Intermission 09-2012

SEPTEMBER 2012

Age of Innocence TULSA BALLET’S

SEPTEMBER 2012

INTERMISSION MAGAZINE

9

features

departments

9 Q&A: Bruce Sorrell

Recommencement by John Scott

By staging events such as “Beer, Brats and Bartók” at Fassler Hall, Chamber Music Tulsa’s new executive director aims to shatter the genre’s high-society, gilded-palace image Interview by Nancy C. Hermann

12 Age of Innocence

Tulsa Ballet presents three physically demanding works by a trio of choreographers who are currently among the best in the world

by Nancy Bizjack

12

17 One-Nun Show

Former Las Vegas dancer Kimberly Richards finds her true calling as Sister in Late Nite Catechism, a funny, interactive show for anyone who’s ever had a strict teacher

by Natalie O’Neal

19 French ‘Blue’ 17

Tulsa Symphony launches a colorful season with a program of works by French composers Ravel, Debussy and Franck

by Missy Kruse

20 So Right in SoBo

Rediscover fine dining at The Chalkboard and Dalesandro’s, both located just a few minutes away from the PAC

by Jennie Lloyd

20

5 Directions 7 Bravo!

The Odd Couple The Lost Pages of Oz and the Rise of the Winged Monkeys Pat Conroy Pinocchio Chatham Baroque The True Story of the Three Little Pigs

22 Spotlight

The Man Who Planted Trees Any Day Now The Daughter of the Regiment Dracula Hamlet The Mystery of Irma Vep

26 October Events

in the gallery

Different Strokes: A Media Exploration MARTY OLSON

August 20–September 28 For five years, Marty Olson worked exclusively with acrylic paint on canvas, developing a sgraffito style of paint application. Last autumn, the Lawrence, Kansas, artist decided to change formats and explore watercolor techniques. In doing so, he incorporated a Soul Search, 32" x 22" theme of spiritually Watercolor on paper based imagery, looking into a wide variety of belief systems and culling inspiration for a spectrum of imagery, especially incorporating the use of the circle (mandala). This exhibit covers his experiences in shifting from abstract to recognizable imagery, as well as media and surface exploration.

Cover photo by J. Shelton Photography

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INTERMISSION

director’s page

is the official magazine of the Tulsa Performing Arts Center.

PUBLISHER Jim Langdon EDITOR-IN-CHIEF Nancy Bizjack, PAC CONSULTING EDITOR Nancy C. Hermann, PAC CREATIVE DIRECTOR Amanda Watkins GRAPHIC DESIGNER Amy Frost ADVERTISING SALES Jim Langdon, Rita Kirk

RECOMMENCEMENT THE TITLE OF my column this month is John Scott one of my favorite words left over from four years of French in high school. It translates directly to English but sounds so much more expressive en français.

Anyway, it’s appropriate to September at the PAC because it’s a time to begin again. Although Celebrity Attractions and Encore! Theatre Arts already kicked off their 2012-13 seasons last month, Theatre Tulsa, Tulsa Ballet, Tulsa Symphony, Tulsa Town Hall, the PAC Trust and Chamber Music Tulsa all present their first productions of the new season in September, making for a delightfully varied and busy month.

We closed the books on fiscal year 2012 on June 30. Some of the more interesting figures included 554 performances (67 in June alone), $7.9 million in gross ticket sales (third highest ever) and revenue of $1.4 million, virtually the same as the previous year.

A marketing friend of mine said to me recently, “Particularly in this economy, staying even is the new ‘up’.” All in all, I’m happy to report our 35th anniversary year was an “up” year!

I hope everyone enjoys our new, full-color marquees. Many thanks to PAC staffers Steve Fendt and Pat Sharp for spearheading that project and to Jeff Newsome for agreeing to help with the new programming required to take full advantage of the new technology. We were busy in August also completing a major plumbing project and renovating the two elevators that serve Chapman Music Hall. Kudos to Bryan Clemons, Renzo Silva, Ted Crain and Dean Reed for their work on those projects.

Enjoy September’s activities at your Performing Arts Center, and be sure to pick up our new season brochure from the racks in our lobbies. After seeing what our resident companies have planned, I know you’ll want to return to the PAC as often as possible in the coming months.

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

DESIGN INTERNS Jill Graves, Brooke Lawson

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 James McCarthy ASST. SECRETARY John E. Scott TRUSTEES Mayor Dewey F. Bartlett Robert J. LaFortune Kristin Bender Jayne L. Reed Connie Cronley Kitty Roberts Robyn Ewing M. Teresa Valero William G. von Glahn 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

JOHN E. SCOTT Director, Tulsa Performing Arts Center

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

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

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ENTERTAINMENT TO APPLAUD

THE ATRE TULS A

THE ODD COUPLE Steven Michaels Photography

MIX ONE WELL-MEANING SLOB of a sportswriter with one neat and tidy health nut, and before long these mismatched roommates are driving each other crazy. Add in their quirky friends and a hot date gone wrong, and you have Neil Simon’s most enduring comedy — a playful way to kick off Theatre Tulsa’s 90th season.

Troy Powell, award-winning drama director at Union High School, has set

ENCORE! THE ATRE ARTS

THE LOST PAGES OF OZ AND THE RISE OF THE WINGED MONKEYS

SHORTLY AFTER Dorothy and the Wizard return to Kansas, the Wizard discovers that their adventures were more than a dream.

He invents the technology to travel to the future of Oz, where he finds the Winged Monkeys’ hostile takeover. The Wizard follows the Red Brick Road to rescue the Scarecrow, Tin Man and Lion. They then form an alliance with the Winkies and a newly created species to stop the Winged Monkeys’ resurrection of the Wicked Witch and save the Land of Oz. September 13-15 at 7:30 p.m.

September 15-16 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; $13 for students and seniors, $11 for children and groups of 10 or more.

the 1965 play in the present, making it fresh and fun. He directs a cast of veteran Tulsa actors, headed by Tony Schneider as Oscar (the slob) and Jeff Huston as Felix (the neat freak). Rounding out the cast are Bob Ball as Murray, Ron Friedberg as Speed, Mike Bernart as Vinnie, John Gibson Miller as Roy, Jessica Branston as Cecily, and Stephanie Powell as Gwendolyn.

August 31 at 8 p.m.

