The Tulsa Voice | Vol. 5 No. 2 by The Tulsa Voice

paradise never sounded So Good.

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lee Brice thur, jan 18 bob newhart sat, jan 20 brothers osborne sat, jan 27 jim gafﬁgan sat, feb 10 EARTH, WIND & FIRE FRI, MAR 2 STEVE WINWOOD SAT, MAR 3 johnny mathis thur, MAR 8 tom jones sat, may 19

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2 // CONTENTS

January 3 – 16, 2018 // THE TULSA VOICE

ENJOY SOME OF THE BEST DINING TULSA HAS TO OFFER

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PIZZ A, HOUSE-BRE WED BEER, WINGS, 60 + T VS ELGIN & M.B. BR A DY

THE TULSA VOICE // January 3 – 16, 2018

CONTENTS // 3

MARCH 29, 2018

TULSA PERFORMING ARTS CENTER TULSAPAC.COM / 918.596.7111 4 // CONTENTS

January 3 â&#x20AC;&#x201C; 16, 2018 // THE TULSA VOICE

FRONT ROW, CENTER P17 BY ALICIA CHESSER AND JOHN LANGDON

Tulsa’s 2018 winter & spring performing arts guide

PUBLISHER Jim Langdon EDITOR Liz Blood ASSISTANT EDITOR Cassidy McCants DIGITAL EDITOR John Langdon

ASSASSINATION CHARACTERS P24

ART DIRECTOR Madeline Crawford GRAPHIC DESIGNERS Georgia Brooks, Morgan Welch PHOTOGRAPHER Greg Bollinger

BY KATHRYN PARKMAN

AD SALES MANAGER Josh Kampf

Theatre Pops produces unconventional musical on Feb. 9–18 at IDL Ballroom

EDITORIAL INTERN Trent Gibbons CONTRIBUTORS Molly Bryant, Becky Carman, Alicia Chesser, Courtney Cullison, Kristi Eaton, Barry Friedman, Jeff Huston, Ceili Lawrence, Joe O’Shansky, Kathryn Parkman, Bethany Powell, Kris Rose, Megan Rossman, Joseph Rushmore, Andrew Saliga, Brady Whisenhunt The Tulsa Voice’s distribution is audited annually by

LOVE, COURAGEOUS AND STRONG P27 BY KRISTI EATON

Girl Scouts Beyond Bars eases state separation of mother and child

Member of

FAILING TO PROTECT OKLAHOMA WOMEN P30

The Tulsa Voice is published bi-monthly by

BY MOLLY BRYANT

On Tondalao Hall’s case 1603 S. Boulder Ave. Tulsa, OK 74119 P: 918.585.9924 F: 918.585.9926 PUBLISHER Jim Langdon PRESIDENT Juley Roffers VP COMMUNICATIONS Susie Miller CONTROLLER Mary McKisick DISTRIBUTION COORDINATOR Amanda Hall RECEPTION Gloria Brooks

MAKE YOUR VOICE HEARD Send all letters, complaints, compliments & haikus to: voices@langdonpublishing.com FOLLOW US @THETULSAVOICE ON:

Frantazia Jones hugs her mother, Mercedes Love, one last time before exiting the front gate of the Kate Barnard Correctional Center in Oklahoma City to head back to Tulsa. | JOSEPH RUSHMORE

NEWS & COMMENTARY

FOOD & DRINK

7 A DAY WITHOUT PAY B Y COURTNEY CULLISON

10 PIZZA GOALS B Y BRADY WHISENHUNT

44 percent of workers employed in Oklahoma’s private sector do not receive paid sick leave

G.T. BYNUM, MAYORAL GHOSTS, AND THE REAGAN SOFA

Make this homemade coffee liqueur and you can have both

The continuing interview, part 3

13 MORNING CUP OR NIGHT CAP? B Y ANDREW SALIGA

38 ‘ SWEET LADY WITH THE NASTY VOICE’ STILL ROCKS B Y KRIS ROSE Wanda Jackson talks Elvises, assets, and staying humble

40 WALL OF SOUND B Y BECKY CARMAN Helen Kelter Skelter’s new album is a turbulent, fuzzy ride

TV & FILM 43 HOT AIR BUFFOONS B Y JOE O’SHANSKY

ILLUSTRATION BY GEORGIA BROOKS THE TULSA VOICE // January 3 – 16, 2018

P14

Hate the state of modern political discourse? Blame the WWF.

44 POSTHASTE BY JOE O’SHANSKY

Spielberg’s latest is a rushed, romanticized hagiography

44 IRRECONCILABLE DISSONANCES B Y JEFF HUSTON

ON THE COVER Wanda Jackson returns to Cain’s Ballroom Jan. 21. See pg. 38.

32 FACTORY DIRECT B Y MEGAN ROSSMAN Ninety minutes from Tulsa, SHIFT is Oklahoma’s foray into large-scale experiential art

33 REBEL IN DIRT B Y BETHANY POWELL

BY BARRY FRIEDMAN

MUSIC

Inside the Okie Goodness food truck

ARTS & CULTURE

A poem

34 CONTACT SHEET B Y CEILI LAWRENCE An experimental photography project that embraces contradiction

ETC. 36 THEHAPS 42 MUSICLISTINGS 45 FULLCIRCLE 46 FREE WILL ASTROLOGY + SUDOKU 47 THEFUZZ + CROSSWORD

‘ My Happy Family’ is about the wife who isn’t

NOMINATE THE BEST OF TULSA 2018 CONTENTS // 5

editor’sletter

“And now we welcome the new year, full of things that have never been.” — Rainer Maria Rilke I’m a sucker for New Year’s resolutions and I like mine to be open-ended. Several years ago, it was to bike more. Last year, to drink less. For 2018—to read more for pleasure. To that end, we’ll also continue to work here at TTV to bring you pleasurable, informative reading about the Tulsa community and issues that affect it. Writer Kristi Eaton and photographer Joseph Rushmore bring to this issue a story about Girl Scouts Beyond Bars (pg. 27), a Girl Scouts of Eastern Oklahoma program that takes

young girls and women to see their incarcerated mothers. Following that piece, Molly Bryant writes about Tondalao Hall’s case (pg. 30), currently being handled by the ACLU of Oklahoma, and examines why the state should be more attuned to the plights of domestic violence survivors and “the accepted science on how victims of abuse behave.” Also in these pages, you’ll find our bi-annual performing arts guide (pg. 17) to direct you through a long and exciting season of performances across

the many stages of our city. Writer Kathryn Parkman takes a deeper look at the unconventional play “Assassins” (pg. 24) put on by Theatre Pops. We have also released the 2018 Best of Tulsa Awards ballot (pg. 14). All of the BOT nominees are reader-nominated, so please fill out a ballot and let us know who you think ought to be in the running for the Best of Tulsa. (You’ll also be entered to win a $500 dining package.) And, in what I think are three of the most pleasurable-to-read pieces this go-

round, Kris Rose interviews the iconic Wanda Jackson (pg. 38), Megan Rossman immerses us in Factory Obscura’s SHIFT exhibition in OKC (pg. 32), and Joe O’Shansky looks at the World Wrestling Federation’s thumbprint on—his words—“today’s media hellscape” (pg. 43). Happy New Year, Tulsa! Be warm and well. a

LIZ BLOOD EDITOR

MUSEUM CONFIDENTIAL UNSEEN. UNHEARD. UNTIL NOW.

ON VIEW

OCT. 14 – MAY 7 6 // NEWS & COMMENTARY

January 3 – 16, 2018 // THE TULSA VOICE

okpolicy

A DAY WITHOUT PAY 44 percent of workers employed in Oklahoma’s private sector do not receive paid sick leave by COURTNEY CULLISON

THE TULSA VOICE // January 3 – 16, 2018

m I too sick to work? Can I take the day off ? For many Oklahomans, the answer to these questions is usually “no.” Private employers are not required to offer paid sick leave in Oklahoma. In the last legislative session, two bills that would have required paid sick leave in the state were introduced. Neither bill was even allowed a vote in their House committees, and that’s unfortunate. Denying workers the right to paid sick leave creates big costs for all of us. In Oklahoma, 44 percent of workers employed in the private sector do not receive paid sick leave, meaning that a sick day is a day without pay. The workers least likely to have access to paid sick leave are also those who can least afford to lose a day’s pay. Only 39 percent of private sector employees in the bottom 25 percent of earners have access to paid sick leave (compared to 84 percent of workers in the top 25 percent of earners). For all too many low-income workers, taking sick leave without pay can make it impossible to cover basic expenses. Even worse, it may lead to dismissal or discipline at work—Oklahoma is an at-will employment state, so workers can be ﬁred for any reason, including taking a day off to deal with an illness. For workers who are already struggling to make ends meet, either possibility is dangerous. This means many of these workers will go to work despite their illness. This affects sick children as well. They may be sent to school so their parent can go to work. This is unnecessary, and it’s unhealthy. Contagious diseases are more likely to spread when sick workers cannot stay home. This is especially likely in the accommodation and food service industries, yet only 25 percent of workers in this industry have access to paid sick

leave. More than half of food workers say they “always” or “frequently” go to work when they are sick. In 2005, a single restaurant worker at a sandwich shop in Michigan spread norovirus to over 100 customers. Paid sick leave for employees can certainly help to contain the spread of contagious diseases, but it also improves overall public health outcomes. Workers with access to paid leave are more likely to receive regular medical care, preventing the occurrence of more serious health problems that require additional time off. And, when they do get sick, the episode is shortened because they receive care. Employees without paid leave are more likely to delay care, and when they do seek it they are more likely to visit an emergency room—open all hours but more expensive—instead of a physician’s office, which costs less but has limited hours. These non-emergency visits to the ER increase wait times and hike the cost of health care for us all. In the United States, nine states and the District of Columbia require employers to offer paid sick leave to employees, and a large majority of Americans believe it should be the standard everywhere. Businesses also benefit when workers have time to care for their health. Businesses in states and cities that have adopted paid sick leave policies report lower employee turnover, higher employee morale, and improved job satisfaction. Studies have also shown that sick leave policies lead to increased profits for businesses that adopt them. All Oklahomans who work should have paid sick leave. a

