april 2012 - Tulsa Performing Arts Center

APRIL 2012
Robert Mirabal
April 2012 Interm i s sio n
1
2
A p r i l 2 0 1 2 I n t e r mi s s i on
APRIL 2012
INTERMISSION MAGAZINE
9
features
9 Q&A: Robert Mirabal
The Native American flutist from
Taos Pueblo teams up with postclassical string quartet ETHEL in
“Music of the Sun”
Interview by Matt Cauthron
departments
5 Directions
Springing Forward by John Scott
7 Bravo!
Urinetown
Aviv Quartet
BEtween THE CHANGE
24 Spotlights
12 Lovers in Japan
12
Cultures collide and hearts are
broken when Cio-Cio-San marries
U.S. Navy Lieutenant B. F. Pinkerton
in Tulsa Opera’s production of
Madame Butterfly
by Kostis Protopapas
16 Put Cherry on Top
New restaurants like Andolini’s,
SMOKE., Mi Cocina and La Madeleine put Cherry Street on top of the
list for pre- and post-show dining
by Nancy Bizjack
19 For Immature
Audiences Only
19
A ’90s alt-rock band, a fractured fairy
tale, a well-known picture book, and
a legendary swashbuckler come to life
when four family shows hit the stage
this month
by Natalie O’Neal
Arsenic and Old Lace
Fiddler on the Roof
John Edward Hasse
Lombardi
Musical Fireworks
The Unmentionables
26 May Events
in the gallery
Two Painters, Two Places:
Landscapes by Louise Higgs
and Cathy Deuschle
April 5-29
There’s a long history of painters working
together outdoors, with each artist striving to
develop a particular visual tone and inflection to
interpret the experience in a personal way. This
is best exemplified by the collaborations of plein
air artists such as Paul Cézanne and Camille
Pissarro as well as Vincent van Gogh and Paul
Gauguin. Cathy Deuschle and Louise Higgs
continue that tradition in this collection of works
they painted, at the same time, in Stuart Park
in Osage County and Quartz Mountain in
Western Oklahoma.
23 A Reason, a Season
or a Lifetime?
Theatre Pops takes a look at what
happens to two middle-aged couples
when one husband and wife break
up in the Pulitzer Prize-winning play
Dinner With Friends
by Missy Kruse
23
Drainage by Cathy Deuschle
Cover photo by Kate Russell
April 2012 Interm i s sio n
3
CONSTELLATION
SEAMASTER
71st & Lewis • Utica Square
SPEEDMASTER
INTERMISSION
is the official magazine of the
Tulsa Performing Arts Center.
director’s page
Publisher Jim Langdon
editor-in-chief Nancy Bizjack, PAC
springing forward
Whew! The PAC’s 35th anniversary
John Scott
month is over and PAC staff is in full
recovery mode after hosting more
than 50 performances. Thanks go to
Marketing Director Nancy Hermann for
conceiving an anniversary celebration
that included an already scheduled show
as a centerpiece, two major receptions, a
history exhibit and an open house. Our
35th anniversary date could have been
just another March 19 if she had not
envisioned the possibilities. We appreciate
Jackie Cooper Imports, and other donors,
for funding the anniversary activities, and
Ken Tracy of Choregus Productions for
allowing us to use The Original Tribute to
the Blues Brothers as our central event.
Also, many members of the PAC staff lent time and expertise to our anniversary,
particularly Steve Fendt, Nancy Bizjack, Chad Oliverson, Buddy Wilson and
Pat Sharp. Tina Fincher at Cubic, and Amanda Bullock and Katy Livingston at
Langdon Publishing were an immense help. We also appreciate our 15 local arts
organizations that provide the backbone of PAC activities year after year.
An anniversary is often a time for reflection. Four PAC employees have worked
more than 25 of the PAC’s 35 years. They are Steve Fendt, Carol Willis, Pat Sharp
and yours truly. Thank you, Steve, Carol and Pat, for your talent and dedication.
I know I’ve mentioned it before, but keep your eyes out for our new, full-color
marquees. The project has been delayed a couple of times, but the new video boards
should be up sometime in the next few months. Another project that you many
never see but will help our administrative team tremendously is the installation of
a new computerized scheduling system. This new software will provide us the latest
tools for scheduling our multi-theater facility, with the big plus that our user groups
will be able to access the PAC calendar at any time to check their dates.
April is a month of considerable variety. Whether it’s opera, theatre, or an
outstanding variety of musicians, there is so much to enjoy at the PAC as we
continue our efforts to ensure that “Everyone’s Place” honors its roots and lives up
to its name.
Thanks for all your support. I’ll see you in the lobby.
Consulting editor Nancy C. Hermann, PAC
CREATIVE Director Amanda Watkins
Art Director Katy Livingston
Advertising Sales Jim Langdon
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 William G. von Glahn
Vice-Chair Ken Busby
Program Committee Chair Glenda Silvey
Treasurer Michael P. Kier
Secretary James McCarthy
Asst. Secretary John E. Scott
TRUSTEES
Mayor Dewey F. Bartlett Nancy Meinig
Connie Cronley Jayne L. Reed
Robyn Ewing Kitty Roberts
Peggy Helmerich M. Teresa Valero
Robert J. LaFortune John H. Williams
PAC Trust Program Director Shirley Elliott
PAC Trust Marketing & PR Chad Oliverson
Office Administrator Carol Willis
I ntermission 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,
[email protected].
April 2012
2012 Interm
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6
A p r i l 2 0 1 2 I n t e r mi s s i on
entertainment to applaud
The Playhouse Tulsa
Chamber Music Tulsa
One of the most uproariously funny musicals in recent
years, Urinetown is a hilarious tale of greed, corruption, love
and revolution.