September 1, 6-8 at 8 p.m.

September 2 at 2 p.m.

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

TULS A TOWN HALL

PAT CONROY: “MY WRITING LIFE” CONSIDERED ONE OF AMERICA’S greatest living authors, this prolific Southern writer has sold millions of books worldwide. The Water is Wide, The Great Santini and The Prince of Tides all became major motion pictures with stars like Jon Voight, Robert Duvall, Barbra Streisand and Nick Nolte.

Born in Atlanta, the eldest of seven, Conroy moved constantly as a child, contending with a violent career Marine father. The author’s heartbreaking childhood, his years as a young cadet at The Citadel, and later as a teacher became captivating novels. Other books

by Conroy include Beach Music, My Losing Season, South of Broad, and his latest, My Reading Life, about the role reading has played in his career and life.

September 21 at 10:30 a.m.

CHAPMAN MUSIC HALL Tickets sold by season subscription; call 918-749-5965.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM 6

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ACTOR’S AND CHILDREN’S THE ATRE

PINOCCHIO

A LIVELY TROUPE of actors recreate all the colorful characters of the famous tale about a willful little marionette.

Pinocchio, fashioned out of wood, runs away from carpenter Gepetto and encoun-

ters a host of fantastic adventures. On his journey, Pinocchio joins a traveling marionette show, gets tricked by a singing and dancing Fox and Cat, meets the magical Blue Fairy, and makes a thrilling escape from the Land of Ease, where lazy boys turn into donkeys. When Pinocchio rescues Gepetto from a sea monster, he discovers that he has gotten his dearest wish and turns into a real boy.

This musical comedy dramatized by Arnold Wengrow is directed by Billie Sue Thompson.

September 22-23 at 2 p.m. and 7 p.m.

L I D D Y D O E N G E S T H E AT R E Tickets are $16; $13 for seniors and students.

Lap-sitters age two and younger are free.

CHAMBER MUSIC TULS A

PAC TRUST

THE TRUE STORY OF THE THREE LITTLE PIGS THIS PLAY BEGINS where the popular book leaves off with Alexander T. Wolf on trial. Fast-talking reporter pig Lillian Magill claims nobody has ever heard Wolf’s side of the story, and she is hungry for the truth. The Honorable Prudence Pig, a toughas-nails judge with a weakness for musical theater, presides over the case. A sharp, smooth-talking lawyer pig named Julia is the prosecuting attorney.

Wolf, a soulful charmer with a love of gourmet cooking and the fine arts, takes the stand in his own defense, but it looks as though the piggy world is against him. After all, he is a carnivore to the core, but is he

also the victim of a media frame-up? Audience piglets become the jury and determine Wolf’s fate in this Dallas Children’s Theater production.

September 28 at 7 p.m.

September 29 at 11 a.m.

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

CHATHAM BAROQUE

“ONE OF PITTSBURGH’S greatest treasures,” according to that city’s Post-Gazette, Chatham Baroque continues to excite audiences with dazzling technique and lively interpretations of 17th- and 18thcentury music played on instruments of the period. Performing on baroque violin, viola da gamba, theorbo and baroque guitar, the group tours nationally and internationally, and has recorded eight critically acclaimed CDs. Chatham Baroque offers audiences the opportunity to hear baroque music that is accessible and thrillingly vivid, with a freshness akin to improvisational jazz.

The Washington Post calls them “musically impeccable”; the Chicago Tribune, “a splendid period-instruments ensemble”; and the New York Times praises their “colorful virtuosity.”

September 30 at 3 p.m.

J O H N H . W I L L I A M S T H E AT R E Tickets are $25; $5 for students.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Septem ber 2012 IN TERM ISSION

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Q+A

Interview by Nancy C. Hermann

Bruce Sorrell

In 2011 Bruce Sorrell was working at

Kansas City Chamber Orchestra when the executive director’s job with Chamber Music Tulsa came across his desk. “I read it and thought, gee, this sounds like this could be me.” After 25 years as conductor, music director and executive director with the orchestra he had founded, Sorrell was ready for a new set of challenges. “I loved that there was a big, active supportive board.

I loved their interest in education and community outreach. And I loved the people on the search committee. I could really see myself working with these folks who were devoted to bringing the best to Tulsa.” And then Chamber Music Tulsa brought him.

Sorrell adds impressive skills to his administrative role. He earned a bachelor’s degree in music performance from William Jewell College and studied at Oxford University in England. He also has a Master of Music degree in orchestral conducting from Dallas’ SMU. His talent prompted one Kansas City Star critic to size him up as “an extraordinary musical young man in our midst.”

Sorrell appreciates that an admin job doesn’t offer much onstage glory, but he enjoys being an “ideas guy.” He is good with people, and he knows and is passionate about music. Nearly six decades old, Chamber Music Tulsa welcomes a new era with Bruce Sorrell.

What are your impressions of Tulsa’s arts community — what are our strengths and how do you think we can grow? Like Kansas City, I think Tulsa supports a rich and diverse arts culture way out of proportion to its population. I’m very impressed that there is a concerted effort to grow a great theater community here. Everywhere I turn, in all the arts, there are established and grassroots activities.

That is a healthy sign. Not everything is of stellar quality, but quantity is important when growing the arts. Some of the quality has been astonishing. Two events in Tulsa last winter are among a handful of the most moving and rewarding performances I’ve attended in the last ten years: Tulsa Opera’s Dead Man Walking and, on our series, the Miró Quartet playing Philip Glass’s String Quartet No. 5. And I didn’t think I liked Glass!

In your view, what do people want from an arts experience? The arts are lifechanging. That is all there is to it. Do people

come to an arts experience wanting their lives to be changed? I don’t know. I don’t care what brings someone into an arts event.

Sure, I want it to be a great date night. Sure I want it to be a great social occasion. That is all part of it. But I want to be a different person when I leave. I want to understand what it means to be who I am. I did not go to see Shakespeare’s The Tempest at the PAC expecting to walk out with a new understanding of the play and connecting with the idea of a middle-aged father struggling to bring up a daughter. But that is exactly what happened. That resonated with me. So, what I hope people want from an arts experience is something they hadn’t expected: to be better — intellectually, spiritually, emotionally — than they were when they arrived.

answer and say we have at least one board member with tattoos and piercings. But the very first CMT concert I attended after beginning this job was the Miró Quartet, and it concluded with Dvorák’s “American” string quartet — yes, the one he composed in Iowa.