Courtney Cullison is a policy analyst with Oklahoma Policy Institute (www.okpolicy.org). NEWS & COMMENTARY // 7

viewsfrom theplains

G.T. BYNUM, MAYORAL GHOSTS, AND THE REAGAN SOFA The continuing interview, part 3 by BARRY FRIEDMAN Mayor G.T. Bynum and Barry Friedman at City Hall | GREG BOLLINGER

“Y

ou need to sit on the white sofa,” Mayor Bynum says, as Michelle Brooks, his press secretary, ushers me into his giant corner ofﬁce on the 14th ﬂoor at One Technology Center. “Why is that?” I ask. “Because this is Ronald Reagan’s 30-year-old sofa.” “Why do you have it?” “After Nancy Reagan died, there was an estate sale, and I bought it. I wanted something from Reagan but cheaper than Mathis Brothers.” “I should have started recording in the elevator.” “It was in really bad shape. Ronald Reagan’s 30-year-old couch looks like everyone else’s 30-yearold couch,” he says. I sit. “Too soft. I’m sinking and I’m not going to have you lord over me. Let’s go to the conference table.” This is the third time the mayor and I have met. There’s a familiarity now between us—or maybe he makes everyone feel that way. “We keep this up, I’m going to be Robert Caro to your Lyndon 8 // NEWS & COMMENTARY

Johnson, so I need you to run for governor and then president. Deal?” Bynum laughs. “It’s pretty clear,” he says, “that Caro loathes Johnson.” “But he kept writing anyway.” Bynum previously told me after two terms as mayor, he’s out. I still don’t believe him. Brooks sits at one end of the conference table. She’s staying. “You worried?” I ask her. “No.” I don’t believe her, either. “I saw my father, who’s 91, last night, and when I told him I was meeting you, he said, ‘Tell him to ﬁx those goddamn highway lights!’” “You don’t think I hear that every day?” Bynum asks. “So, before I ask about Amazon, a joke,” I say. “The problem with Tulsa is that it’s in Oklahoma and too close to Kansas. The point is: Dysfunction in the state has to affect how you attract new business.” “We actually had our mayorcouncil retreat this morning, and I brought that up.” “You did?”

“This very issue,” he says. “It’s the great, unspoken goal we have, which is to thrive in a state that is not living up to its potential. So many of the challenges we face— and education is ﬁrst and foremost among them—are things that the city has to take on and address because the people whose responsibilities it was to address it, historically, aren’t. There are leaders here who get the value of Tulsa and Oklahoma City and other larger cities, but there are still people who don’t and view it as a competition between rural and urban areas. We are now a majority urban state, and we’re not governing in a way that allows those areas to thrive.” “So, when do you head down to OKC and start throwing things?” “What we’re going to try to do,” he says, “is go to Oklahoma City and say, ‘If you guys aren’t going to address this, we will.’” But, of course, we can’t. Tulsa can raise bonds to build infrastructure, but the city is prohibited by state law from using them to hire teachers. “I saw you at Carver [Middle School],” I say. “Your son, my

girlfriend’s son were shadowing. And there you were, the mayor, but also just another goofy dad at a small table spending too much time on his cell.” “I was just a dad, just a dad,” he laughs. “Not really, but it was good for people to see you. Those are optics, though. What can you do about education in Tulsa?” “We can nip around the edges, but the economic disparity between what we pay teachers in Oklahoma and what neighboring states like Arkansas and Texas pay is glaring.” “That’s part of the reason why we’re not getting Amazon,” I said. “Good, quixotic effort, but not going to happen.” The mayor smiles. “I did not go into this because I thought it would be good for us to compete against other cities, just for the exercise, any more than I ran against Dewey Bartlett thinking, ‘Well, I’ll run; I’ll lose, but I’ll get the experience.’ I really do think we are competitive here.” When you look at what Amazon says it wants in a city for its HQ21, including 50,000 skilled January 3 – 16, 2018 // THE TULSA VOICE

workers and a mass transportation system, it’s tough to see how. We bet lunch on it. I bring up REI. Back in September, the City of Tulsa asked the Oklahoma Supreme Court to dismiss a motion brought by former Mayor Terry Young, who sought to stop the outdoor retailer from building at South 71st Street and Riverside Drive. The court unanimously rejected the motion and sent it back to district court. Bynum thinks Young is playing the long game, hoping REI will just give up, go elsewhere. Young doesn’t deny it. “We have the right to go to court, and if we don’t win, we have the right to appeal.” Bynum, who’s never been crazy about the deal, is convinced it’s legal and something Tulsa should not abrogate. “We don’t go back on our word,” he says. Statewide, Bynum is probably Oklahoma’s most popular politician. He doesn’t spend a lot of that capital, nor make a lot of enemies (Even Young said the REI deal isn’t personal and doesn’t blame Bynum), but there was one pitch the mayor could have taken in 2017 but didn’t. The morning after Tulsa Police Ofﬁcer Betty Shelby was acquitted of manslaughter charges in the death of Terence Crutcher, when some city ofﬁcials were predicting riots and then congratulating themselves when they didn’t occur, Bynum said the following: I would remind Tulsans that our history shows us African Americans in Tulsa have not been the instigators of lawlessness and riots; they have been the victims of them. So, I would ask that we not keep assuming the worst from a part of our community that has been exposed to the worst in this city’s history.

You don’t hear Republican legislators—at least not these days and certainly not in Oklahoma—owning up to such history, apologizing for past transgressions (read: racism), or highlighting, as Bynum emphasized during the campaign, the differences in life expectancy between whites and blacks. THE TULSA VOICE // January 3 – 16, 2018

“ ... the great, unspoken goal we have ... is to thrive in a state that is not living up to its potential. So many of the challenges we face—and education is ﬁrst and foremost among them—are things that the city has to take on.” G.T. Bynum | GREG BOLLINGER

We recognize that this issue, the issue of racial disparity in Tulsa, is the great moral issue of our time in this community, and there is a desire in all parts of our city to play a role in addressing it.

He essentially told those who reflexively and predictably blame African Americans for such altercations, to knock it off. “What people didn’t hear,” he says, “is when I talked about the difficulties of being a police officer, the uncertainty. It is a false choice that we’re either on one side or the other.” We move on. “All joking aside about the highway lights,” I say, “someone is going to die out there. It’s dangerous. Do you take that personally? In fact, how much of how the city runs do you take personally?” “All of it,” he says, then alludes to the serious, the city’s murder rate, which is up, and the annoying, the condition of South Utica Avenue, between 11th and 15th Streets, which is awful, as well as a half-dozen other things. “All of it,” he says again. “My wife and I were in Paris recently, and I remember seeing the rats running around the streets, the potholes, and I said to her, ‘I’m so glad this is some-

body else’s problem.’ Of course, when we landed in Atlanta, there were 350 emails—and that was just from the time we were on the plane from France.” Bynum is a policy guy at heart, but mayors need what George H.W. Bush called “the vision thing.” “When I was running for mayor, I would talk about how Tulsa was not in competition with Sand Springs or Broken Arrow or Owasso, but with Chicago, Dallas, and Denver. I remember a woman came up to me and said, ‘You’re adorable. There’s no way we can compete with those cities.’” “She called you adorable?” “Yeah,” he laughs. “And she wasn’t being mean. Patronizing, but not mean. But we are competing with them.” He feels the weight of the ofﬁce, of public service. And while he doesn’t talk partisan politics much, he is moored and motivated by his sense of a kinder, gentler, more functional Republican Party. There’s Reagan, as you’d imagine. Mitch Daniels, former Indiana governor and U.S. Ofﬁce of Management and Budget director under George W. Bush, comes up every time we talk. Mostly, though, there is his grandfather, Tulsa Mayor Robert LaFortune (197078), who is his Yoda.

The city’s historical schematics are always close by. I ask him what grade he would give himself for the ﬁrst year. He leans over and grabs a book off the center of the table—“Seat of Power,” by Douglas Miller and John Hamill. It’s about the history of Old City Hall at South 4th Street and Cincinnati Avenue and Tulsa’s past mayors. Back then, the place was known as “Magic City.” Bynum ﬁnds the page on Robert Maxwell, Tulsa’s 29th mayor, who was elected at age 31, making Bynum, who was elected at 39, Tulsa’s second-youngest mayor. “I don’t know why this chokes me up, but he is my hero, and I will never be able to achieve what he has. Everything you like about Tulsa comes from him.” It’s 6:30 p.m. on a Thursday. The mayor has small children at home, and we’re still talking. During his tenure as Tulsa’s 34th mayor, Bill LaFortune told me there was only one Christmas morning when someone wasn’t calling about city business. It never ends. I should let LaFortune’s cousin go home.

An hour later, the mayor sends me a message. He was not happy about something. “Following up on my emotional roller coaster of an answer to your question, I realize I didn’t concisely convey my point. For anyone going into their dream profession, I think they have heroes they hold up. Football players want to play like QBs like Tom Brady or Peyton Manning. Reporters want to reveal the truth like Woodward and Bernstein. Actors say no one can do “Streetcar” like Brando. For me, Maxwell and my grandfather are those standards. And I do not come anywhere close to measuring up. What they were able to accomplish in the eight years each of them had the job is absolutely breathtaking. It is a lot to live up to.” I ask about the grade. “Incomplete.” a

1) Qz.com: Everything Amazon wants for HQ2, the massive new headquarters it’s planning in North America NEWS & COMMENTARY // 9

citybites

PIZZA GOALS Inside the Okie Goodness food truck by BRADY WHISENHUNT

At left, Scott Moore in the Okie Goodness Airstream; above, his wood-fired pizza. | GREG BOLLINGER

he Okie Goodness Airstream trailer was parked outside American Solera’s SoBo taproom when I met up with OG business partners Scott Moore and Bret Perkins. They were hanging inside, enjoying a beer between orders. “Solera beers always have a fun little face in it,” Moore said. “Look at this right here.” He pointed to the foam residue on the sides of the glass. Sure enough, there were two eyes and a mouth. “I always have monsters in my beer,” Moore said. Perkins laughed, but the image in Moore’s foam drizzle looked just like The Misﬁts’ band logo, the Crimson Ghost. Inside the Airstream is a large brick oven decorated with a mosaic of green, yellow, cobalt blue, and pearl tiles. The ceiling is a smooth seafoam green. Behind the oven sits a large industrial-sized mixer. The interior vibe is somewhere between that of a New Age artist’s studio and a forest cottage. It was a busy night at Okie Goodness. When I arrived, the oven was just getting to the desired temperature. Moore had been working on it all day.