In a Gotham-like city, a terrible water shortage caused
by a 20-year drought has led to a government-enforced ban
on private toilets. The citizens must use public amenities,
regulated by a single malevolent company that profits by
charging admission for one of humanity’s most basic needs.
One of the citizens decides he’s had enough, and plans a
revolution to lead
them all to freedom!
Created by Mark
Hollmann and Greg
Kotis, Urinetown
played on Broadway
from 2001 to 2004.
It was nominated for
10 Tony Awards and
won three, including
Best Book and Best
Score.
Founded in Tel Aviv, Israel, in 1997, the Aviv Quartet
has won awards at competitions around the world, including
the Grand Prix and four special prizes at the 3rd Melbourne
International Chamber Music Competition. The quartet
also won first prize at the Charles Hennen Competition in
The Netherlands, the Schubert Prize in Austria, and the
International Critics Prize at the Bordeaux String Quartet
Competition in France.
The Plain Dealer (Cleveland) referred to the Aviv as “an
ensemble that blends potent interpretive skills with technical
precision; every phrase has a purpose, every detail emerges as a
crucial element in the musical message.”
The quartet will perform Mozart’s Quartet in D Major, K.499,
“Hoffmeister”; Shostakovich’s Quartet No. 3; and Dohnanyi’s
Quartet No. 3 in A Minor, Op. 33.
L idd y D oenges
T heatre
Tickets are $25; $18 for
children and seniors.
April 15 at 3 p.m.
J ohn H . W illiams T heatre
Tickets are $25; $5 for students.
Tulsa Youth Ballet
BEtween THE
CHANGE
In this production, Tulsa Youth
Ballet will perform four pieces. The
Butterfly is a classical ballet based on
Le Papillon by Jacques Offenbach. Like
many fairy tales, a young girl is captured
by a wicked fairy and then rescued by the
good fairy and her friends. The Rehearsal
is a comedic play about the preparation of
Roman Malamant
April 19-20 at 7:30 p.m.
April 21 at 2 p.m.
and 7:30 p.m.
April 22 at 2 p.m.
Aviv Quartet
Michele Zemecnik
Urinetown
the classical ballet The Butterfly. Between
THE CHANGE is a powerful and
moving jazz production allowing an indepth view of how society addresses and
handles the issue of bullying among our
youth. Lunch is a bright, fun look into the
school-day lunch period while tapping to
the music of The Ventures.
Tulsa Youth Ballet is a division of
Oklahoma Performing Arts, Inc., which
is directed by Laura Norman Tyson.
Apr. 14 at 7 p.m.
J ohn H . W illiams T heatre
Tickets are $5.
Tulsa Performing Arts Center • TulsaPAC.com • Buy tickets at 596-7111 and MyTicketOffice.com
April 2012 Interm is si o n
7
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8
A p r i l 2 0 1 2 I n t e r mi s s i on
Q+A
interview by Matt Cauthron
Robert Mirabal
Robert Mirabal is
a modern-day Renaissance
man. When he’s not
crafting his own wooden
flutes, publishing books of poetry,
Tell me a little bit about the production
“Music of the Sun.”
It’s a collaboration with a string quartet
named ETHEL, based out of New York.
The way it started out was that a few
years ago, they invited me, along with
a slack-key guitar player from Hawaii
and a banjo picker from Kentucky, to
do a show at the Academy of Music.
The show was called “Truck Stop,” and
it was just a way of bringing unusual
instruments into a setting with a string
quartet, and to create musical conversations with an unconventional collection
of instruments.
So it turned out pretty amazing; it was
very well received.
Every once in a while ETHEL will go
out and do shows with different artists
under that name, “Truck Stop.” So they
invited me to create a show that we
could present in the U.S., and my idea
was to do songs about the sun. Every-
Kate Russell
or farming at his home on the Taos
Pueblo in New Mexico, he travels
the world playing his unique brand
of world music. Mirabal blends
traditional Native American
influences with styles from around
the world to create a distinctive
sound that defies categorization. The
two-time Grammy winner’s latest
project, “Music of the Sun,” puts his
musical melting-pot approach — and
his cultural roots — on full display.
thing is based on agriculture and things
of that nature, things that were a big
influence in my culture. So a lot of the
music is based on harvest or farming or
anything that pertains to the honoring
of the sun.
We’ve been touring with it for the last
year or so.
Speaking of your culture, I understand
that you grew up in the Taos Pueblo, and
that you still live there and practice the
ancient customs of the Pueblo culture.
Yes, I grew up on Taos Pueblo. There are
19 pueblos in New Mexico and we’re the
far northernmost tribe. It’s a small tribe
of 2,000 people, and many of us that live
here are still committed to upholding
the cultural practices — whether they’re
seasonal or yearly or every five or ten
years — we’re obligated through ancestry to uphold those culturally significant
values. And we believe that by upholding those certain cultural standards and
honoring our cultural gifts, that we turn
the axis of the world.
How did you come to music? Were you
always musically inclined? Was music
a driving influence in that culture?
Yes, to some extent everybody in the
Pueblo has their foot in some kind of
artistic endeavor — art, dance, music,
song. But in our culture it’s just what
we do. That’s what we learn as children
— singing and dancing, songs, language
and storytelling, all kinds of stuff. It’s just
part of our life, and anywhere outside
the U.S. it has become abundantly clear
that those kinds of things are needed in
the healthy upbringing of a child.
So it’s simply a cultural practice. It was
always a part of my life. I was part of a
dance group. I was a singer. And doing
those things got me interested in formulating different styles of music. And it
just kind of went from there.