As the audience was leaping to their feet, they started whooping and hollering. This was like being in a mosh pit. On all counts, this was a sedate chamber music crowd that had just erupted into unruly, jubilant adulation. One of the great things about being an American is that those things that used to be reserved for the elite are now, doggedly, made available to us all.

Many people view chamber music as something involving gilded palace rooms or high-society. Dispel that notion for us. Well, I could choose the easy

The most attractive thing we do is our Saturday evening salon concert [in the PAC’s Westby Pavilion], and we are thinking about ways to duplicate that experience. So, while

Arts organizations know they must have a strategy for audience development.

Explain what Chamber Music Tulsa is doing to remain vital and attractive.

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Q+A

Bruce Sorrell

Continued from p. 9

we were in New York City last January, we went to a club in Greenwich Village to hear Gryphon Trio perform its cabaret performance with singer Patricia O’Callaghan. We already had Gryphon booked for their traditional performances in Tulsa (which, by the way, we got to hear at the Ukrainian Institute in NYC, on Fifth Avenue across from the Metropolitan — yes, that felt like a “gilded palace”!) and after hearing “Broken Hearts and Madmen,” decided to book it right then and there to bring to Tulsa. It is a collection of songs from Edith Piaf to Elvis Costello. It will be performed in the Grand Hall lobby of the Mayo Hotel. Uh, we aren’t afraid to experiment in order to remain vital and attractive!

Chamber Music Tulsa’s outreach programs are extensive. What is planned for this year? Tokyo String Quartet is giving a master class at the Lorton Center at TU. I’m very excited because there will be graduate level quartets from OU, OSU, and of course, a group from our hosts at TU. Zodiac Trio is playing at a school, a beer hall, and Kids’ World. The Tesla Quartet will be in Tulsa for a whole week next February, and we are going to give them a Tulsa welcome while they play for us all over town. The Gryphon Trio will give an integrated curriculum performance at Tulsa School for Arts and Sciences. Really, this is one of the reasons I love this job. Experiencing great music is for everyone.

Last year you held pre-concert talks and offered after-concert get-togethers.

Will they continue? Yes, and expanded!!

Jason Heilman will give four pre-concert lectures, I will give one (titled “Just in time for Halloween: Why Bartók doesn’t have to be scary” — Ha!), and composer Carter Pann will give one. Plus, Jason will give two preseason “Mochas with the Musicologist.” You don’t have to know more to enjoy the music, but it really can make it more enjoyable.

I’ve been joking that the lectures should 10

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carry a warning: “A little knowledge could turn you into a chamber music snob.” We experimented with an after-concert gathering last year and it was so successful, we have planned three this year at the rooftop bar at the Mayo Hotel. The musicians will join us. It will be a social time, but we will have a chance to chat with the musicians and ask questions.

Chatham Baroque opens the season for Chamber Music Tulsa. Tell us about them. You know, the exciting thing about this group is that they are American, they are from Pittsburgh, they have established a loyal following by audiences and critics alike, and they have won awards for their educational programs. Oh, you want me to mention that they play early baroque instruments? Shapes and sounds you don’t normally hear on a regular concert? The guy who plays the theorbo is tall, but the instrument is taller? Catgut strings anyone?

So many of the popular new chamber groups are composed of 20-something musicians who bring youthful exuberance to a concert. Who falls into that category for the upcoming season?

Zodiac Trio. The three are all in their twenties: One from the U.S., one from Japan, one from France. They trained in New York City, and they live in Paris. They love doing offbeat and traditional — love engaging their audiences.

During the weekend that they are here, they will play a happy hour gig at the Blue Dome District’s Fassler Hall. We are calling it “Beer, Brats, and Bartók.” Tesla Quartet members are in their twenties, and were the only American quartet to make the finals of the highly prestigious London International String Quartet Competition at Wigmore Hall last April. Here is a good example of the high-society and take-it-to-the-masses mentalities acting in harmony. They are very excited to come to Tulsa, and will play in schools, and the library, and a hospital,

and we have a whole list of very non-gildedpalace types of places for them to play!

The Tokyo String Quartet will be one of the highlights of your season. Why is that concert a must-see event?

This is like the Beatles’ farewell tour in the classical music world! This quartet was founded at the Juilliard school in the 1960s by four Japanese players who were profoundly influenced by their previous studies in Tokyo. They almost immediately caught the world’s attention, and for over 40 years have been considered among the greatest in the world. Over the years, the original first violinist and cellist have been replaced, but the reputation of the quartet has remained the same. Late last spring, the two remaining original Japanese members decided it was time to retire, and next July, this quartet will pass into history. This occurred well after Chamber Music Tulsa had booked them for our current season. This tour will truly be historic.

What do you love most about music?

I love subtlety. Having lived in England, I watched the opening ceremony of the Olympics with great interest. There were definitely the non-subtle English MontyPythonesque moments (Mr. Bean running in Chariots of Fire), but it was referencing the main poetic image of the whole opening, the William Blake poem “Jerusalem,” from which the words “chariots of fire” come.

There is a subtlety of linkage, themes and images occur and reinforce one another, and I often wonder if artists are aware of all the depths. Music for me is able to express so much — humor, intellect, emotion, spirit — in such a subtle manner that I am often left speechless.

Chamber Music Tulsa opens its season September 29-30 with Chatham Baroque (see page 7). For season subscriptions, call 918-587-3802.

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Age of Innocence

by Nancy Bizjack

“Excellence!” Marcello Angelini doesn’t waste words

when asked what the three choreographers featured in Tulsa Ballet’s season opener have in common. The company’s Italian-born artistic director often expresses himself with exuberance, but don’t confuse that with exaggeration. When he says that these choreographers are “truly among the top dance makers in the world,” critics — from Dance magazine to Queen Elizabeth II — seem to agree.

WAYNE MCGREGOR

PreSentient

In 2009 the New York Times said that Wayne McGregor was “the closest thing to a rock star that ballet can currently claim.” And, like rock stars Sting and Rod Stewart, McGregor has been honored

by Queen Elizabeth II as a Commander of the Order of the British Empire (CBE). The artistic director of Wayne McGregor Random Dance, the resident company at the venerable Sadler’s Wells Theatre in London, McGregor has also served as resident choreographer of The Royal Ballet since 2006. He is renowned for his physically demanding choreography and groundbreaking collaborations in dance, film, music, visual art, technology and science.