10 // FOOD & DRINK

“Your oven is key,” he said. “Temperature is key. A lot of people think, ‘I’m gonna cook a pizza at 1,000 degrees for three minutes.’ No. You’re burning the pizza, and center is not cooked.” In his trailer, Scott painstakingly monitors the wood ﬁre with an infrared temperature probe, trying to set up distinct zones: different spots in the oven for different phases of the pizza’s journey. It can take hours to get right. After years of experience, Scott has a very detailed opinion about what makes a good pizza. An Okie Goodness “El Diablo” pizza, for example, is an artful pile of gooey, crunchy, chewy madness. The crust’s unpredictably charred edges reﬂect both carefulness and spontaneity. There’s a balanced interplay between pepperoni, peppered bacon, spicy sweet sausage, and jalapeños. Sweet, umami, salty, and tangy cooperate but hold their own. And as it turns out, this pizza tastes pretty great with a cold glass of American Solera’s Terpy Galaxy. Moore’s passion for making the perfect pizza began in high school while working part-time at Vito’s, a Tulsa-based chain whose heyday was in the mid-‘80s. “I got so obsessed with making

the dough. I got upset when someone screwed it up, so I would go in in the morning at 5:30 a.m. and make the dough myself. “You’ve gotta have passion with your dough. And if you don’t have passion with your dough … ” Moore trailed off, staring into the distance, searching for the perfect words. Before he found them, another customer put in an order. Moore is intensely opinionated about food, and he has put in the years to back that up. His pedigree in the Tulsa restaurant scene started in 1995 when he helped open local Italian restaurant Tucci’s, which he managed until 2004. In 2008, he opened Hey Mambo in the Tulsa Arts District. After seven years at Hey Mambo, he sold his share in the business. The logistical realities of the brick and mortar restaurant world had been drawing him away from what he loved about making food: a close connection between cooking and the community. Enter Bret Perkins and the Airstream. Around the time Moore was looking into buying a food truck, Perkins purchased the Airstream with ambitions of starting his own community-centered busi-

ness. Problem was, he didn’t know how to properly use the oven, and his first attempts at making pizza were a disaster. A chance meeting got the two talking, and soon a partnership was formed. The two shared a similar philosophy about food and community, so they stoked the flames of their vision like the glowing logs in the pizza oven. Some of Perkins and Moore’s community-centered efforts involve the mountain biking scene. They plan to serve food for their second year at the Turkey Mountain Bike Festival (Feb. 24–25) in support of Burn Camp, an organization benefitting burn victims. With time, they plan to do more community-based food gigs. “There’s a vision I have,” Perkins said. “We have shirts that say ‘Goodness Rising.’ Okie Goodness is about good food, gathering people together. Goodness Rising is Oklahoma people doing great things, giving back to the community. Goodness Rising is not just great pizza, but doing cool things locally.” Okie Goodness is often at American Solera’s SoBo location (108 E. 18th St.) Wed.–Sun. Check facebook.com/okiegoodness for their daily location. a January 3 – 16, 2018 // THE TULSA VOICE

Do you like US like we like YOU ?

Yes No

We believe in fitness. Fittin' this pizza in your mouth after you go to the gym.

(The Best of Tulsa vote is upon us; you know what to do) (We still like you; it’s cool)

Sliced, STG, and Andolini’s are here to make your 2018 #SliceTastic!

#BOT2018 #Keepit100ifthatissomethingyouhavetheproclivityorinterestindoing

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NOW HIRING: Servers • Bartenders • Hosts THE TULSA VOICE // January 3 – 16, 2018

FOOD & DRINK // 11

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Join us for the tastiest Chicken & Waffles in Tulsa! 18 East M. B. Brady St. 918-588-2469 cazschowhouse.com

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12 // TULSA ARTS DISTRICT GUIDE

• Delivery Available • Daily & Weekly Specials • Full Service Catering • Banquet Facilities 14 West M.B. Brady • 918.582.3383 MexicaliBorderCafe.com

January 3 – 16, 2018 // THE TULSA VOICE

downthehatch

It’s back!

MORNING CUP OR NIGHT CAP?

A White Russian | ANDREW SALIGA

Make this homemade coffee liqueur and you can have both by ANDREW SALIGA WHETHER IT’S TO BE ADDED TO HEAVY cream for a dessert libation or it’s a component of a more complex cocktail, coffee liqueur is not only simple to make—it’s one cocktail ingredient guaranteed to make you friends. The first and most crucial step to making homemade coffee liqueur is to use fresh cold brew coffee concentrate, which retains the distinct coffee flavors but offers less bitterness. Making cold brew is as easy as making regular coffee; the only difference is the temperature of the water and extraction time (how long the water is in contact with the coffee grounds). Several companies offer devices specifically designed for making cold brew, but a French press will also do a decent job. Measure 179 grams of coarsely-ground coffee and add it to a French press with 757 milliliters of cold water. Place the French press in the refrigerator and let it extract for 12–15 hours. Filter the cold brew concentrate from the French press and transfer 10 ounces of the liquid to a large measuring cup. Total yield should be about 13 ounces. Add a half-ounce of vanilla extract (not to be confused with imitation vanilla flavor) and 1/8 of a teaspoon of salt. Coffee liqueur needs a base spirit, and rum, with notes of vanilla and molasses, will provide the most complementary flavor profile. There are several styles of rum, but the common thread is that all are made with byproducts of sugarcane production. Using a blackstrap rum is recommended THE TULSA VOICE // January 3 – 16, 2018

because it is made using dark molasses—other styles will dramatically alter the liqueur. For this recipe, use 7 ounces of Cruzan black strap rum, Gosling’s black seal rum, or Myer’s dark rum. Building on the bold flavors contributed by the blackstrap rum, brown sugar is the preferred sweetener since it’s refined sugar with molasses added. Traditional simple syrups are equal parts sugar and water, but to keep the coffee flavor dominant, combine 180 grams of the remaining coffee concentrate (roughly six ounces) with 180 grams of brown sugar, and dissolve the mixture over low heat. Add the coffee–brown sugar syrup to the cold brew, rum, and vanilla mixture, and stir to combine. Funnel into a bottle for storage—glass swing-top bottles work well. The most iconic cocktail you can make with this coffee liqueur is the White Russian. Simply combine 2 ounces of vodka and 1 ounce of coffee liqueur in a rocks glass filled with ice, and top it with 3/4 ounces of heavy cream. For those looking for a slightly more refined cocktail, the Revolver is a simple solution. Created by Jon Santer to coincide with the release of Bulleit bourbon, the drink contains 2 1/4 ounces of bourbon, 3/4 ounces of coffee liqueur, and 2 dashes of orange bitters. Combine the ingredients in a mixing glass with ice and stir until chilled. Strain into a chilled cocktail glass and garnish with an expressed orange peel. a FOOD & DRINK // 13

THE TULSA VOICE

NOMINATIONS FOR THE 2018 BEST OF TULSA AWARDS ARE OPEN. Nominate your local favorites for a chance to win a $500 dining package.

BEST NEW RESTAURANT

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A PE RFOR MING ARTS CENT ER TULS

Jan. 4-30

TREE- Tulsa Artists PAC Art Gallery Jan. 12-21

Evita Theatre Tulsa Jan. 13

An Evening With Eric Whitacre Tulsa Symphony Jan. 23-28

A Gentleman’s Guide To Love & Murder Celebrity Attractions Jan. 26-27

GET TICKETS

Aspen Santa Fe Ballet Choregus Productions Jan. 28

Ensemble 4.1 TULSAPAC.COM MYTICKETOFFICE.COM Chamber Music Tulsa 918.596.7111

JANUARY 23-28

LE ON SOAW! N TULSA PERFORMING ARTS CENTER

918.596.7111 • 800.364.7111 • MyTicketOffice.com Groups of 10+ SAVE! Call 918.796.0220 CelebrityAttractions

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Bringing Broadway

TULSA SYMPHONY

2017-2018 S E A S O N T W E LV E

Classics Series

AN EVENING WITH ERIC WHITACRE

SATURDAY, JANUARY 13, 2018 | 7:30 PM

T U L SA P E R FO R M I N G A RT S CE N T E R Whitacre: Water Night Five Hebrew Love Songs Equus Songs of Immortality Godzilla Eats Las Vegas Deep Field Eric Whitacre, Grammy-winning Composer and Guest Conductor with Tulsa Oratorio Chorus. *Pre-Concert Conversation | 6:30 PM *Pre-Concert Student Recognition Concert | 6:45 PM

Tulsa Symphony welcomes GRAMMY® Award winner Eric Whitacre as a guest conductor and composer. His groundbreaking Virtual Choirs have united musicians across the globe in new and powerful ways. He will lead the Tulsa Symphony and the Tulsa Oratorio Chorus through a thrilling and diverse collection of his works which include Water Night, Equus, Deep Field, and Godzilla Eats Las Vegas.