Continued on p. 10
April 2012 Interm i s sio n
9
Q+A
Robert Mirabal
Continued from p. 9
How did you pick up the flute?
The native flute, we [in the Taos Pueblo]
got through trade with the plains people,
the Cheyennes and Kiowas. That’s how
we got that instrument. I had always
heard about it, but I had never seen one
until I was about 13 or 14, and I didn’t
start playing one until I was about 18
years old. Then, it’s one of those things
where I was in the right place at the
right time. World music was becoming
very popular. There was this huge interest once again in native culture, and music, and styles, and that kind of vibe. So
I hit it right there at that perfect time,
and that’s how my popularity developed,
because the nation was enamored once
again by leather and turquoise. [Laughs]
I understand you make your own flutes.
Yeah. Right now I’m working with a
flute maker out of Salt Lake City. I
design stuff, and we’ve collaborated on
different projects together. The stuff that
I make is all hand-made. And the stuff
that we collaborate on is machine-bored.
But it’s all made from wood from all over
the world.
How did you learn to make flutes?
I was doing summer stock in Tahlequah
when I was about 17 or 18 years old. I
kind of just got on a bus and took off to
audition. I really wanted to be an actor.
I knew I could dance and all that kind of
stuff, but acting was my thing.
I had enough money to get a bus
ticket from Albuquerque to Muskogee,
and then I hitched a ride from there to
Tahlequah, where I auditioned for this
guy that was the director of the Tsa La
Gi Amphitheater out there. And they
were doing a lot of Cherokee stuff, the
Trail of Tears drama and that kind of
thing.
And I got a role in summer stock,
right off the bat. But I didn’t know
where to live, so I went to the family
10
A p r i l 2 0 1 2 I n t e r mi s s i on
friends in Stillwell and I started picking
strawberries. [Laughs] I was a strawberry
picker and I was fixing lawnmowers
for about two months until we started.
Then I moved back in to Tahlequah and
started summer stock, and that’s when I
started playing the flute.
After the season ended I came home,
and the money I had saved just kind of
dwindled away, and so I got my knife
and I split the flute I had in half, and I
learned how to make the flutes by just
looking at the flute that I had just split
in half.
That flute was made by an old-timer
from the Taos Pueblo. At that time
there were very few people making
them or even playing them. There was a
recording here and there, but not nearly
as much as there is now. So it’s become
an instrument that has reclaimed its old
standing, and it’s an instrument of love
and communication.
And the flute is featured prominently in
“Music of the Sun,” is it not?
Yes. And there are some new compositions that are pretty far out. I really
enjoy playing with ETHEL because
they’re so in tune with what’s going on
around them — classically trained, yet
very aware of improvisational modes and
techniques and things like that.
Is there a lot of improvisation in the
show?
Oh yeah. There’s a nice mix of improvisation with stuff that is very tightly
composed.
Is it important to you to highlight parts
of your culture to a wider audience
through music?
To me personally, as an artist, it’s about
collaboration. It’s about bringing musical
storylines into a theme. And that theme
in this case is the sun, and how universally we respect the sun — the life-force
of all things, but also an element that
can easily destroy us. So there’s this
homage to something much greater than
the human existence. And to do it in
collaboration with such a prominent
fixture in American music, the string
quartet, is great. You’ve got two violins,
you’ve got the rhythm with the cello,
and the in-between with the viola. Then
to bring in the native flute on top of
that, it becomes a unique, very interesting collaboration.
It sounds almost like a spiritual
practice. Not only the subject matter,
but the actual practice of creating the
music is a spiritual endeavor.
I think you hit the nail on the head. I
think collaboration is spiritual. Because
no matter where you’re from, if you’re
showing up musically, and you’re showing up in a unique way — you’re creating
something real, something important.
The only way to show up is to love, with
your heart open. And that in itself is
something we forget about in daily life.
Some people work ten, twenty years at
something and never show up, completely, with their heart open. For us to
perform a piece based around the sun,
the only way we can approach this is
through our own experiences. But I can’t
put the audience into my experience
from a cultural standpoint. All I can do
is try to convey my experience through
music and hope that the audience can
find a spiritual connection.
Music of the Sun
ETHEL with Robert Mirabal
Presented by Choregus Productions
April 28 at 8 p.m.
J ohn H . W illiams T heatre
Tickets are $15-$30.
MyTicketOffice.com and 918-596-7111
s
r
e
v
Lo
pan
T
he operas of Giacomo Puccini are
among the most popular in the
operatic repertoire. Three of them — La
Bohème, Madame Butterfly and Tosca —
are permanent tenants of the operatic
“Top 10” list. Classic Italian opera,
which began in the early 1800s with
the bel canto operas of Rossini, Bellini
and Donizetti and reached its maturity
with the stylish and authoritative
dramas of Verdi, reaches its apex in the
full-throated vocalism and orchestral
splendor of Puccini’s melodramas.
The hallmarks of Puccini’s style are
his passionate melodies, rich
orchestral sonorities, and his
ability to make the audience
cry. His genius in creating
empathy is unparalleled,
and he achieves it
through a
12
A p r i l 2 0 1 2 I n t e r mi s s i on
a
J
in
combination of unforgettable melody
and shocking theatrical realism.
Premiered in 1904, Madame Butterfly
is a product of the Orientalism that was
in vogue in European art and literature
in the late 19th century. Although the
exotic legends and alluring mysteries
of China and the Middle East had long
been a source of inspiration for European
writers, Japan had been closed to the
outside world until the mid-1800s. The
arrival of Commodore Matthew Perry
in 1853 and the political events known
as “bakumatsu” (end of the curtain)
that followed caused profound social,
economic and cultural changes in Japan.