“At this time, he might just be the most celebrated choreographer in the world,” Angelini says. In addition to the honors previously mentioned, he notes that McGregor was movement director for Harry Potter and the Goblet of Fire and choreographer of a huge London Olympics promotion called Big Dance Trafalgar Square.

So how was Tulsa Ballet, which has never performed a McGregor work before, selected to stage the United States premiere of this celebrated artist’s PreSentient?

“I wrote to him a couple of years ago, asking for one of his works,” Angelini explains. “We then decided to meet in San Francisco, where he was premiering his Croma. I remember him saying that he was impressed by what our company here in Tulsa was doing, by the choreographers who worked with us — people recognized in the world as ‘top tier’ — and by the level of the company. He then came to see Romeo and Juliet and agreed to not only let us do one of his works, but to allow us to do the American premiere of one of his works!”

EDWAARD LIANG

Age of Innocence And that leads us to Edwaard Liang, a Taiwanese-American who danced with New York City Ballet and the acclaimed Netherlands Dance Theater before becoming a freelance choreographer. In 2006, he was named one of the “Top 25 to Watch” by Dance magazine. Liang created a new version of Romeo and Juliet specifically for Tulsa Ballet, which gave it its world premiere (which McGregor attended) last February.

This time, the company is performing the Oklahoma premiere of Liang’s Age of Innocence, which he created for the Joffrey Ballet in 2008.

The title calls to mind the author Edith Wharton, but Liang told the Chicago Tribune he was actually inspired by the works of the early 19th-century novelist Jane Austen.

“This piece is about what I view as tragedy for women in her time, the hierarchy they endured and the arranged marriages,” Liang said.

“The only [physical] contact you were allowed with the opposite sex took place at a ball ... for them it was so innocent ... the brush of the hands and the whispering in the ear is just ecstasy to them.”

Johnny Nevin, music and dance writer for 4dancers.org, says Age of Innocence is a “rich and lustrous” work. “Liang paints a stage full of private, personal portraits in the muted colors of quietly intricate movement. Most of his subjects move in crowded scenes, set to carefully matched music from Philip Glass and Thomas Newman, except when the work’s two pas de deux show achingly contrasted pictures of breathless hope, and of hopeless longing.”

Maria Pinto, one of First Lady Michelle Obama’s favorite Chicago designers, created the costumes for Age of Innocence.

“The piece is absolutely stunning in every respect: visually, choreographically, emotionally and musically,” says Angelini.

JORMA ELO

Slice to Sharp Sometimes one “Slice” just isn’t enough.

As Dr. Roberta E. Zlokower noted on ExploreDance.com after New York City Ballet performed this Jorma Elo work at the Lincoln Center in 2006*, “Slice to Sharp was almost too much to absorb on one viewing.” So Tulsa Ballet, which first *Edwaard Liang danced in that performance.

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performed this piece in March of 2011, is offering a second slice of Elo as part of this triple bill.

A native of Finland, Elo danced with the Finnish National Ballet, Sweden’s Cullberg Ballet, and the Netherlands Dance Theater through the 1980s and ’90s. In 2004 he was singled out as “a talent to follow” for his choreographic skills by dance critic Anna Kisselgoff in her “Year in Review” for the New York Times. Elo was named resident choreographer of Boston Ballet in 2005, and Pointe magazine named him a “Dance VIP of 2006.” Dance magazine featured Elo on its April 2007 cover with a corresponding article, and Esquire named him a “Master Artist” in 2008.

When Tulsa Ballet was in rehearsals for Slice to Sharp in 2011, Elo told the Tulsa World, “It is a ballet about showing the extreme physicality of dancers, that pushes them to the limits of their abilities.”

Angelini likes that.

“All three works [in this program] push the company and its dancers to the limits,” he says.

“And that’s my philosophy. What are our limits today will be our comfort zone tomorrow as, by pushing against your limits, you will extend your own technical and artistic confines. As a function of this extension, the dancers will end each series better than they started it. That translates into the company growing with each program. Unfortunately, in life there is no status quo; you either go forward or you go backward. I choose moving ahead.”

Sofia Menteguiaga and Alfonso Martín

Age of Innocence Presented by Tulsa Ballet September 14-15 at 8 p.m.

September 16 at 3 p.m.

J. Shelton Photography

CHAPMAN MUSIC HALL Tickets are $20-$95.

MyTicketOffice.com and 918-596-7111

Septem ber 2012 IN TERM ISSION

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Original Fine Art Featuring Sharon Nielsen-­‐Jensen and other regional artists.

Hours: Tuesday-­‐Friday 2:00 -­‐ 6:00 Saturday 1:00 -­‐ 4:00

3549 S. Harvard 742-9027

Tokyo String Quartet

Hear the best ensembles in the world and the Tokyo String Quartet on their farewell tour!

September 29-30, 2012 · Chatham Baroque October 20-21, 2012 · Tokyo String Quartet November 17-18, 2012 · Zodiac Trio February 16-17, 2013 · Tesla Quartet March 16-17, 2013 · Quartetto di Cremona April 13-14, 2013 · Gryphon Trio

Purchase season tickets today – 918.587.3802 Weekend subscription with wine and buffet $295 Sunday series $110 · Single Tickets $25

HEAR THE WORLD. HERE IN TULSA. LIVE. www.chambermusictulsa.org

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Southwest Corner of 81st and Harvard Harvard Parke Center

918 / 392-2410

Enjoy your drinks in the theater with our souvenir cups.

September Education Programs September 7 Noon From My Point of View Lecture The Cherokee-British Alliance presented by Julia Coates, Ph.D. September 15 2 p.m.

Music for the President - Colonial Music Concert featuring David and Ginger Hildebrand Reusable at all PAC events. Two sizes available at the concession stand.

Your logo on our cup?

Call 918.596.2368

September 22 11 a.m. & 1:30 p.m. Historic Monologue Benjamin Franklin – Inventions September 23 1:30 p.m. Sunday Matinee Film We Fight to be Free For more information contact Deborah Burke at deborah-burke@utulsa.edu, or 918-596-2768.

