta. “They think it must be an entire company they just watched, but nope, just the four.” Asked how those four can possibly make such quick backstage costume changes, given the complexity of the costumes, Stornetta replies simply, “Velcro is the key to our success.” While that may be true of the logistical side of the show, the true key to the success of Forbidden Broadway is that everyone — whether a boardtreading theater lifer or an ordinary Joe who couldn’t find Broadway on a map — loves to laugh. “I’ve been playing this show off and on for more than 20 years, and it still cracks me up every time,” Stornetta says. “I always say it’s the most fun you can have in a theater.”

Presented by the PAC Trust April 19-20 at 7:30 p.m. JOHN H. WILLIA MS THE ATRE Tickets are $35; $12 for students and seniors. For mature audiences. and 918-596-7111



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A GRAND NIGHT FOR SINGING THIS JOYOUS REVUE celebrates the genius of one of the greatest collaborations in the history of popular song, composer Richard Rodgers and lyricist Oscar Hammerstein II. Featuring songs from their hit musicals Oklahoma!, The King and I, South Pacific and The Sound of Music, modest successes like Flower Drum Song, and lesserknown works, such as Allegro, Me and Juliet and Pipe Dream, the show originally was presented cabaret-style at Rainbow & Stars in Rockefeller Center. The Broadway production opened in 1993 and ran for 52 performances. It was nominated for two Tony Awards (Best Musical and Best Book of a Musical) and the Drama Desk Award for Outstanding Revue. May 3-4, 9-11 at 8 p.m. May 5 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-$30; $21-$27 for students and seniors.


REX ZIAK HISTORIAN, author, photographer and Emmy Award-winning cinematographer Rex Ziak uncovered a missing chapter of early American history that he will talk about in his presentation “In Full View: The True Story of Lewis and Clark.” The famous explorers’ arrival at the Pacific Ocean confused historians for nearly two centuries. Ziak dug into Lewis and Clark’s journals, closely examining every word, studying their maps and repeatedly

retracing sections of their route on foot. He even calculated the tides and phases of the moon to better understand the exact conditions Lewis and Clark endured back in November of 1805. Finally, after more than six years of research, Ziak published his findings, and the federal government purchased the sites he had identified, creating the Lewis and Clark National Historical Park in 2004. May 10 at 10:30 a.m. CHAPMAN MUSIC HALL Tickets are sold by subscription; call 918-749-5965.


BOEING-BOEING THE 2008 TONY AWARD winner for best revival, this 1960s French farce, written by Marc Camoletti and adapted by Beverly Cross, focuses on a ladies’ man, Bernard, and his French, German and American fiancées. Each is a beautiful airline hostess with frequent “layovers.” He keeps “one up, one down and one pending” until unexpected schedule changes bring all three to Bernard’s apartment at the same time!

Vern Stefanic directs Jarrod Kopp as Bernard with Ione Blocker, Leighanna Cumbie and Chelsea Shores as Gabriella, Gretchen and Gloria. May 10-11, 16-18 at 8 p.m. May 12 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.





Celebrity Attractions West Side Story


WEST SIDE STORY Apr. 30–May 5 Chapman Music Hall


A GRAND NIGHT FOR SINGING May 3-4, 9-11 at 8 p.m. May 5 at 2 p.m. John H. Williams Theatre THEATRE TULSA

BOEING-BOEING May 10-11, 16-18 at 8 p.m. May 12 at 2 p.m. Liddy Doenges Theatre TULSA TOWN HALL

REX ZIAK May 10 at 10:30 a.m. Chapman Music Hall JUNE RUNYON SCHOOL

GISELLE May 25 at 7 p.m. Liddy Doenges 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 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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SIDE BY SIDE BY SONDHEIM June 16 at 2 p.m. June 23, 28 at 8 p.m. John H. Williams Theatre

HELLO DOLLY! June 14-15, 22, 25, 27 at 8 p.m. June 23, 29 at 2 p.m. June 30 at 7 p.m. John H. Williams Theatre


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.

ONLINE TICKET ORDERS SERVICE OPTIONS. Buy tickets online and print them at home when you purchase at and MyTicketOffice. com. Use DISCOVER, MasterCard or VISA for online purchases. View our website and purchase tickets on your cell phone at In addition, purchase tickets through TulsaPAC. com or, choose the Tickets@ Phone option and have your tickets sent to your cell phone. Tickets will be scanned by ushers at the door.

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.


SUMMERSTAGE FESTIVAL June 14–July 27 Williams, Norman and Doenges Theatres

THE DROWSY CHAPERONE June 21, 26, 29 at 8 p.m. June 22, 30 at 2 p.m. John H. Williams Theatre

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

eat better. move more. be tobacco free. Interested in making Oklahoma a healthier place to live, work, learn and play? Consider joining a coalition in your area. AtokA And CoAl Counties Atoka/Coal Partnership for Change 580.889.5193 BeCkhAm And RogeR mills Counties Oklahoma Unified Resources (OUR) Turning Point Coalition 580.225.6247 BRyAn County Bryan County Turning Point 580.924.4285 ext 253 CARteR County Carter County Turning Point 580.223.7075 ext 314 ClevelAnd County Cleveland County Turning Point 405.307.6602 ComAnChe County Fit Kids of Southwest Oklahoma 580.585.6686 JACkson County Jackson County Community Health Action Team 580.482.7308 kiowA And CAddo Counties Kiowa Coalition and Caddo County Interagency Coalition 580.726.3383

love And Johnston Counties Fit Communities – Love and Johnston Consortium 580.371.2470 mcCuRtAin, ChoCtAw And PushmAtAhA Counties Tri-County Consortium 580.298.6624 muskogee County Muskogee County Turning Point 918.683.0321 oklAhomA County Wellness Now Coalition 405.425.4315 okmulgee County Okmulgee County Wellness Coalition 918.633.3202 tulsA County Family Health Coalition 918.595.4039

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The April issue of Intermission magazine for the Tulsa Performing Arts Center.


The April issue of Intermission magazine for the Tulsa Performing Arts Center.