They also generated great interest among
Western artists and intellectuals, who
were fascinated by this newly revealed
“Land of the Rising Sun.”
Most important,
the sudden
influx of
Western
ideas, customs
and influences
was the root of
the great cultural
dichotomy that is
still evident in modern
Japan. This dichotomy
lies at the heart of the story
of Madame Butterfly.
The plot of Madame Butterfly
originates in an 1898 short story by John
Luther Long and its play adaptation
by David Belasco. A strikingly similar
story titled Madame Chrysanthème
had been published in 1887 by Pierre
by Kostis Protopapas
Loti, a French naval officer whose
autobiographical stories were very
much the essence of exoticism and had
inspired the creation of Delibes’ opera
Lakmé. Long claimed that Madame
Butterfly was based on actual events
related to him by his sister Jennie
Correll, who lived for several years in
Nagasaki as a Methodist missionary.
In Act I, a young American naval
officer, Benjamin Franklin Pinkerton,
stationed at the American base
of Nagasaki, marries Cio-Cio-San
(“Butterfly”), a young Japanese girl
from an impoverished noble family.
Presumably, her father, who is said
to have committed suicide, was a
member of the samurai class that
lost its power after the “bakumatsu.”
Pinkerton thinks of his marriage as a
temporary arrangement; Butterfly sees
it as the promise of eternal love and
a new life in the United States. After
the exquisite love duet that concludes
Act I, Pinkerton departs for America,
promising to return for Butterfly.
Act II finds Butterfly alone, a single
mother of a Western-looking child and
shunned by family and friends. She
stubbornly clings to her conviction that
Pinkerton will return to take her to
America, despite the pleas of her faithful
nurse Suzuki, the weathy Japanese suitor
Yamadori, and the American Consul,
Sharpless. This Act contains some of
the most well-known music from the
opera: the aria Un bel dì (One fine day)
in which Butterfly envisions the day of
Pinkerton’s return; the “Flower Duet,” in
Maria Kanyova
“No audience ever roots for
an operatic character or weeps
for her fate as much as one does
for Cio-Cio-San.”
which Butterfly and Suzuki are gathering
flowers to welcome Pinkerton home; and
the “Humming Chorus,” which captures
the anticipation of Pinkerton’s return.
Act III is one of stark realism and
quick dénouement: Pinkerton returns,
accompanied by his American wife,
Kate, to fetch his son. As soon as he
enters Butterfly’s house, he is overcome
by fond memories and remorse. Butterfly
finds out the truth and commits ritual
suicide so that her son will be free to
have an unburdened life in her unseen
but beloved America.
Puccini’s ability to stir up passionate
empathy manifests itself in all of its
strength in Madame Butterfly. No
audience ever roots for an operatic
character or weeps for her fate as much
as one does for Cio-Cio-San. It is
impossible to remain immune to such
a devastating combination of naiveté,
hope and premonition, expressed by
Puccini alternately in elegant Oriental
modes and passionate Italianate
melodies. Conversely, Pinkerton,
although arguably not as great a villain
as Scarpia or Macbeth, is perhaps the
most reviled of all. Audiences typically
deny him any forgiveness, despite
the contrition he shows in the final
act, and sometimes greet him with
“boos” no matter how stellar his vocal
performance!
Tulsa Opera’s 2012 production of
this beloved classic brings with it two
very important Tulsa debuts. Soprano
Maria Kanyova and tenor Frank
Lopardo not only are great singing actors
acclaimed for their portrayals of CioCio-San and Pinkerton, but they have
long-standing careers singing leading
roles at major opera houses. Maria
has portrayed Violetta in La Traviata,
Mimì in La Bohème and Donna Anna
in Don Giovanni at venues such as the
Lyric Opera of Chicago, New York City
Opera, Houston Grand Opera and the
Los Angeles Opera. She comes to Tulsa
immediately after reprising one of her
signature roles, Pat Nixon, in John
Adams’ Nixon in China at the Lyric
Opera of Kansas City, where an opening
night review said that “her portrayal was
extraordinary” and “her voice could stop
time.”
Frank is one of the most distinguished
tenors working today. He has sung in
virtually every major opera house from
the Met to San Francisco and from
Covent Garden to La Scala, and has
recorded for the London and Deutsche
Grammophon labels. He is renowned
for the beauty of his tone, his impressive
technique and his nuanced and stylish
interpretations of the Italian repertoire.
Frank believes Cio-Cio-San was
undoubtedly Pinkerton’s first real love:
Frank Lopardo
“I certainly can’t sing Pinkerton’s third
act aria without believing in my heart
that Pinkerton felt something real for
Cio-Cio-San.”
Madame
Butterfly
Presented by Tulsa Opera
April 21, 27 at 7:30 p.m.
April 29 at 2:30 p.m.
C hapman M u sic H all
Tickets are $10-$98.
MyTicketOffice.com and 918-596-7111.
April 2012 Interm is si o n
13
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Put Cherry on Top
by Nancy Bizjack
L
ots of people like to garnish a trip to
the PAC with a bite to eat before or
after a show. In the past year or so, quite a
few fresh options have been added to that
charming stretch of 15th Street between
Peoria and Utica known as Cherry Street.
Parking can be a challenge, but it’s an
interesting neighborhood to stroll.
A “Going Out”
Experience
If you’re reading this magazine, you
probably enjoy turning off the TV, getting
out of the house, and having authentic,
real-life experiences. If that’s true, then
you will appreciate Andolini’s Pizzeria
on Cherry Street. The cozy, brick-walled
restaurant makes everything from scratch,
has no TVs, and doesn’t serve the kind of
beer you can buy at QuikTrip.