Gilcrease MuseuM a university of Tulsa/city of Tulsa Partnership

1400 North Gilcrease Museum Road • 918-596-2700 • gilcrease.utulsa.edu • TU is an EEO/AA institution.

Septem ber 2012 IN TERM ISSION

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It’s not about the lists you’re on…

It’s about the clients you’ve helped and the problems you’ve solved.

Of course, the attorneys of GableGotwals are proud each time we are named to a prestigious listing of those who are recognized for exceptional work. But we gain the most satisfaction from the partnerships we have with many of the outstanding companies that do business in Oklahoma and throughout the country. Our mission is to help our clients successfully resolve issues and achieve their goals by recognizing and realizing opportunities.

AWARDS & ACCOLADES Best Lawyers In America Oklahoma Super Lawyers Go-To Law Firms for Fortune 500 Top Rated Lawyers AV Preeminent Chambers USA Benchmark Litigation Recommended Firm and Star Oklahoma’s Best Place to Work by okcBiz

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One-Nun Show

by Natalie O’Neal

G

et ready to be on your best behavior! This nun means business —

funny business that is.

Kimberly Richards, a former Las Vegas dancer, is the star of Late Nite Catechism, a one-nun show that takes you back to the yesteryears of Catholic school. Basically, you’re coming to a catechism class taught by a fictitious nun. The house lights are up, and… Bam! You just got in trouble for chewing gum in Sister’s class. Confiscated. Oh, you’re late?

There’s a fine for that. Talking to your neighbor? Well, you’re probably going to get separated. What sounds scarily similar to your worst Sunday School nightmare will leave you doubling over with laughter and secretly hoping someone else will misbehave.

Written in 1993 by Vicki Quade and Maripat Donovan, Late Nite Catechism has garnered so much success that there are now six adaptations. These solo comedy plays are highly participatory — the audience is questioned, playfully chastised, and asked to share stories.

Though there is a script, much of the show is improvised, allowing for a unique and hilarious experience every time.

“I’ve never done the same show twice,” says Richards, an 11-year Late Nite veteran. A lot depends on the audience. “I just drive the bus.

If they’re well-behaved, it’s more of a skit; if they’re less well-behaved, well…everybody likes to see someone else get in trouble,” she chuckles.

Richards spent 12 years in Catholic school, at a time when “everyone wanted to be like Sister,” she says. Though she took a 20-year dancing detour, when Richards got the part of Sister, her aunt, a nun, remarked, “Oh, I knew we’d get you in a habit eventually.”

Going to Catholic school and having a nun in the family gave Richards insight into her role and also her audience.

“You can always spot the nuns,” she says, even when they’re dressed like everyone else. “They have that nun ‘glow’ to them. And they never talk; they just give each other knowing glances.”

You might think that having real nuns in the audience would make her nervous, but Richards emphasizes that while the show is very funny, it’s not irreverent. “It’s very, very respectful; Sister would never do anything that a real nun wouldn’t do.” She also stresses that you don’t have to be Catholic to enjoy the show.

“If you’ve ever been to a strict school or had a strict teacher, you’ll get it. If you went to Catholic school, that’s just a bonus. There’s no prerequisite, no Catholic bashing, just good clean fun.”

Mary

Presented by Celebrity Attractions September 28 at 8 p.m.

CHAPMAN MUSIC HALL Tickets are $10-$35.

MyTicketOffice.com and 918-596-7111 Septem ber 2012 IN TERM ISSION

17

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3747 South Harvard Tulsa, OK • 918-712-8785

French ‘Blue’

by Missy Kruse

T

ulsa Symphony will treat music lovers to a rainbow of performances this season.

“This year’s theme is based on colors,” says Orchestra Manager Tim McFadden. “It has to do with the way music is related to colors, certain keys and such.” It’s not a new idea. Great thinkers, including Plato, Aristotle and Newton, linked music and color. The astronomer Pythagoras’ theory of “the harmony of the spheres” encompassed planets, tones and colors.

TSO’s take will match color and composers. September’s “Blue” concert, conducted

by James Paul, features “a comprehensive program of three French composers with examples of their best work,” McFadden explains.

If your experience with composer Maurice Ravel has been limited to his most famous work, Bolero, you will find Ma mere l’oye (Mother Goose Suite), a delightful departure. Ravel, who had no children of his own, wrote the piece for the children of friends, who it is said he often entertained with fairy tales. Each movement is based on a story — Sleeping Beauty, Tom Thumb, Empress of the Pagodas, Beauty and the Beast and The Fairy Garden. Originally a piano suite for four hands, Ravel orchestrated the piece in 1911 and expanded it into a ballet a year later.

Next, Claude Debussy’s La Mer (The Sea) truly brings out the blue of sea and sky with its interpretation of the phases of the oceans.

You will nearly feel the salt spray listening

James Paul

to its three movements — “From Morning to Midday,” “Game of the Waves,” and “Dialogue of the Wind and the Seas.” Although Debussy was already well established when he wrote the work between 1903 and 1905, he had taken a new direction, and fans were not pleased. Today, critics pipe a different tune.

La Mer is Debussy’s “most concentrated and brilliant orchestra work,” according to an NPR piece by music critic Ted Libbey. He goes on to say that La Mer is “one of the supreme achievements in the symphonic literature. It is a work of such imagination that it stands apart from traditions and influences, and its modernity can still be felt today.”

The final offering, Cesar Franck’s

Symphony in D, could be looked at as “the blues” for orchestra. Filled with contrasting emotions, it was first performed in 1889, a year before his death. Indeed, Franck’s career as a composer did not strike the right notes until the last few years of his life. Although considered a piano prodigy in his native country of Belgium, he spent much of his career as an organist at a Paris basilica, performing, composing and teaching. Those efforts did result in an appointment to the prestigious Paris Conservatory, where he continued as an influential teacher.

Like La Mer, Franck’s symphony did not excite audiences, in part because anti-German sentiment ran high in the French music world, and Franck had dared to combine German and French forms in his work. Elsewhere in Europe, and in the United States, Symphony in D became a popular selection. Listen for a familiar strain in the first movement.

Presented by Tulsa Symphony September 22 at 7:30 p.m.