*Post-Concert Reception – All Welcome *Childcare Available

For Tickets, Call 918.596.7111 or www.tulsasymphony.org

16 // FEATURED

January 3 – 16, 2018 // THE TULSA VOICE

FRONT ROW, CENTER TULSA’S 2018 WINTER & SPRING PERFORMING ARTS GUIDE They say all the world’s a stage. But some places have actual stages and host inspiring, touching, poignant works of art. Here’s what’s happening at those kinds of places around Tulsa from now to July. BY ALICIA CHESSER AND JOHN LANGDON

EVERY SATURDAY The Drunkard and The Olio Still the longest-running play in the country, Tulsans have attended this melodrama and revue for over 60 years. TULSA SPOTLIGHT THEATRE TULSA SPOTLIGHTERS 12–21 Evita See sidebar. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER THEATRE TULSA 13 An Evening with Eric Whitacre Tulsa Symphony welcomes Grammywinning composer and conductor Eric Whitacre, known for his “Virtual Choir” projects, which bring people from around the world together in an online choir. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA SYMPHONY 14 Cabaret Escape to the seedy underbelly of Berlin as the world creeps ever closer to WWII. BROKEN ARROW PERFORMING ARTS CENTER 14 Second Sunday Serials See ﬁve new short plays by local writers and vote on which three should continue into the next month’s installment. AGORA EVENT CENTER HELLER THEATRE COMPANY 18 Concerts with Commentary: Eclectic, Reflective and Renovated TU’s music and discussion series continues with violinists Maureen O’Boyle and Pete Peterson and cellist Lorelei Barton. MEINIG RECITAL HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC THE TULSA VOICE // January 3 – 16, 2018

19–20 OKMEA Conference Concerts The Oklahoma Music Educators Association presents concerts featuring their Honor Band, All-State chorus, and All-State instrumental ensemble. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER OKLAHOMA MUSIC EDUCATORS ASSOCIATION 20 Serafin String Quartet The Quartet in Residence at The University of Delaware, Seraﬁn String Quartet takes its name from master luthier Sanctus Seraﬁn, who in 1728 crafted the violin SSQ violinist Kate Ransom plays. GUSSMAN CONCERT HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC 22 TU Chamber Music Tulsa Heckman Award Competition Student chamber music ensembles compete for a $6,000 award. MEINIG RECITAL HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC 23 Richard Alston J. Donald Feagin Visiting Artist Richard Alston presents a unique program entitled “The Art of the Piano Transcription.” GUSSMAN CONCERT HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC 23–28 A Gentleman’s Guide to Love & Murder This winner of the 2014 Tony for Best Musical is the story of a distant heir to a family fortune who sets out to jump the line of succession by eliminating the eight relatives (all played by one actor) who stand in his way. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER CELEBRITY ATTRACTIONS

26 Bartók, Beethoven, Harbison A TSO chamber ensemble performs Bartók’s “Contrasts,” Beethoven’s duet sonatas, and Harbison’s “Songs America Loves to Sing.” FLY LOFT TULSA SYMPHONY 26–27 Aspen Santa Fe Ballet This contemporary ballet company is known for its distinctive repertoire of groundbreaking works and virtuoso dancers. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER CHOREGUS PRODUCTIONS 27 A Night at the Opera Hear pieces by Bizet, Monteverdi, Mozart, Puccini, Verdi, Wagner, and Tobias Picker, Artistic Director of Tulsa Opera. VANTREASE PACE SIGNATURE SYMPHONY 28 Ensemble 4.1 This German ensemble makes use of its unusual quintet combination—piano, oboe, clarinet, bassoon, and horn—playing rarely-performed masterworks by Mozart, Beethoven, and other composers. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER CHAMBER MUSIC TULSA 30 Gobsmacked A sell-out hit in the UK, Gobsmacked is a showcase of a diverse range of a cappella singing, from traditional street-corner harmonies to multi-track live looping and beatboxing. BROKEN ARROW PERFORMING ARTS CENTER

EVITA

JOSH NEW

JANUARY

JAN. 12–21

Evita

JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER THEATRE TULSA What a fine time for a good look at the mythologies of power. Andrew Lloyd Webber’s 1978 musical “Evita” follows the life and death of actress Eva Perón, the first lady of Argentina from 1946–1952, a near-saint to her constituents and an icon in a world obsessed with rags-to-riches narratives. She died at 33, with her profound political influence among the poor of her country inseparable from her carefully-tended celebrity status. Patti LuPone immortalized her on Broadway, Madonna on film. With Karlena Riggs and John Orsulak as the Peróns and Sean Patrick Rooney as the narrator, Che, Theatre Tulsa tries Evita’s story on for size under the direction of The University of Tulsa’s Machele Miller Dill as part of a season of classic musicals. The first British musical ever to win a Tony Award, it’s an epic show in true Webber style, featuring the anthemic “Don’t Cry for Me, Argentina,” “You Must Love Me,” and some useful meditations on the complex relationship between fame and public service.

FEATURED // 17

FEB. 9–11

Strictly Gershwin

STRICTLY GERSHWIN

CHAPMAN MUSIC HALL, TULSA PAC TULSA BALLET WITH TULSA SYMPHONY The 2017–2018 season sees Tulsa Ballet maintaining its balance between beloved classics and envelope-pushing work that’s new or new to Tulsa. “Strictly Gershwin” hits at the sweet spot right in the middle. This is the Oklahoma premiere of the extravaganza by Derek Deane, former artistic director of the English National Ballet. The production bubbles over like a glass of champagne, with 40 ballet dancers, 14 tap dancers (some found through a local audition), four singers, and 45 musicians all onstage together, and costumes straight out of a Fred Astaire/Ginger Rogers number and a parade of George and Ira Gershwin’s greatest musical hits. Jazzy swing and glamorous ballroom styles should come easily for the unusually vivacious company of dancers TB has assembled this season (plus, it’s always delicious to see classically-trained artists get a chance to let their hair down and have some non-balletic fun). These folks do sweep-you-away glamour like few other groups in town. Put on a snazzy suit and take your Valentine.

FEB. 17

Tulsa Opera: The Stars Align CHAPMAN MUSIC HALL, TULSA PAC, TULSA OPERA

Tulsa’s ﬁrst documented opera performance happened in 1904, and the oil-rich city has had a taste for the artform ever since. (L. J. Martin, a City of Tulsa founding father, said a year later, “Of course, we did not have any sewers or street paving, but these were luxuries that could wait, whereas an opera house loomed as an immediate necessity.”) Tulsa Opera evolved in the early 1950s and celebrates its 70th anniversary this year with a gala at its longtime home, the PAC. Like many arts institutions, opera in the 21st century increasingly balances its history of luxury with social relevance and community appeal. Under its two creative innovators, Greg Weber and Tobias Picker, TO makes a big impact locally with two major productions a year, as well as one by its educational outreach arm, the Tulsa Youth Opera. The anniversary gala in support of this work includes dinner by chef Justin Thompson; performances by opera stars Sarah Coburn, Susan Graham, David Portillo, and Aaron Blake, led by Native American conductor Timothy Long; and dancing at the ﬁrst-ever after-party on the stage of the Williams Theatre.

18 // FEATURED

FEBRUARY 2 Laura Linney The Golden Globe- and Emmy-winning actress speaks about her cancer advocacy work. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA TOWN HALL 2 Freedom Train This family-friendly production tells the story of Harriet Tubman through a series of scenes incorporating dance, dialogue, and music of the period. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER PAC TRUST 2–11 The Crucible Arthur Miller’s dramatization of the Salem Witch Trials mirrors the Red Scare of the 1950s, when the play was written. CLARK YOUTH THEATRE 3–11 Seven Guitars Written by Pulitzer Prize-winner August Wilson, “Seven Guitars” shows the events leading up to the death of a guitarist just on the verge of fame in 1948 Pittsburgh. LIDDY DOENGES THEATRE, TULSA PERFORMING ARTS CENTER THEATRE NORTH 4 Mendelssohn’s Symphony No. 3 Conducted by Daniel Hege, this concert will also feature “Medea’s Dance of Vengeance” by Samuel Barber and Erich Wolfgang Korngold’s Violin Concerto, featuring soloist Rossitza Jekova-Goza. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA TOWN HALL

7 Brown Bag It: Barron Ryan The pianist performs pieces from his catalog of “classic meets cool” pieces. KATHLEEN WESTBY PAVILION, TULSA PERFORMING ARTS CENTER PAC TRUST

9–18 The Comedy of Errors Two sets of identical twins separated at birth ﬁnd themselves in a series of mishaps due to mistaken identities in one of the earliest (and most farcical) plays by William Shakespeare. BROKEN ARROW COMMUNITY PLAYHOUSE

8 Concerts with Commentary: Favorites and Finds Soprano Judith Pannill Raiford and pianist Brady McElligott perform works by Schumann, Debussy, Frederick Delius, and Émile Jacques-Dalcroze. MEINIG RECITAL HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC

11 Second Sunday Serials See ﬁve new short plays by local writers and vote on which three should continue into the next month’s installment. AGORA EVENT CENTER HELLER THEATRE COMPANY

9–11 Strictly Gershwin See sidebar. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA BALLET WITH TULSA SYMPHONY 9–17 The Boys Next Door This play is a humorous and often poignant series of vignettes focused on a group home where four mentally challenged men live with an earnest but increasingly burned-out young social worker. MUSKOGEE LITTLE THEATRE 9–18 Assassins In Stephen Sondheim and John Weidman’s revue-style portrayal of nine people who assassinated or tried to assassinate presidents of the United States, the music for each would-be or to-be killer reﬂects the popular music of his or her era. See pg. 24 for more information. IDL BALLROOM THEATRE POPS

13 Béla Rózsa Music Composition Competition and Concert Performances of pieces by student composers in college and high school. MEINIG RECITAL HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC 15 Violinist James Ehnes One of the foremost violinists of his generation, Ehnes made his orchestral debut with the Orchestre Symphonique de Montréal at age 13 and is now a fellow of the Royal Society of Canada and a member of the Order of Canada. JOHN H. WILLIAMS THEATRE ORU MUSIC DEPARTMENT 16–17 Sinatra’s America Trumpeter Jeff Shadley and Signature Symphony play the classic hits that made Old Blue Eyes one of the best-selling singers of all time. VANTREASE PACE SIGNATURE SYMPHONY

January 3 – 16, 2018 // THE TULSA VOICE

MAR. 9–17

A Steady Rain

A GENTLEMAN’S GUIDE TO LOVE & MURDER

JEREMY DANIEL

LIDDY DOENGES THEATRE, TULSA PERFORMING ARTS CENTER AMERICAN THEATRE COMPANY

16–25 Harvey Mary Chase’s Pulitzer Prize-winning comedy is the story of an affable gentleman and his good friend Harvey, a six-foot, three-and-one-half-inch tall invisible pooka rabbit. SAPULPA COMMUNITY THEATRE 16–25 Four Chords and a Gun This black comedy—written by “The Big Bang Theory” actor John Ross Bowie—is the story of The Ramones working with Phil Spector from 1978–80 for their ﬁfth album, The End of the Century. LIDDY DOENGES THEATRE, TULSA PERFORMING ARTS CENTER TULSA PROJECT THEATRE 16–25 Tom Sawyer, Detective Tom Sawyer attempts to solve a mysterious murder in this adaption of Mark Twain’s 1896 Tom Sawyer sequel. SPOTLIGHT THEATRE SPOTLIGHT CHILDREN’S THEATRE 17 The Stars Align: Tulsa Opera’s 70th Anniversary See sidebar. TULSA PAC, TULSA OPERA 17 Betweenity This vignette play dives into and explores the awkward silences in conversations. TULSA LITTLE THEATRE ENCORE! 21 Daniel Tiger’s Neighborhood Live: King for a Day The PBS cartoon cat hops off the TV and takes the trolley into your neighborhood. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER MILLS ENTERTAINMENT

THE TULSA VOICE // January 3 – 16, 2018

22 Béla Rózsa Memorial Concert Featuring compositions by winners of the Béla Rózsa Composition Competition, as well as music composed in the 20th and 21st centuries. GUSSMAN CONCERT HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC

1–4 She Loves Me Based on the same Hungarian play that was the basis for the movie “You’ve Got Mail,” this musical revolves around two shop employees who, despite being at odds with each other, are unaware that each is the other’s secret pen pal. HOWARD AUDITORIUM ORU THEATRE

22–25 1984 TU Theatre presents a multimedia production of George Orwell’s dystopian story in which a totalitarian government controls what its citizens think, believe, and remember. KENDALL HALL TU THEATRE

2–4 Charlie and the Chocolate Factory Charlie Bucket, Veruca Salt, Augustus Gloop, Violet Beauregard, and Mike Teavee are the ﬁrst and only children allowed into Willy Wonka’s chocolate factory, and they discover it surpasses even their wildest dreams. TULSA LITTLE THEATRE ENCORE!