“When you go out, we want it to be a
‘going out’ experience,” co-owner Mike
Bausch explains. “You’re there to see
people; you’re not there to watch a muted
Knicks game. I could very easily buy
frozen dough, put a TV in, and sell Coors
or Bud, but then what’s different about
that from just staying home and watching
ESPN with a Boboli pizza and a beer?”
Talk to Bausch for a few minutes,
and you realize that he takes his doughmaking very seriously. He has a collegelevel degree in pizza-making from the
Tony Gemignani International School of
Pizza, and when we spoke, he was in Las
Vegas getting ready for the International
Pizza Expo.
“I will be competing next week, and I
like to come out early to get my dough
prepared, so I can let it get
a full rise,” he said. Most
people could think of
other reasons to extend a
visit to Vegas, but Bausch
is anticipating stretching
the kind of dough you
eat, not the kind you
16
A p r i l 2 0 1 2 I n t e r mi s s i on
put in your wallet. Although, some
might have thought he was rolling the
dice seven years ago when he decided to
become a pizzaiolo instead of a prosecutor.
Bausch, who grew up in New Jersey
and Northern California, had just
graduated from St. Mary’s College near
San Francisco and been accepted to law
school when his big brother Jim Bausch
was transferred to Tulsa by his employer,
a rental car company. Mike decided to
join him, and they opened their first
Andolini’s in Owasso.
“The quality of life has been so great
that my mom, my dad, and my sister have
all moved out here too,” Mike says. “I also
brought in my best friend, as a co-owner,
about two years into it.”
Andolini’s on Cherry Street opened
in 2011. Although the main focus is
pizza — Bausch’s favorite is the Demarco
of Brooklyn — the menu also includes
appetizers, salads, Italian sandwiches,
pasta dishes, and desserts. Beer on tap
includes Oklahoma brands like Coop
and Marshall’s, Louisiana’s Abita, as
well as beers from Belgium, Italy and
Germany. There’s also a wine list and
a long list of bottled beer. 1920s-style
cocktails complete the drink menu and
complement the restaurant’s 1920s-NewYork-bar-style décor. “There’s nothing
more comforting to me than that style of
ambience,” Mike says.
Mike’s comfort with and knowledge
of East and West Coast food traditions
come together at Andolini’s, where he
has combined aspects of each to create
something that’s just right for Tulsa.
“It’s a New York style with Californiastyle ingredients,” he explains. “Someone
said, ‘You’re right in the center of the
country doing both styles, kind of better
— you should call it Tulsa-style.’ I think
that works, because Tulsa is a unique
place. It’s a place where people have the
best of the Midwest — the hospitality,
the kindness, the honesty — but also
Spaghetti Marinara from Andolini’s
have the ingenuity and service mentality
of New York and California. I think that
stands out with our restaurant and with
our food as well.”
Andolini’s Pizzeria
1552 East 15th
Italian food made from scratch
11 a.m. to 9 p.m. Sunday-Thursday;
open later on weekends
Sandwiches and salads: $7
Pizza and pasta: $10-$25
Try the garlic knots, limoncello salad,
Demarco of Brooklyn pizza
Other Cherry Blossoms
Mi Cocina
1342 East 15th
Upscale Tex-Mex from Dallas
11 a.m. to 10 p.m. Sunday-Thursday;
open till 11 p.m. on weekends
Most entrees: $9-$14
Try the guacamole, tamales, tacos de brisket, mojitos
SMOKE.
1542 East 15th
Woodfire grill and bar
11 a.m. to 10 p.m. Monday-Saturday; closes at 9 p.m. on
Sunday; bar and cigar lounge stay open later
Most entrees: $8-$14 (lunch and Sat.-Sun. brunch),
$15-$28 (dinner)
Try the hanger steak salad, quail, bacon jam bruschetta
La Madeleine
1523 East 15th
French bakery & café
Set to open this month
Most entrees: $5-$10
Try the chicken friand, crepes, quiche
Enchiladas from
Mi Cocina
Hanger Steak Salad
from SMOKE.
Full-Flowered Favorites
Palace Café
1301 East 15th
American with Asian influence
11 a.m.-2 p.m., 5-10 p.m. Tuesday-Friday;
5-10 p.m. only on Saturday; 9 a.m.-2 p.m. on Sunday
Entrees: $8-$15 (lunch and Sun. brunch), $19-$30 (dinner)
Try the bento bites, grilled Caesar salad, smoked pork loin
Tucci’s
1344 East 15th
Italian
11 a.m.-2 p.m., 5-10 p.m. Monday-Friday;
5-10 p.m. only on Saturday
Entrees: $10-$22
Pizza, pasta and other entrees come with
Tucci’s signature lemonata salad
Lucky’s
1536 East 15th
Eclectic American
11 a.m.-10 p.m. Monday-Thursday; 11 a.m. to 11 p.m. on Friday
and Saturday; 11 a.m. to 3 p.m. on Sunday
Entrees: $8-$15 (lunch and Sun. brunch), $16-$30 (dinner)
Try the meatloaf sliders, crispy sea bass, truffled French fries
April 2012 Interm is si o n
17
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Exhibition and Art Sale
Featuring the works of 35 Artists.
Exhibition continues through July 15, 2012.
Tim Cherry, Simply Swan, bronze
For additional information, call 918-596-2757, or visit gilcrease.utulsa.edu/rendezvous2012
1400 North Gilcrease Museum Road • Tulsa, Oklahoma 74127-2100 • 918-596-2700 • gilcrease.utulsa.edu
The University of Tulsa is an equal opportunity/affirmative action institution. For EEO/AA information, contact the Office of Human Resources, 918-631-2616.