CHAPMAN MUSIC HALL Tickets are $25-$70.

MyTicketOffice.com and 918-596-7111

Septem ber 2012 IN TERM ISSION

19

o B o S IN SO RIGHT

by Jennie Lloyd

T

ucked into a side pocket of downtown Tulsa, the SoBo (South Boston) District is lively with romantic fine-dining restaurants alongside a diverse group of bars. The historic rectangle between Main Street and Boston Avenue and 13th and 18th Streets is just minutes from the PAC. So whether you’re in the mood for a luxurious and lingering dinner at The Chalkboard or a traditional Southern Italian recipe from Dalesandro’s kitchen, SoBo has you covered for pre- and post-show dinner, wine and drinks.

Erase your ideas about stuffy fine dining THE CHALKBOARD The stately Hotel Ambassador was built by General Patrick Hurley (U.S. Secretary of War, 1929-1933)in 1920s Oil Boom Tulsa. The building at 1324 South Main first functioned as an opulent respite for new-money oil barons awaiting completion of their Tulsa mansions.

In the 1970s, The Chalkboard opened on the first floor of the Ambassador, quickly becoming and remaining a Tulsa favorite through the 1980s. In 1999, after a multimillion-dollar renovation of the hotel, The Chalkboard reopened to serve upscale breakfast, lunch and dinner for the Ambassador’s business travelers and other downtown clientele.

Today, The Chalkboard is owned and operated Josh and Shannon Ozaras. The brother-sister restaurant power duo grew up in Tulsa in the 1980s and ’90s with white linens in their laps. Their father, Ayhan Ozaras, was involved with Fountains Restaurant and owned the Warren Duck Club before buying The Chalkboard in 2000 and passing it on to his children last March.

The siblings remember a childhood filled with brunches at Fountains and five-course dinners at the Duck Club, where Josh always 20

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Scallops at The Chalkboard

Shannon and Josh Ozaras

ordered too much food. Though, he admits now, “I’d much rather have had McDonald’s.”

Looking back, Shannon says, “I think we are fortunate we’ve had an opportunity to be around really wonderful food and to have met wonderful people.”

The European bistro-style restaurant’s signature dish is Beef Wellington, a filet wrapped in puff pastry stuffed with paté and wild mushrooms and spinach. While the sumptuous “Beef Welly” is always on the menu (and has been for 12 years), The Chalkboard evolves the rest of its menu

through summer to winter and back again.

In warmer weather, you’ll find “more fish and scallops and lighter fare,” Josh said. In the cooler months, they shift to lamb and pork, heavier entrees.

Before a show at the PAC, indulge in small platters of artisan cheeses or pan-roasted crab cakes before a main course of glazed Berkshire pork loin or prosciutto-wrapped Atlantic black cod. Enjoy a California wine or a summery fresh berry mojito.

Almost every day, you’ll find Shannon bustling about in the warm, sunlit dining room during breakfast and lunch. Each evening, Josh buttons up a crisp dress shirt for dinner service. The Chalkboard’s bartender has been mixing and pouring drinks for dinner guests for 10 years; the wait staff doesn’t turn over much either. They’re a tight-knit group.

Shannon leans toward her brother and says, “This is my best friend. We’ve always been close.

“A lot of our servers have known Josh and me for years,” she adds. “They’ve stuck with us… This has been our lives for so many

years. And we want to put that warm feeling out there. You’re always going to see me here.”

Buzz and Sonny Delesandro

Reservations are recommended. Ideally, you should set aside an hour and a half to fully enjoy the dining experience, but they will accommodate guests who need a faster dinner.

Just like great-grandmother used to make DALESANDRO’S In the life of an Italian man, there are times when he must head into the kitchen. One of those times, according to Sonny Dalesandro, is when your back is up against a wall.

In 1990, Sonny’s father, Buzz Dalesandro, had been laid off right before Christmas. He also was separated from Sonny’s mother at that time. “His back was against the wall,” Sonny says, “and he did what all good Italians would do, which is get in the kitchen and cook.”

Buzz seasoned and stirred and chopped his way through old Dalesandro family recipes. With a small loan from a good friend, he “bought some tables and chairs, and put in a food order,” Sonny says. “He carved out a little niche downtown [then at Sixth and Main]. And everyone loved it.”

Back in the 1990s, “there was no McNellie’s,” Sonny recalls. No one was downtown. But people showed up to eat at Dalesandro’s.

Sonny says he believes the quality of the food kept the little Italian place afloat; that, and Buzz’s interesting personality. An outsized, bearded and tattooed bear of an Italian man, Buzz was nicknamed “The Pasta Nazi” (referencing the “Soup Nazi” on 1990s sitcom Seinfeld) by fans of his dishes.

“He let everyone know, ‘Look, I’ve been cooking my family’s food all day, so when you come in and eat you’re a part of our family,’” Sonny says. And when you eat at the family table, you don’t switch out sauces or substitute chicken. So don’t ask.

Ninety years after the Dalesandro family moved from Southern Italy to America, Buzz’s grandmother’s recipes are still carefully and fondly prepared for lucky Tulsans at Dalesandro’s, now located at 1742 South Boston.

Though Sonny didn’t know his greatgrandmother well, he says he remembers a “quintessential Italian lady in the kitchen,” with little ones running past her skirts to toss basil into a pot.

Just looking for a few cocktails or glasses of wine before the show?

Check out this cluster of well-known SoBo bars.

Mercury Lounge

The star of Dalesandro’s menu is the swordfish piccata, an 8-ounce hand-cut fillet dressed in herbs and fresh Parmesan, sautéed in butter, then baked and placed on a bed of angel hair pasta tossed with familysecret piccata sauce. Not a typical Southern Italian dish, swordfish was usually saved for holidays and special occasions in the poor parts of Italia.

Most Southern Italian food, Sonny says, “pretty much revolves around crushed red pepper. It’s rustic; it’s spicy.”

The idea is simple. “Get good ingredients; let them do the talking. Think simple and fresh,” he explains.

The tried and true recipes on Dalesandro’s menu — from traditional red sauces to handcrafted lasagna to classic, rich soups — will not disappoint as a decadent pre-show dinner.