23 Pasadena Roof Orchestra This big band keeps the swing music of the ‘20s and ‘30s alive with incredible musicianship and a light-hearted style. VENUE TBA CHOREGUS PRODUCTIONS

MARCH 1 The Road to Ellington A vocal jazz tribute to Duke Ellington, featuring such classics as “Don’t Get Around Much Anymore,” “Satin Doll,” and “Take the ‘A’ Train.” JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER SHERIDAN ROAD

4 Carnegie Hall Link Up: The Orchestra Sings Family Concert For more than 30 years, Carnegie Hall Link Up has paired orchestras with students in grades 3–5 to explore fundamental music skills. Students will participate by singing or playing recorders along with Tulsa Symphony Orchestra. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA SYMPHONY 6–11 Finding Neverland Based on the Oscar-winning ﬁlm of the same name, this musical tells the story of “Peter Pan” playwright J.M. Barrie and the family who inspired his greatest creation. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER CELEBRITY ATTRACTIONS

Never a troupe to shy away from the dark side, American Theatre Company started its 48th season with a sensational production of the Tony Award-winning tragicomedy “Fun Home” and continues with “A Steady Rain,” a hard-boiled duologue— like a monologue, but for a pair of actors—about two Chicago police ofﬁcer friends (originally played on Broadway by Hugh Jackman and Daniel Craig) whose professional lives and personal loyalties come into harrowing conﬂict when a domestic disturbance call goes horribly wrong. The playwright, Keith Huff, was a writer for “House of Cards” and “Mad Men,” so he knows his way around gritty dialogue and stories of corruption and lost dreams. The play is minimalist in design, with the two actors addressing each other and the audience in a downpour of words as unrelenting as the rain in the title. Expect a tour de force from the two actors, as well as challenging material with themes of addiction and violence.

APRIL 6–14

Triple Feature NIGHTINGALE THEATER HELLER THEATRE COMPANY Now in its third season as an independent entity after its city funding was cut, Heller Theatre Company walks the talk in the Tulsa theater community, coming up with new ways to support, produce, and engage artists and viewers alike in the craft of writing and performing plays. This season, Heller took a gamble in a city that needs more gambles in the arts department and decided to produce only original works. So far, so fun: They’ve partnered with the Tulsa Latino Theater Company for “Time for Chocolate” and started a series called Second Sunday Serials (parts of which are streamed live on Facebook), where audience members vote on which works-inprogress get to be developed as they move to the next round. “Triple Feature,” an evening of oneact plays at Tulsa’s original indie theater, the Nightingale, closes the season, featuring new work by David Blakely (whose “The Light Fantastic, Or In the Wood” won a TATE award last year), Michael Wright (University of Tulsa applied of creative writing, theatre, and ﬁlm), and Archer C. Williams (who won best in show in the 2017 Heller Shorts contest).

FEATURED // 19

MAY 3–6

FOUR CHORDS AND A GUN

Signature Series UNIVERSITY OF TULSA LORTON PERFORMANCE CENTER TULSA BALLET Consistently its most interesting show of the year, Tulsa Ballet’s Signature Series brings together three short works chosen to mix in a little bite with the regularly-scheduled beauty. This year, artistic director Marcello Angelini has picked pieces that will hit those less obvious pleasure receptors—ones that make you think as well as feel. “The Green Table” is a crucially important dance work from 1932 made by German choreographer Kurt Jooss in a bleak historical moment between two wars. It’s an archetypal warning about history repeating itself, made in a groundbreaking style that combines cool irony with forthright emotion. (One of Jooss’s students was the legendary Pina Bausch.) “Rassemblement” by Nacho Duato explores themes of disenfranchisement and liberation in a dynamic, passionate dance set to Haitian folk songs. A new work by TB resident choreographer Ma Cong (fresh off his Broadway debut in “M. Butterﬂy”) completes the evening. A ballet company that sees itself as part of—not set apart from—sociopolitical engagement? More of that, please.

MAY 4–6, 10–12

Who’s Afraid of Virginia Woolf? JOHN H. WILLIAMS THEATRE, TULSA PAC AMERICAN THEATRE COMPANY Act One: Fun and Games. Act Two: Walpurgisnacht. Act Three: The Exorcism. It won’t be the easiest night you’ll ever spend at the theater, but it might be one of the most important. When Edward Albee’s incendiary play opened in 1962, it exploded every norm of decorum in American theater with its devastating dive into the marriage of George and Martha, a middle-aged couple (played in the 1966 film version by Richard Burton and Elizabeth Taylor) who, over the course of three hours, with the unwitting participation of a younger couple, Nick and Honey, shred every precious, shared illusion that has kept them functioning together. The wit is savage and exhilarating, the truth-telling brutal, and the finale as cathartic as a Greek tragedy. The booze flows freely over what New York Times critic Charles Isherwood once called “the blood sport” of the evening’s living room entertainment. Productions of this play don’t come around often, so don’t miss this. It’ll change everything you think you know about what theater can do.

20 // FEATURED

7 Brown Bag It: The bART Center for Music bART Center students perform. KATHLEEN WESTBY PAVILION, TULSA PERFORMING ARTS CENTER PAC TRUST 8 Concerts with Commentary: A Musical Legacy This concert features Celtic/folk/bluegrass group Vintage Wildﬂowers with special guests Scott Schmidt and Quinn Maher. MEINIG RECITAL HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC 9 Beethoven and Ewazen A TSO chamber ensemble performs Eric Ewazen’s Trio for Trumpet, Violin and Piano (1992), as well as pieces by Beethoven. FLY LOFT TULSA SYMPHONY 9–17 A Steady Rain See sidebar. LIDDY DOENGES THEATRE, TULSA PERFORMING ARTS CENTER AMERICAN THEATRE COMPANY 9–18 Into the Woods Classic fairy tales collide to show storybook tales don’t always get storybook endings in Stephen Sondheim’s beloved musical. JOHN H. WILLIAMS THEATER, TULSA PERFORMING ARTS CENTER THEATRE TULSA

10 Mozart and Ives Tulsa Oratorio Chorus, Tulsa Symphony Orchestra, and organist Casey Cantwell perform Mozart’s Mass in C Minor, Charles Ives’s “The Celestial Country,” and the Buck Concert Variations on “The Star Spangled Banner.” TRINITY EPISCOPAL CHURCH TULSA ORATORIO CHORUS 11 Horszowski Trio with Masumi Per Rostad The trio will perform Schumann’s Trio in F Major, Op. 80 and Andreia Pinto-Correia’s “Night Migrations” (written specifically for Horszowski Trio), and Rostad will join the Trio for Dvorak’s Piano Quartet in E-flat Major, Op. 87. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER CHAMBER MUSIC TULSA 11 Second Sunday Serials See five new short plays by local writers and vote on which three should continue into the next month’s installment. AGORA EVENT CENTER HELLER THEATER COMPANY 16–18 Cinderella The classic tale of an ordinary girl and one magical night inspired Prokofiev’s 1945 ballet. Choreographed by Ben Stevenson. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA BALLET 17 Made in America Signature Symphony performs Aaron Copland’s “Appalachian Spring” and TU professor Joseph Rivers’s Concerto for Oboe and English Horn. VANTREASE PACE SIGNATURE SYMPHONY

23 Rudy Maxa Travel expert and Emmy-winning television host Rudy Maxa shares stories from great destinations around the world. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA TOWN HALL 24 Mahler’s Symphony No. 4 TSO performs John Adams’s “Chairman Dances,” Edward Elgar’s “In the South (Alassio),” and Mahler’s Symphony No. 4, featuring soprano soloist Sara Coburn. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA SYMPHONY 30–April 8 The Sleeping Beauty When an evil enchantment causes a princess to sleep for 100 years, only a kiss from the son of a king can wake her. SPOTLIGHT THEATRE SPOTLIGHT CHILDREN’S THEATRE

APRIL 3–5 The Sound of Music This classic musical is sure to make the list of many theatergoers’ favorite things. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER CELEBRITY ATTRACTIONS 4 Brown Bag It: TSO Woodwinds Quintet KATHLEEN WESTBY PAVILION, TULSA PERFORMING ARTS CENTER PAC TRUST

January 3 – 16, 2018 // THE TULSA VOICE

MAY 24

FLYIN’ WEST

Alicia Hall Moran: Black Wall Street JOHN H. WILLIAMS THEATRE, TULSA PAC CHOREGUS PRODUCTIONS