Original Fine Art
Featuring Sharon Nielsen-Jensen
and other regional artists.
Hours:
Tuesday-Friday 11:00 - 5:30
Saturday 1:00 - 5:00
Southwest Corner of 81st and Harvard
Harvard Parke Center
918 / 392-2410
For Immature
Audiences Only
by Natalie O’Neal
R
emember when your mom read P.D. Eastman’s Are You My Mother? to you at bedtime?
Or how you carved Zs into the sides of buildings while fending off bad guys with Zorrolike swagger in your dreams? What about pretending you were in a fairy tale like Snow White
or singing along to your favorite songs? This month, introduce your kids (and reintroduce your
inner child) to these fantastical stories and new songs via the stage!
The Verve Pipe
Presented by Tulsa Children’s Museum
April 1 at 2 p.m. and 4 p.m.
J ohn H . W illiams T heatre
Tickets are $10.
W
hat better way to introduce your kids to live concerts
than by one of the bands from your past? The Verve
Pipe, with hits like “The Freshman” in the ’90s, has come
out with a new album for a new audience. “The Verve Pipe’s
A Family Album is full of inventive and creative lyrics about
everyday goings-on that provide strong, positive messages to
children and parents,” says TCM program manager Melissa
Colegrove.
The Verve Pipe is the final PAC concert for the 2011-12
TCM Family Concert Series. “The Family Concert Series
exposes children and families in our community to music
education through performances where artists represent a
variety of genres and use audience participation and humor
to engage and entertain,” says Colegrove. “We work closely
with the Performing Arts Center to create an environment
that welcomes a lively and energetic environment where
kids are free to move and dance along with the music.”
Each concert features a programming component that
correlates with each genre presented. Creating hands-on,
arts-based, shared-learning experiences for children and
families before and after each show helps to keep kids and
parents engaged, Colegrove says.
Although the performances are entertaining for the entire
family, children ages 4 to 10 will find TCM’s Family Concert
Series most enjoyable. This year’s series concludes with the
Free Family Music Festival at Mayfest, which will include
local favorites The Claptet and Arthur Thompson’s dance
company, A Taste of Africa.
The Lost Pages of
Snow White: Search for
the Dark Scrolls
Presented by Encore! Theatre Arts
April 12-14 at 7:30 p.m.
April 14-15 at 2 p.m.
L idd y D oenges T heatre
Tickets are $16; $13 for students over age 13 and seniors over 65.
A
nother revamped classic fairy tale comes to life from the
creative minds of Mindy Barker (Encore’s director of
youth education) and Joshua Branson Barker (Encore’s artistic
director). The Lost Pages of Snow White and the Search for the
Dark Scrolls recounts the years after the events in Encore’s
March production, The Lost Pages of Cinderella and the Phantom
Fairy.
“The original fairy tale story is still intact (the Magic Mirror,
the dwarves, the poison apple, etc.); we simply added additional
characters and plot twists to work alongside the original tale,”
Mindy explains. A slew of characters, both good and evil,
make this an entertaining show for all audiences. “Everyone,
from very young children to older adults will enjoy the colorful
and imaginative sets and costumes, as well as the silly humor,
the interactions between well-known fairy tale characters, the
brilliant stage magic and pyrotechnics, and the adventurous
sword fights,” she adds.
“After we saw how much fun we and the cast had with
Cinderella, and throughout rehearsals for Snow White, we
continued to come up with new ideas for other fairy tales,”
Mindy continues. So look for more fairy tales to come in the
2012-13 season. Hint: If you pay attention to certain characters
and twists in the plot, you can probably make some accurate
guesses about the next few “Lost Pages” shows.
April 2012 Interm i s sio n
19
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Are You
My Mother?
Presented by the PAC Trust
April 20 at 7 p.m.
Apr. 21 at 11 a.m.
J ohn H . W illiams T heatre
Tickets are $10.
L
earning about determination, friendship and self-empowerment has never been so fun! In a musical adaptation of P.D.
Eastman’s 1960s children’s picture book, Are You My Mother?, ArtsPower National Touring Theatre’s playwright and
lyricist Greg Gunning and composer Richard DeRosa put their imaginations together to bring Baby Bird’s classic story to
life. Shaken out of her nest, Baby Bird finds herself faced with the scary adventure of finding her mother. Fortunately, with
the help of colorful characters like Dog, Cat and Hen, she finds not only Mother Bird but friendship and courage as well.
As one of the last productions in the PAC Trust’s 2011-12 Imagination Series, Are You My Mother? will be best enjoyed
by children Pre-K through 3rd grade. PAC Trust Marketing Coordinator Chad Oliverson is an advocate for introducing
performing arts to children at a young age. “The Trust’s Imagination and I-Squared series are great training for kids when it
comes to learning the beauty of live theater,” he explains. “If you start young enough, you can make it a lifelong passion.”
ArtsPower’s mission is exactly that: “We are committed to enriching children’s lives through the performing arts. By
introducing our audiences to enthusiastic characters … children can see new possibilities in life and in themselves,” says
ArtsPower’s executive producer Gary Blackman.
Zorro
Presented by the PAC Trust
April 27 at 7 p.m.
Apr. 28 at 11 a.m.
J ohn H . W illiams T heatre
Tickets are $10.