Dalesandro’s is open Tuesday through Thursday from 6 to 10 p.m. and Friday and Saturday from 6 to 11 p.m. While walk-ins are welcome, reservations are strongly recommended. On Friday and Saturday nights, there are two seatings, 6 p.m. and 8 p.m.

1747 S. Boston Ave. The Mercury Lounge is a popular original music venue open year-round from 2 p.m. to 2 a.m. Grab cheap drinks from friendly bartenders in the casual atmosphere of this bright-blue converted gas station.

Order their popular slushy-sweet frozen Vegas bombs and kick back on the patio of this classic juke-joint.

Vintage 1740 1740 S. Boston Ave. Stop in at Vintage 1740 for smallproduction and rare wines. The familyowned wine bar offers quality wines by glass and bottle. Choose something a little unusual from their top-notch red and white wine lists; or delve into their beer selections and upscale cocktail specialties.

Treehouse 1738 S. Boston Ave. This rustic, high-ceilinged bar and grill has the air of a polished, wood-paneled hunting lodge. With more than 60 beers to choose from, you’ll find something to pair perfectly with the Treehouse’s barbecue and burger entrees and appetizers.

Septem ber 2012 IN TERM ISSION

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ON UPCOMING EVENTS PAC TRUST

THE MAN WHO PLANTED TREES

October 12 at 7 p.m.

October 13 at 11 a.m.

L I D D Y D O E N G E S T H E AT R E Tickets are $10.

Dario Acosta

“LAUGHS, HEARTBREAK, war, regeneration, scented breezes, sparkling wit and the best dog puppet ever. Perfect for children and grown-ups.

Terrific.” – The Guardian This multi-sensory theatrical adaptation of Jean Giono’s environmental classic tells the inspiring story of a shepherd who plants a forest, acorn by acorn, transforming a barren wasteland. As much a touching tale as it is a hilarious puppet show, The Man Who Planted Trees shows the difference one man (and his dog!) can make to the world.

This show is produced and performed by Puppet State Theatre Company of Edinburgh, Scotland.

TULS A OPERA

THE DAUGHTER OF THE REGIMENT

MEET THE COLBYS. They already have enough to worry about: Jackie is doing poorly in school, Josh drinks too much, and Pen is slipping into senility. But now they have to deal with Adam wandering around the backyard — and he was buried days ago!

As the world wrestles with the sociological, biological and theological meanings behind unexplained resurrections of the recently deceased, the Colbys learn that secrets cannot stay buried and that the ones you love may be the ones who eat you alive.

This apocalyptic dark comedy by Nat Cassidy has been called “Genius … like Sam Shepard meets George Romero.”

Robert Walters directs.

OKLAHOMA’S OWN Sarah Coburn stars as Marie, a tomboyish young woman raised by a group of French soldiers, who has been “rescued” by the Marquise of Birkenfeld to be groomed for marriage to an aristocrat.

However, Marie is in love with Tonio, a peasant, played by tenor Gregory Schmidt, and humorous plot twists and startling revelations keep Marie’s future happiness in doubt.

Peter Strummer performs the role of Sergeant Sulpice, and Tara Faircloth directs this high-spirited romantic comedy by Gaetano Donizetti, with libretto by JulesHenri Vernoy de Saint-Georges and JeanFrancois-Alfred Bayard. The opera will be sung in French with English supertitles.

October 12-13, 18-20 at 8 p.m.

October 14 at 2 p.m.

October 13, 19 at 7:30 p.m.

October 21 at 2:30 p.m.

AMERIC AN THE ATRE COMPANY

ANY DAY NOW

J O H N H . W I L L I A M S T H E AT R E Tickets are $30; $27 for students, seniors and groups.

CHAPMAN MUSIC HALL Tickets are $41.50-$98.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM 22

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TULS A BALLET

Sharen Bradford

DRACULA

SET THE MOOD for Halloween! This ballet was the talk of the 2009 season and it’s back by popular demand. Passionate and visually stunning, Ben Stevenson’s Dracula is a hauntingly spectacular production, featuring an eerie score from Franz Liszt and awe-inspiring costumes and special effects.

Stevenson created Dracula in 1997 to celebrate the centennial of Bram Stoker’s classic novel about the centuries-old vampire/Transylvanian nobleman. In an interview with Intermission in 2009, Stevenson said, “I look upon Dracula as being a very sensuous man, with definite attraction to his victims. He is turned on by certain women — the most beautiful women he can find.”

The story focuses on the sexy-but-sinister title character, his spidergobbling henchman Renfield, a corps de ballet of zombie brides, and two beautiful virgins who are helpless to resist the Count’s dark seduction.

October 26-27 at 8 p.m.

October 27-28 at 3 p.m.

CHAPMAN MUSIC HALL Tickets are $20-$95.

THE ATRE TULS A

PL AYHOUSE TULS A

THEATRE TULSA teams up with Odeum Theatre Company to present what many consider the greatest play ever written. Two casts — adult and youth — take turns bringing Shakespeare’s passionate and enduring story of the Prince of Denmark to life in a new way.

The play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for murdering the prince’s father, succeeding to the throne, and marrying the prince’s mother. The play vividly portrays both true and feigned madness — from overwhelming grief to seething rage — and explores themes of treachery, revenge, incest and moral corruption. Hamlet was one of Shakespeare’s most popular works during his lifetime and still ranks among his most performed.

CHRIS CRAWFORD and Greyson Lewis play all eight characters in this satire of Victorian melodrama, farce and the Alfred Hitchcock film Rebecca.

Charles Ludlum’s quick-change romp is set at Mandacrest Estate, home of Lady Enid and her husband, Lord Edgar, who hasn’t quite recovered from the death of his first wife, Irma Vep. A housemaid, a swineherd, a sympathetic werewolf, a vampire, and an Egyptian princess brought to life when her tomb is opened are the other zany characters.

The New York Times called the original production “frighteningly funny.” Courtneay Sanders directs this staging with sets by Shawn Irish and costumes by Jennifer Cozens.

October 26-27, 30* at 8 p.m.

October 27* and 28 at 2 p.m.

November 1-3 at 8 p.m.

November 3* at 2 p.m.

LIDDY DOENGES THEATRE Tickets are $16; $12 for students and seniors, $10 for groups.