6 Curious George: The Golden Meatball Everyone’s favorite monkey and his friends Chef Pisghetti churn out meatballs for All-You-Can-Eat Meatball Day. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER PAC TRUST 6–7 Tulsa Sings! 100 Years of Song Finalists in The News On 6’s Tulsa Sings competition will perform with Signature Symphony and beside Scott Coulter and other Broadway stars. VANTREASE PACE SIGNATURE SYMPHONY 6–14 Triple Feature See sidebar. NIGHTINGALE THEATRE HELLER THEATRE COMPANY 13–15 TBII: Emerging Choreographer’s Showcase Tulsa Ballet’s second company performs three world-premier works by up-andcoming choreographers, including Penny Saunders. STUDIO K AND ANNE & HENRY ZARROW PERFORMANCE STUDIO, HARDESTY CENTER FOR DANCE EDUCATION TULSA BALLET 13–21 The Producers The winner of the most Tony Awards for a single production, Mel Brooks’s “The Producers” is the tale of two men who discover they can make more money on Broadway with a ﬂop than with a hit. JOHN H. WILLIAMS THEATRE, TULSA PAC THEATRE TULSA

THE TULSA VOICE // January 3 – 16, 2018

13–21 Annie Leapin’ lizards! The lovable orphan Annie reminds us that even when life gets dark, the sun is always just over the horizon. MUSKOGEE LITTLE THEATRE 13 Piper Kerman The author of the memoir-turned-Netﬂix series “Orange is the New Black,” Piper Kerman, and Women’s Prison Association board member talks about the real-life story behind the TV show. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA TOWN HALL 14 Voyage of Discovery: Space, The Final Frontier With guest conductor Ron Spigelman, TSO will perform Gustav Holst’s “The Planets,” as well as some memorable themes from the star worlds of “Trek” and “Wars,” accompanied by projected images from NASA. TULSA PAC TULSA SYMPHONY 15 TU Spring Chamber Music Concert Student chamber music ensembles perform. MEINIG RECITAL HALL, LORTON PERFORMANCE CENTER TU SCHOOL OF MUSIC 19 Rodgers & Hammerstein’s Cinderella The classic Tony-winning Broadway take on this fairy-godmothers-and-glass-slippers fairy tale comes to Broken Arrow. BROKEN ARROW PERFORMING ARTS CENTER 20–27 Happy Days Richie Cunningham, Potsie, Ralph Malph, and the Fonz are back to help save Arnold’s Drive In from demolition by hosting a dance contest and wrestling match. BROKEN ARROW COMMUNITY PLAYHOUSE

21 Mahler & Faingold Noam Faingold, director of the bART Conservatory, presents the world premiere of his piece “Others,” followed by a performance of Mahler’s Fifth Symphony by Signature Symphony. VANTREASE PACE SIGNATURE SYMPHONY 22 Takács Quartet The Grammy-winning quartet performs Mozart’s Quartet in G Major, K.387, Dohnányi’s Quartet No. 2, and Mendelssohn’s Quartet in F Minor, Op. 80. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER CHAMBER MUSIC TULSA 27–29 Tick … Tick … Boom! This autobiographical musical by the Pulitzer- and Tony-winning creator of “Rent,” Jonathan Larson, tells a story about holding onto your dreams through life’s most difﬁcult challenges. LIDDY DOENGES THEATRE, TULSA PERFORMING ARTS CENTER TULSA PROJECT THEATRE 27 & 29 Turandot Giacomo Puccini’s ﬁnal and most musically adventuresome opera is the fable of a princess who requires any suitor to answer three questions correctly—or face his death. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA OPERA 27–May 6 The Sunshine Boys An aging vaudevillian comedy duo reunites for a TV special many years after an acrimonious split. SAPULPA COMMUNITY THEATRE

There can never be enough tellings and retellings of what happened to Black Wall Street in the 20th century, not just in Tulsa, but also nationwide. Silence perpetuates abuse. When history books make the evisceration of black afﬂuence invisible, that means it can remain unseen when it happens today. There’s been a push in recent years to make this story heard, from Jacob Fred Jazz Odyssey’s “Race Riot Suite” to Jennifer Latham’s hit young adult novel “Dreamland Burning.” Singer and composer Alicia Hall Moran, herself the daughter of a black ﬁnancier, created this staged concert in collaboration with her husband, jazz pianist Jason Moran (artistic director of jazz at the Kennedy Center) and historian Gene Alexander Peters (co-director of the Slave Relic Museum in South Carolina). It’s a performance piece featuring Moran, a noted mezzo-soprano, and six musicians in a wide-ranging, many-layered exploration of the past, present, and future of money and blackness, drawing on sources including Black Enterprise Magazine from the 1980s, studies of 18th-century New York, and documents from the Tulsa Race Riot in 1921.

JUNE 19–24

An American in Paris CHAPMAN MUSIC HALL, TULSA PAC CELEBRITY ATTRACTIONS “An American in Paris” has a long lineage, reaching back to 1928 with a work for orchestra by George Gershwin, which was adapted into a much-loved ﬁlm by Vincente Minnelli in 1951, starring Gene Kelly as an American soldier and Leslie Caron as his spunky lover in a postwar France. It holds both bleakness and the hope of new beginnings. For this lavish Broadway production, director and choreographer Christopher Wheeldon of London’s Royal Ballet created a dance-rich homage to the original ﬁlm. This adaptation by Craig Lucas (who wrote “The Light in the Piazza”) brings new depth to a story we’ve come to know as merely bright and jolly, making it surprisingly relevant in our own war-torn world. Expect some of the best dancing you’ve ever seen in a Broadway show, from a touring cast that includes a principal dancer from the National Ballet of Canada and a soloist from the Joffrey Ballet.

FEATURED // 21

HOME GROWN: BARRON RYAN

MR. BURNS, A POST-ELECTRIC PLAY

HOME GROWN: ANNIE ELLICOTT

JULY 13–22

Lizzie LIDDY DOENGES THEATRE, TULSA PAC TULSA PROJECT THEATRE Taking “edgy” to the extreme, Tulsa Project Theatre brings the axe—the tool kind, and the guitar kind—to the Doenges Theatre with “Lizzie,” a rock musical about the notorious Lizzie Borden, who was tried for and acquitted of murdering her father and stepmother by chopping them up at their own home in New England in 1892. Borden’s shocking story, a rubbernecker’s dream, was a media sensation throughout America and has resonated through many depictions, from ballets to novels. This version started as an experimental rock/theater hybrid in New York City’s Lower East Side and grew through the 1990s and 2000s into what its creators call “a big, loud rock show with a story.” It toured around the country, turned into a studio album, and now makes its Oklahoma debut with TPT, featuring four women fronting a six-piece rock band in a headbanging homage to a dark American myth. There will be blood.

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MAY 1–2 Shen Yun The Chinese dance company, inspired by hundreds of years of tradition, returns to Tulsa. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER FALUN DAFA ASSOCIATION OKLAHOMA 2 Brown Bag It: TSO Brass Quintet KATHLEEN WESTBY PAVILION, TULSA PERFORMING ARTS CENTER PAC TRUST 3–6 Signature Series See sidebar. LORTON PERFORMANCE CENTER TULSA BALLET 4–12 Who’s Afraid of Virginia Woolf ? See sidebar. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER AMERICAN THEATRE COMPANY 4–13 Mr. Burns, A Post-Electric Play Each of the three acts of this play takes place further into the future after an apocalyptic disaster. Fading memories of 20th-century pop culture become myths and legends as well as the basis for new religions and culture. CHARLES E. NORMAN THEATRE, TULSA PERFORMING ARTS CENTER THEATRE TULSA

12 Home Grown: Tulsa Symphony Soloists and Other Uniquely Oklahoma Artists These performances include a piccolo and tuba duet and other collaborations featuring Tulsa Symphony Orchestra soloists and other musicians from the state, including Annie Ellicott, Barron Ryan, and guest conductor Ron Spigelman. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER TULSA SYMPHONY 13 Second Sunday Serials See ﬁve new short plays by local writers and vote on which three should continue into the next month’s installment. AGORA EVENT CENTER HELLER THEATER COMPANY 18–20 The Lion King Jr. Students in Theatre Tulsa’s Broadway Bootcamp class perform Elton John and Tim Rice’s Broadway sensation. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER THEATRE TULSA 18–27 Jolly Roger and the Pirate Queen When a gentleman overhears his wife saying he’s boring and that she’d rather marry a dashing and daring pirate, he takes the plunge by buying a ship, recruiting a crew, and even hiring Long John Silver as a pirate tutor. SPOTLIGHT THEATRE SPOTLIGHT CHILDREN’S THEATRE

24 Alicia Hall Moran: Black Wall Street See sidebar. JOHN H. WILLIAMS THEATRE, TULSA PERFORMING ARTS CENTER CHOREGUS PRODUCTIONS

JUNE 6 Brown Bag It: Luis Eduardo Garcia Garcia KATHLEEN WESTBY PAVILION, TULSA PERFORMING ARTS CENTER PAC TRUST 8–17 Over the River and Through the Woods When a young man who spends every Sunday with his grandparents tells them he plans to move across the country, they begin scheming to keep their grandson nearby. BROKEN ARROW COMMUNITY PLAYHOUSE 19–24 An American in Paris See sidebar. CHAPMAN MUSIC HALL, TULSA PERFORMING ARTS CENTER CELEBRITY ATTRACTIONS

JULY 13–22 Lizzie See sidebar. LIDDY DOENGES THEATRE, TULSA PERFORMING ARTS CENTER TULSA PROJECT THEATRE a

January 3 – 16, 2018 // THE TULSA VOICE

FEB. 16-25, 2018 @ TULSA PAC ★★★★★★★★★★★★★★★★★★

Tulsa Symphony presents…

BARTOK, BEETHOVEN, HARBISON JANUARY 26, 2018 • 7:00 pm An evening of musical contrasts of both time period and style, this chamber series concert will feature Bartók’s Contrasts, Duo Sonatas by Beethoven, and Harbison’s Songs America Loves to Sing. Featured TSO musicians include John Rush, David Carter, Ronnamarie Jensen, Kari Caldwell, and Lyndon Meyer.