T
he Trust’s I-Squared Series ends the season with swashbuckling
pizzazz as Zorro takes the stage! A trans-generational superhero,
Zorro will not only delight its younger audiences but also prod
the imagination of adults. Zorro (Spanish for “fox”) is dedicated
to defending the poor against tyrannical nobility in 17th century
California. Creativity abounds as Visible Fictions of Glasgow,
Scotland, uses puppetry, music, and an imaginative set to recreate this
historical and well-loved adventure tale. Children and adults alike
will come away ruminating on the qualities of leadership, self-esteem,
aspirations and tolerance.
You may remember Visible Fictions from their production of Jason
and the Argonaut, part of the Trust’s 2009-10 series. The innovative
company returns, bringing its belief that art and education are natural
partners, promoting change and empowerment. Although Zorro will
best be enjoyed by third- to eighth-graders, all children’s shows this
April will provide an entertaining and enriching experience for all
who attend, be they young or old.
April 2012 Interm i s sio n
21
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It challenges creative, passionate
professionals to bring meaningful
design to life.
Sugar-free selections
also available.
Kohler’s enameled cast iron bath with antique faucet.
3747 South Harvard
Tulsa, OK • 918-712-8785
Dining Info In Your Inbox…
…when you subscribe (it’s free!) to the weekly Tulsa Weekender
e-newsletter, you will receive special info each week from select
“Dine Local” restaurants. Just check the Food/Wine/Spirits box
when you fill out the subscriber form. Enjoy.
Click: “Join our e-mail list”
Watch For The Opening
of Our New Showroom!
14th and Sheridan
918-838-9841
www.HeatwaveSupply.com
A Reason, a Season
or a Lifetime?
by Missy Kruse
W
hat constitutes true friendship? How well do we really know those we
feel closest to in our lives? What do we do and how do we cope when
relationships and circumstances change?
Theatre Pops explores these questions in Dinner With Friends, a funny yet
bittersweet play by Donald Margulies that won the 2000 Pulitzer Prize for Drama,
as well as several other major theater awards.
The plot centers around two middle-aged couples: Gabe and Karen, who
share a passion for gourmet cooking that has turned them into international
food writers, and their friends, Tom and Beth, whom they first fixed up during a
weekend at Martha’s Vineyard.
A little over a decade has passed since then, and one night Beth arrives for
dinner alone. Tom, she says, had to go out of town on business. But then the
emotional dam breaks and she spills the truth — Tom has cheated on her and
they are getting a divorce. After she leaves, Tom, whose flight has been cancelled,
arrives to tell his side of the story, and Gabe and Karen struggle to find their
perspective on the situation. Over the course of the play, through flashbacks
and in the present, the protagonists explore their feelings about their needs and
emotions, and about each other.
The play is very real, says director Kelli McLoud-Schingen, “A very authentic
depiction of what relationships look like, and an intimate look at how these
relationships play themselves out and how sometimes [changes] happen before we
can even stop them from getting as far as they have gotten.”
While one couple seems to communicate by shouting, the other “seems to
communicate a great deal, [but] at the end of the day they are not,” she says. A lot
is left unsaid.
Dinner With Friends isn’t just about the two couples, but about the relationships
of friends, says McLoud-Schingen, who previously directed Loose Knit for Theatre
Pops. “You see the relationship between the women and how it is still being held
together by a thread, and you also see the dissolution of the relationship between
the two men as the friendship of a lifetime disappears in front of your eyes.”
It reminds her of the old statement, “Some people come into your life for a
reason, a season or a lifetime,” she says, and the characters in Dinner With Friends
are discovering friends they thought would be there for a lifetime are there for a
reason and a season. “I don’t think the play is preachy in that way, it just allows
experiences to unfold.”
She notes that the play may have couples in the audience pondering just what
a healthy relationship is, how well their own is functioning, and whether they are
communicating in a way that is going to keep them together for a long time.
Dinner
With Friends
Presented by Theatre Pops
L idd y D oenges T heatre
Tickets are $15; $10 for seniors and students (mature audiences only)
MyTicketOffice.com and 918-596-7111
Freddie Tate, Heather Sams, Jarrod Kopp and Kristin Hardin rehearse Dinner With Friends
Barry Lenard
April 26-28 at 8 p.m.
April 29 at 2 p.m.
April 2012 Interm is si o n
23
on upcoming events
Theatre Tulsa
Written in 1939 by Joseph
Kesselring, this well-known and timeless
farcical black comedy revolves around
Mortimer Brewster, a drama critic who
must deal with his crazy, homicidal
family and local police in Brooklyn,
New York, as he debates whether to go
through with his recent promise to marry
the woman he loves.
Brewster’s family includes two spinster
aunts who have taken to murdering
lonely old men by poisoning them with
homemade wine laced with arsenic.
Meanwhile, a brother who believes he
is Teddy Roosevelt is busy digging locks
for the Panama Canal in the cellar of the
Brewster home, providing a convenient
place to bury the bodies.
Billie Sue Thompson directs this
production, starring Edward Zoellner as
Mortimer Brewster, Priscilla Mayfield
and Rita Boyle as his aunts, Geoffery
Yeager as Teddy Brewster, and Ed
Burguiere as Johnathan Brewster.
May 11-12, 17-19 at 7:30 p.m.
May 13 at 2 p.m.
L idd y D oenges T heatre
Tickets are $12.
Carol Rosegg
Arsenic and
Old Lace
Celebrit y Attractions
Fiddler on the Roof
“Without our traditions, our lives would be as shaky as...as a fiddler on the
roof,” announces Tevye, a humble milkman from the Russian village of Anatevka. And
so begins a tale of love and laughter, devotion and defiance — and changing traditions.