*youth cast

October 26-27 at 7:30 October 28 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 $25; $22 for students and seniors; $10 for children.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Septem ber 2012 IN TERMISSION

23

Michelle Cantrell

THE MYSTERY OF IRMA VEP

Steven Michaels Photography

HAMLET

“Restaurant Week” Treats... …for the friend who will greet you upon your arrival home

Bacon I Smell Bacon

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Macarons

Bitch & Stud Crowns

Sit, Good Dog

Carob & Peanut Butter

Bon Bon Liver & Herb Biscotti

Hot Dog

Pupcake

Biscuit Turkey Bacon Pizza

Taco Supreme

Cannoli

Rotisserie Chicken

Grilled Cheese

Boxed Lunch

Birthday Cake

Located in the We offer Tulsa's best selection of baked treats Farm Shopping Center and healthier, premium foods. at 51st and Sheridan Open 10 6 Monday - Saturday ® Come browse around our bakery case.

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RESTAURANT

WEEK

SEPTEMBER 8-16 DURING HUNGER ACTION MONTH

BENEFITING THE COMMUNITY FOOD BANK OF EASTERN OKLAHOMA’S FOOD FOR KIDS PROGRAM

Restaurant Week is a delicious opportunity to experience the Tulsa area’s best restaurants at a great price and help fight hunger in Oklahoma!

Ten percent of each three-course, prix fixe meal will be donated to the Community Food Bank of Eastern Oklahoma’s Food for Kids program. Donations will be generously matched by the George Kaiser Family Foundation.

Threecourse

Lunch*• $12.95

Threecourse

Dinner* • $25 per person, $35 per person or $35 for two *Excluding tax, tip and beverage

34 Participating Restaurants

Reservations are recommended. Call individual restaurants for operating hours.

Presented by: Benefiting: Fighting Hunger, Feeding Hope

Community FOOD BANK of Eastern Oklahoma

Sponsors:

GEORGE KAISER FAMILY FOUNDATION A supporting organization of Tulsa Community Foundation

Download the NEW TulsaPeople iPad/iPhone app FREE at the App Store to read the September issue, which includes a special RESTAURANT WEEK SECTION featuring the delicious prix fixe menus and more!

Find Tulsa Restaurant Week on Facebook.

RESTAURANT WEEK MENUS ARE ALSO AVAILABLE AT TULSAPEOPLE.COM.

ON UPCOMING EVENTS OCTOBER

Tokyo String Quartet

TURN TULSA PINK

ART EXHIBIT Oct. 4-28 PAC Gallery PAC TRUST

BROWN BAG IT: TULSA CLARINET QUARTET Oct. 10 at 12:10 p.m.

Kathleen P. Westby Pavilion PAC TRUST

THE MAN WHO PLANTED TREES

Marco Borggreve

Oct. 12 at 7 p.m.

Oct. 13 at 11 a.m.

Liddy Doenges Theatre AMERICAN THEATRE COMPANY

ANY DAY NOW

Oct. 12-13, 18-20 at 8 p.m.

Oct. 14 at 2 p.m.

John H. Williams Theatre TULSA OPERA

THE DAUGHTER OF THE REGIMENT Oct. 13, 19 at 7:30 p.m.

Oct. 21 at 2:30 p.m.

Chapman Music Hall PAC TRUST

BROWN BAG IT: THE HAMM BOYS

Oct. 17 at 12:10 p.m.

Kathleen P. Westby Pavilion

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.

26

S epte mb e r 2 01 2 I N TE R MI S S I O N

PAC TRUST

BRAIN STORMS

Oct. 20 at 7 p.m.

Charles E. Norman Theatre CHAMBER MUSIC TULSA

TOKYO STRING QUARTET Oct. 21 at 3 p.m.

John H. Williams Theatre PAC TRUST

BROWN BAG IT: MARGARET SEWELL & THE BEETHOVEN FOLK SONG TRIO

PLAYHOUSE TULSA

THEATRE TULSA

Oct. 26-27 at 7:30 p.m.

Oct. 28 at 2 p.m.

John H. Williams Theatre

Oct. 26-27, 30 at 8 p.m.

Oct. 27 and 28 at 2 p.m.

Nov. 1-3 at 8 p.m.

Nov. 3 at 2 p.m.

Liddy Doenges Theatre

THE MYSTERY OF IRMA VEP

TULSA BALLET

DRACULA

Oct. 26-27 at 8 p.m.

Oct. 27-28 at 3 p.m.

Chapman Music Hall

HAMLET

PAC TRUST

BROWN BAG IT: LES FEMMES DES FETES Oct. 31 at 12:10 p.m.

Kathleen P. Westby Pavilion

Oct. 24 at 12:10 p.m.

Kathleen P. Westby Pavilion

ADMISSION AND LATE SEATING. Lobby doors open two hours prior to an event. Chapman Music Hall doors normally open 45 minutes prior to curtain.

The remaining theaters open 30 minutes before curtain. Late seating is at the discretion of each sponsoring organization. Latecomers may be temporarily held out of the theater or asked to take seats at the back if available.

TICKET OFFICE HOURS are Monday through Friday 10 a.m. to 5:30 p.m. A free parking zone is available in front of the Third Street ticket office,101 E. Third Street (Third and Cincinnati) on the south side of the PAC. In addition to regular hours, it opens two hours prior to curtain for events scheduled in Chapman Music Hall.

The Second Street ticket office,110 E. Second Street on the north side of the building, opens two hours prior to each curtain for tickets to events scheduled that day in John H. Williams Theatre, Liddy Doenges Theatre or Charles E. Norman Theatre.

PHONE ORDERS. Call the PAC ticket office, 918596-7111, or from outside Tulsa call 1-800364-7111. Nominal service charges are added to all phone and Internet orders. The PAC ticket office accepts DISCOVER, MasterCard or VISA. Subscriber hotline: 918-596-7109.

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

EXCHANGES. The ticket office gladly exchanges tickets to events with more than one performance, subject to certain guidelines.

Otherwise, all sales are final.

24-HOUR EVENT LINE. For recorded information about ticket prices, dates, theater locations, upcoming events, Broadway series and season tickets, call 918-596-2525.

GROUP SALES AND BUILDING TOURS. Group discounts are available. Please call 918-5967109 for group sales assistance. Tours of the PAC are offered free of charge and last approximately 45-60 minutes. Arrangements may be made by calling 918-596-7122.

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 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.

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