VISIT TULSASYMPHONY.ORG FOR MORE INFORMATION AND TO PURCHASE TICKETS OR CALL 918-584-3645

Join us for music, wine and conversation in a classically casual atmosphere. Doors open at 6:30 PM for wine and appetizers and the music begins at 7 PM. The FlyLoft is located at 117 N Boston Ave, across from Hey Mambo. THE TULSA VOICE // January 3 – 16, 2018

/TULSAAWARDSFORTHEATREEXCELLENCE

FEATURED // 23

ASSASSINATION CHARACTERS Theatre Pops produces unconventional musical on Feb. 9–18 at IDL Ballroom by KATHRYN PARKMAN

A read-through of “Assassins” in late December | GREG BOLLINGER

ART, IN ITSELF, IS AN ATTEMPT TO BRING ORDER OUT OF CHAOS. —STEPHEN SONDHEIM Theatre Pops Artistic Director Meghan Hurley has been committed to “Assassins” since last year, no matter what the rest of the world decides to do. She’s not jaded, just ready for 2018. The Stephen Sondheim–John Weidman concept musical deconstructs the lives of nine assassins or would-be assassins of U.S. presidents, and is notoriously challenging to stage effectively.1 The ensemble cast requires nearly a dozen actors who can convincingly portray historical characters and sing. And then there’s the risk of an act of violence prompting a cancellation, like with the Broadway production that was yanked after 9/11. “The original play was written to start a conversation about people who are demonized, to see them as human beings,” said “Assassins” director Rick Harrelson. The way he sees it, the more polarizing themes like mental health and gun control become, the more important they are to talk about. “That’s the power of this kind of art. It makes people think about things they don’t want to think about,” Harrelson said. On August 21, 2017, the moon orbited between Earth and the sun, and for a few eerie moments we lived in the moon’s shadow instead of the sun’s light. This was the 24 // FEATURED

ﬁrst total solar eclipse visible across the country in nearly a century, and the most recent of the Saros 145 eclipse series. Among astrologers, Saros 145 has a reputation for bringing turbulence and upheaval every 18.5 years: President Clinton’s impeachment coincided with the previous Saros 145 eclipse in 1999. Eighteen years before that, in 1981, John Hinckley Jr. attempted to assassinate President Reagan; in 1963, President Kennedy was assassinated in Dallas; President Franklin D. Roosevelt (who survived Giuseppe Zangara’s 1933 assassination attempt) died in ofﬁce in 1945, shortly before the atomic bombings of Hiroshima and Nagasaki. All of those occurred around the time of Saros 145. Though 1927 didn’t see a presidential assassination, several riots and bombings occurred. In 1909 President Taft survived an assassination attempt. But the stars incline, not compel. Hurley said there was absolutely nothing that could make her cancel “Assassins.” This will be a tricky production to pull off, planetary forecast be damned. Her vision for the stage included dusty reds, yellows, and blues, a distressed Stars and Stripes, and a shooting gallery surrounded by guns and cheap prizes. Everything’s collapsible, ready to tear down at any moment. The doomed carnival aesthetic felt appropriate for a musical set in a time out of time, an everywhen of American dreaming.

“It’s not purgatory—not exactly,” Hurley said. Mercury went retrograde for almost the entire month of December, which can complicate matters relating to travel, communication, and everything else with moving parts. Ostensibly, reaching negotiations is extra tough during Mercurial retrogrades: Computers are likely to crash and miscommunications abound. Through December, Hurley and Harrelson were stuck between the “boring stuff” (sizing costumes, ordering books, approving budgets) and the “try everything to see what works” phase of pre-production. As above, so below. It was a Monday, six days before Christmas, and a car wreck on the Broken Arrow Expressway caused actors to be late to the first read-through. A dozen folding chairs were arranged in a circle in the back of Saied Music. As the chairs filled, those present were talking about “A Christmas Story Live!”— specifically the “You’ll Shoot Your Eye Out” number. “Jane Krakowski maybe shouldn’t be allowed near children,” someone said. This was the first time the “Assassins” cast were all in the same room at the same time, though almost everyone had friends in the circle and the unacquainted were quickly introduced. At 6:45 p.m. the read-through began: “Hey, pal,” said The Proprietor (played

by Adrian Alexander). These ﬁrst lines are meant to catch the attention of Leon Czolgosz (Jacob Brockunier). The historical Leon Czolgosz was born in or near Detroit, Michigan, around 1873, to a poor immigrant family. As a child he had poor health, likely from tuberculosis. “I mean you. Yeah, you.” The Proprietor has the aloof anarchist’s interest piqued. “C’mere and kill a president!” On September 6, 1901, Czolgosz shot President William McKinley twice in the abdomen at point-blank range. McKinley died from an infection eight days later, and 45 days after that Czolgosz was sitting in an electric chair in Auburn, New York. “I shot the president because he was the enemy of the good people—the good working people,” Czolgosz declared before his execution. “I didn’t believe one man should have so much service and another man should have none.” And then three jolts, each 1,800 volts, pulsed through his body, and he died. Mike Pryor brought the accent he’d been working on for an affably evil John Wilkes Booth character, full of Southern charm in one moment and unﬂinching racism in the next. I cringed when Booth referred to Abraham Lincoln as a “nigger-lover.” It’s easy to forget Booth was famous as an actor before he was infamous as an assassin. In fact, Booth’s public torch-carrying for Southern causes in the North was January 3 – 16, 2018 // THE TULSA VOICE

BE STILL, and know that I am GOD.

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TELL US WHAT YOU’RE DOING So we can tell everyone else Send all your event and music listings to voices@langdonpublishing.com

ARE YOU CURRENTLY PAIN-FREE BUT WANT TO LEARN HOW TO REGULATE PAIN? A TU IRB-approved research study is being conducted at The University of Tulsa that uses biofeedback to teach participants to regulate responses to pain. Participants must be healthy, currently pain-free, and able to attend 3 laboratory training sessions (3.5-4.5 hours/ day). Behavioral and physiological reactions to painful stimuli will be assessed each day to test the efficacy of the training. Up to $300 compensation will be provided for completing the study. CONTACT: Psychophysiology Laboratory for Affective Neuroscience (PI: Jamie Rhudy, PhD)

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GREG BOLLINGER

likely only tolerated because of his fame. Booth was easily able to access Lincoln’s private box at Ford’s Theatre on April 14, 1865, because he was regularly employed there as an actor. After ﬁring his derringer into Lincoln’s brain, Booth leapt to the stage, breaking his leg in the process. When the actor yelled, “Sic semper tyrannis!” (Latin for “Thus always to tyrants!”)2 as if he’d rehearsed it, much of the audience assumed he was making a cameo. “He was so infected and unbalanced by his profession that the world seemed to him to be a stage on which men and women were acting, living, their parts,” Booth’s contemporary Joel Chandler Harris said. “Everything I know about history I know from musical theatre,” Pryor said. Squeaky Fromme, the disciple of Charles Manson who tried to shoot President Ford in 1975, is the ﬁrst historical character Liz Hunt has played. Her research included Jess Bravin’s 400-page biography “Squeaky: The Life and Times of Lynette Alice Fromme.” “The interesting thing about reading the book is we actually have a lot in common. She had a passion for theatre and a tough home life, which I can relate to. She’s a woman who believed deeply in something. I think there’s power in her story,” Hunt said. “I got online and watched an THE TULSA VOICE // January 3 – 16, 2018

interview to see the way she talked, body language—especially the way she emoted when talking about Charles Manson.” “Theatre should be disruptive,” she added. “It should make you think … even about things you don’t want to think about. A good dose of disruption is good for theatre. I’m excited to see how the audience feels about it.” As of this writing, the Theatre Pops team is still hard at work on the show, which will run February 9–18. a

Not an arts organization, an organization dedicated to Tulsa’s arts.

Arts Alliance Tulsa provides a complete listing of 40 local visual and performing arts organizations and their exhibits, performances or events.

artstulsa.org

FOR INFORMATION ON TICKETS AND SHOW TIMES, VISIT THEATREPOPS.ORG.

1) The distinction between assasination and murder hinges on the motivations of the aggressor—anyone can be assassinated if the killer is inspired by a political or otherwise fanatical cause. Assassin is also one of the more interesting etymological threads to untangle; we get our word from the Latin assassinus, derived from the Arabic pejorative hashshashin, literally meaning “hash user.” 2) Timothy McVeigh was wearing a t-shirt with “Sic semper tyrannis” below an illustration of Abraham Lincoln when Oklahoma Highway Patrol pulled him over for driving a car without a license plate in April 1995. The shirt is partially visible in his mugshot.

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January 3 – 16, 2018 // THE TULSA VOICE

Mercedes Love hugs her daughters, Le'Airra Jones and Frantazia Jones as they say goodbye at the end of their visit.

LOVE,

COURAGEOUS AND STRONG Girl Scouts Beyond Bars eases state separation of mother and child BY KRISTI EATON PHOTOS BY JOSEPH RUSHMORE

THE TULSA VOICE // January 3 – 16, 2018

Crouching in the backseat of a van barreling down Interstate 44 to Oklahoma City, Daisa Love shows off her neatly-scripted tattoo bearing her mother’s name, Mercedes Love, on her right shoulder. Love got the tattoo three months ago, a constant reminder of her best friend, who she sees only once per month at the Kate Barnard Community Corrections Center in Oklahoma City. Mercedes has been locked up for six years, serving time for a probation violation stemming from a robbery conviction. Every month, her three daughters make the trek from their homes in Tulsa to Oklahoma City to see her, thanks to Girl Scouts Beyond Bars, a Girl Scouts of Eastern Oklahoma program that takes children to see their incarcerated mothers. “I love Fridays because I know that’s when I get to see her. Walking in there and seeing her face is just amazing,” Daisa says, sitting between her two sisters, Le’Airra and Frantazia Jones, as they eat snacks.

FEATURED // 27

AT LEFT: Le'Airra Jones laughs as she travels with her sisters from Tulsa to Oklahoma City to visit their mother at the Kate Barnard Correct Beyond Bars program. BELOW: Daisa Love ﬁxes her mother Mercedes Love's hair. AT RIGHT, CLOCKWISE: Frantazia Jones on her way to O their mother at the Kate Barnard Correctional Center. Frantazia Jones, Le'Airra Jones, and Daisa Love wait to sign in at the Kate Barnard her mother, Mercedes Love, dance and laugh. Daisa Love hugs her mother one last time at the end of their visit.

Mercedes is one of the 3,144 women currently in Oklahoma’s prisons. According to the Girl Scouts, national data indicates that almost two-thirds of female prisoners are mothers. Programs like Girl Scouts Beyond Bars make visiting imprisoned mothers more accessible to their children.