Tevye’s wrestling with the new customs of a younger generation is punctuated by
an unforgettable score that weaves the haunting strains of “Sunrise, Sunset” and the
rousing “If I Were a Rich Man” with the exuberant “Matchmaker, Matchmaker” and
triumphant “Tradition.” When his daughters choose suitors who defy his idea of a proper
match, Tevye comes to realize, through a series of incidents that are at once comic and
bittersweet, that his children will begin traditions of their own.
Fiddler on the Roof premiered on Broadway in 1965, winning nine Tony Awards,
including Best Musical. This production, starring veteran actor John Preece as Tevye,
features Jerome Robbins’ original direction and choreography.
May 8-13
C hapman M u sic H all
Tickets are $20-$60.
Tulsa Town Hall
John Edward Hasse
In “Ragtime, Blues and Jazz: A Piano
Concert with Commentary,” pianist and music
historian John Edward Hasse takes you on an
informative and entertaining concert tour through
six decades of jazz, from Scott Joplin through Herbie
Hancock.
Hasse serves as Curator of American Music at
the Smithsonian Institution’s National Museum
of American History, where he was founding
Executive Director of the Smithsonian Jazz
Masterworks Orchestra. He also started national
Jazz Appreciation Month, celebrated every April
throughout the U.S.
Hasse is the author of a critically acclaimed
biography, Beyond Category: The Life and Genius of
Duke Ellington, and the editor of a major illustrated
history, Jazz: The First Century.
May 4 at 10:30 a.m.
C hapman M u sic H all
Tickets are available by subscription; call 918-749-5965.
Tulsa Performing Arts Center • TulsaPAC.com • Buy tickets at 596-7111 and MyTicketOffice.com
24
A p r i l 2 0 1 2 I n t e r mi s s i on
American Theatre Company
Tulsa Symphony
Though football’s Super Bowl
trophy is named for him, few know
the real story of Vince Lombardi
the man — his inspirations, his
passions and his ability to drive
people to achieve what they
never thought possible. Based on
the best-selling biography When
Pride Still Mattered: A Life of Vince
Lombardi by Pulitzer Prize-winning
author David Maraniss, this play
brings the audience into the life
and times of one of America’s
most inspirational and mercurial
personalities.
Lombardi was head coach of the
Green Bay Packers throughout
much of the 1960s. He led the
team to five league championships
within seven years, three in
consecutive years, which included
the first two Super Bowls.
Written by Eric Simonson, Lombardi ran on Broadway from 2010
to 2011.
Ooh! Aah! Grammy-nominated conductor
Alastair Willis leads a sparkling program
that includes Handel’s Music for the
Royal Fireworks — a piece composed
for London’s 1749 celebration of the
Treaty of Aix-la-Chapelle, marking the
end of the War of Austrian Succession.
Unfortunately, the wooden structure from
which the fireworks were launched caught
fire shortly after the event began, sending
the crowd fleeing for their lives!
The Symphony will also perform one
of 20th century Hungarian composer Béla Bartók’s most popular works, Concerto for
Orchestra, composed on his deathbed during the final stages of leukemia.
On a less tragic note, TSO’s Principal Trumpet Tim McFadden will be featured in
Concerto for Trumpet, which Haydn composed for his longtime friend Anton Weidinger.
May 11-12, 16-19 at 8 p.m.
May 13 at 2 p.m.
May 5 at 7:30 p.m.
C hapman M u sic H all
Tickets are $15-$65.
The Playhouse Tulsa
The Unmentionables was written by
Bruce Norris, the Pulitzer Prize-winning
author of the play Clybourne Park.
Thanks to their missionary zeal, a motley
collection of do-good Americans stir
up tension and trouble in an isolated
African village. A wealthy entrepreneur,
a pair of Christian charity workers, and a
flamboyant government
official get caught
in a web of good
intentions and bad
judgments in this
scathingly funny
and provocative
work making its
Oklahoma premiere.
May 10-12 at 7:30 p.m.
May 13 at 2 p.m.
The
Unmentionables
C harles E . N orman T heatre
Tickets are $25; $18 for seniors and children.
Michele Zemecnik
J ohn H . W illiams T heatre
Tickets are $30;
$24 for seniors and students
Musical Fireworks
Tulsa Performing Arts Center • TulsaPAC.com • Buy tickets at 596-7111 and MyTicketOffice.com
April 2012 Intermi s sio n
25
Todd Rosenberg
Lombardi
on upcoming events
MAY
Mayfest
Art Exhibit
The Playhouse Tulsa
The Unmentionables
May 10-12 at 7:30 p.m.
May 13 at 2 p.m.
Charles E. Norman Theatre
May 4-30
PAC Gallery
American Theatre
Company
Tulsa Town Hall
May 11-12, 16-19 at 8 p.m.
May 13 at 2 p.m.
John H. Williams Theatre
John Edward Hasse
May 4 at 10:30 a.m.
Chapman Music Hall
Riverfield Country Day
School
Almost, Maine
May 4-5 at 7:30 p.m.
Charles E. Norman Theatre
Tulsa Symphony
Musical Fireworks
May 5 at 7:30 p.m.
Chapman Music Hall
Diavolo
Lombardi
Theatre Tulsa
Arsenic and Old Lace
May 11-12, 17-19 at 7:30 p.m.
May 13 at 2 p.m.
Liddy Doenges Theatre
Choregus Productions
Diavolo
May 19 at 8 p.m.
Chapman Music Hall
Celebrity Attractions
Fiddler on the Roof
May 8-13
Chapman Music Hall
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
A p r i l 2 0 1 2 I n t e r mi s s i on
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,
918-596-7111, or from outside Tulsa call
1-800-364-7111. 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 918596-7109 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 wheelchairaccessible 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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