28 // FEATURED

As of December 19, Mercedes is one of the 3,144 women currently in Oklahoma’s prisons. According to the Girl Scouts, national data indicates that almost two-thirds of female prisoners are mothers. Programs like Girl Scouts Beyond Bars make visiting imprisoned mothers more accessible to their children. “It’s hard, because I know at the end of the day I’ll have to leave her,” says 18-year-old Daisa, who is a senior at Webster High School. Riding down the interstate, Daisa quietly sings “My Girl.” At the prison, Daisa, along with Le’Airra, 13, and Frantazia, 14, play hide and go seek as they await their mother’s arrival. The meeting room is large and open, ﬁlled with long tables and chairs, a Christmas tree in the corner, and a table covered with games like Clue and Yahtzee. It’s where the four of them will spend the next few hours talking about their school days, the new baby in the family, and basketball players. Mercedes, dressed in jeans and a gray long-sleeved shirt with “Corrections” written across the back, arrives in the room to hugs and laughter. The girls arrive earlier than usual, so Mercedes didn’t have time to ﬁnish styling her hair or add makeup to her eyebrows, she says.

All four are full of energy and smiles. Mercedes arrives with gifts in hand for the girls for Christmas and two of the girls’ upcoming birthdays. They munch on brownie cakes covered with icing and M&M’s and Reese’s Pieces. “I’m very thankful that I still have them in my life,” Mercedes says. “And that they’re with my mother and not in the state’s custody or anything like that. Because at the end of the day, I feel like it’s not whether my mom or Girl Scouts lets my kids come see me. It’s about them wanting to come see me, and they do every time.” Mercedes has about seven or eight more years left to serve, though she’s hopeful she’ll be released before then due to good behavior. Both Mercedes and the girls are adamant that she was in the wrong place at the wrong time when she was arrested for robbery just after Daisa’s 13th birthday. Mercedes had started using PCP, a drug she had little experience with, she says, and it took over her life for a year, during which time authorities say she was involved in a robbery. Mercedes says she didn’t actually rob anyone. Now, she says, she has turned her life around. She works at the prison and doesn’t have any misconduct charges. January 3 – 16, 2018 // THE TULSA VOICE

tional Center as part of the Girl Scouts Oklahoma City with her sisters to visit d Correctional Center. Daisa Love and

“I don’t get in trouble with the police or my case manager or inmates. Nothing like that,” she says. “I’m doing everything that’s required. I’m doing it. I’m ready to go home to my kids.” Those kids include a new grandson, her 19-year-old son’s baby. Mercedes’ daughters are three of approximately 1.8 million girls and another 800,000 adults who take part in Girl Scouts. Several chapters have their own program for taking children into prisons. In Eastern Oklahoma, the Girl Scouts Beyond Bars program has been around since 2002, says Sheila Harbert, chief community outreach ofﬁcer for Girl Scouts of Eastern Oklahoma. “Our main goal is the issue with the children,” Harbert says. “Having a parent incarcerated is trauma. It paralyzes them. It stunts them. It stops their growth. They don’t know what to do because this mom has been taken out of the home.” According to statistics provided by Girl Scouts of Eastern Oklahoma, 88 percent of children allowed prison visits showed a reduction in delinquency and arrests. Parental training for mothers who don’t get to spend much time with their children is also available through Girl Scouts Beyond Bars. THE TULSA VOICE // January 3 – 16, 2018

The 2014 Oklahoma Study of Incarcerated Women and Their Children found that children of incarcerated mothers experience several problems, including mental health, relationship, educational, substance abuse, and legal issues. “You have to teach them parenting, but you also have to teach them leadership, or how to work with the child. But you have to have fun, too, because they are in a dark place. When the children come, they just want to have their family be a family again,” Harbert says. Mercedes is determined not to have any of her children follow her path, especially Daisa, who’s around the age Mercedes was when she ﬁrst got into trouble with the law. During the meeting, Mercedes’s cousin, Brittany, is among the incarcerated mothers meeting with their children. Paul Wright, editor of Prison Legal News, a newspaper focusing on criminal justice issues and prisoners’ rights, says children of incarcerated parents face a “triple whammy” of trouble. They’re physically separated from their parents, who are often located in remote prisons. The prisons are often difﬁcult to access, with draconian visiting hours and policies, and the tele-

phone access policies are difﬁcult to follow and pricey. “This puts a huge number of burdens and problems on the children of incarcerated parents,” Wright says. Twenty or 30 years ago, there may have been an issue with stigmatization, though Wright thinks this isn’t much of a problem anymore. “Ironically, as mass incarceration becomes more common and affects more and more people, I’d say, conversely, there’s less stigmatization than, say, 30 years ago,” Wright says. As for the Girl Scouts Beyond Bars program, Wright thinks it’s positive. One of his critiques is that Girl Scouts doesn’t spend enough time and resources on the girls who have incarcerated parents. However, he believes the Girl Scouts are doing better than they were 20 years ago, because they weren’t doing anything with incarcerated parents then. Harbert said many of the women she meets have been conned by men to take the wrap. “You think it’s a cliché, but they take the fall. You’re like, ‘Why would you do that?’ But the men have persuaded them like, ‘Hey, I have a record, you don’t have anything—why don’t you take this,’” she says. “They don’t realize what they just agreed

to could be child endangerment, selling something within a few yards of a school. They take on more of a charge than they really thought.” For the children, meanwhile, the program helps them feel less isolated in their family life. Kids who might never have known their fellow classmates also have mothers in prison are able to connect with others. “We’re role models, but what really makes it work is [them],” she says. “It builds relationships.” Those relationships are evident as they huddle in a circle with the other mothers and children on a recent Friday evening following a dinner of sandwiches, chips, cupcakes, and—of course—Girl Scout cookies. The participants held up the Girl Scout three-ﬁnger salute while reciting the Girl Scout promise: On my honor, I will try: To serve God and my country, To help people at all times, And to live by the Girl Scout Law. Following the recitation, Mercedes hugs each of her daughters, one by one, and says she looks forward to seeing them again. “I’m ready to go home to my children.” a FEATURED // 29

FAILING TO PROTECT OKLAHOMA WOMEN On Tondalao Hall’s case by MOLLY BRYANT

30 // FEATURED

IN 2004, TONDALAO HALL WAS A 19-yearold mother of three children who were present when their father, Robert Braxton Jr., strangled Hall on the couch of their apartment. Braxton then broke the bones of their two youngest children when their mother was at work. After returning home, Hall noticed that her youngest baby was whinier than usual, and when she addressed the issue with Braxton, he denied any knowledge of the condition. She called the pediatrician, who told her to put an ice pack on her son’s leg. After following the doctor’s orders and waiting a couple of days, she arrived at the hospital, where she was promptly arrested for failing to protect her children from the abuse of their father. Hall had no criminal record—not even a trafﬁc violation. Braxton previously had been served with a protective order by a former girlfriend. Despite their histories, Hall was sentenced to 30 years in prison while Braxton received 8 years of probation and walked out of the courthouse a free man following his trial. Currently, Hall sits in her cell at Mabel Bassett Correctional Center with 18 years left to serve in her sentence, while Robert Braxton Jr. posts to Facebook about what he wants to eat for lunch, inquiring about whether I-HOP or Denny’s serves the best pancakes, and reposting GIFs about, for instance, running over an ex-girlfriend with a car. Justice is served? “This case is not an anomaly,” said Allie Shinn, director of external affairs at the ACLU of Oklahoma, which took on Hall’s case in 2016. “All over the state, the law is being disproportionately applied to women, particularly women of color.” Oklahoma locks up more women than any other place in the world, and our average rate of female incarceration of 142 per 100,000 is almost twice the national average of 63 per 100,000. “We are holding women to an impossible standard when we ask them to simply leave, when leaving is one of the most dangerous times for her and her children,” Shinn said. “In Tondalao’s case, she didn’t even know this [abuse] was happening.” The chances of being murdered by an abusive partner skyrocket by 75 percent in the year following a separation, and the chances of children being injured increase signiﬁcantly. Without family or social support, staying in an abusive relationship may be the safest, most reasonable option for a woman and her children at that time. Domestic Violence Intervention Services (DVIS) in Tulsa seeks to provide a safe option for victims like Hall. “We work every day to ensure survivors have a safe place to recover from the trauma they have experienced,” said DVIS CEO Tracey Lyall. “Many times, people do not realize the risk survivors take when

they choose to leave an abusive relationship. This is why it is so important to reach out and safety plan with an agency that specializes in assisting families affected by domestic and sexual violence, such as DVIS.” While the decision to leave an abusive relationship is complex, the criminal justice system demands black and white answers to matters that aren’t so clear. “Courts don’t take into account the accepted science on how victims of abuse behave,” Shinn argues. Domestic violence is highly traumatizing and can lead victims to lose track of timelines or downplay their victimization. They also may be less than candid with their answers due to fear, intimidation, and shame. Oklahoma’s courts should be especially attuned to domestic violence issues, since one in four women in Oklahoma will experience domestic violence in their lifetime, and far less will seek help from formal institutions. Women of color, in particular, are less likely to seek supportive services due to barriers like systemic racism, stereotypes, and historical trauma—all of which are reﬂected in Hall’s case. In addition to blaming Hall for being a poor witness in Braxton’s trial and the reason he received a light sentence, Assistant District Attorney Angela Marsee argued that Hall should get life in prison, adding, “She’s their mother. She’s responsible for them … They were in harm’s way because of what she did, and they were in pain because of what she didn’t do, and she should pay for that.” Failure to Protect laws frequently silence victims of domestic violence. The fear of having your children taken away, of long-term imprisonment, or of having an abuser end up with custody of one’s children are enough to cause an ethical dilemma for any mother. Oklahoma’s criminal justice system puts the onus solely on mothers to be responsible for children, regardless of any danger they might face. Moreover, society’s antiquated views of women’s duties led to a severe case of injustice in which a domestic violence survivor sits in jail for 30 years while her—and her children’s— abuser walks free. Tondalao Hall deserves better than this. Our community deserves better than this. Both District Attorney Angela Marsee and Judge Ray C. Elliott declined to comment on the case due to ongoing litigation. a For more information on this case, please visit the ACLU of Oklahoma at www.acluok.org. If you are affected by domestic violence and would like help, please call DVIS at 918-743-5763. January 3 – 16, 2018 // THE TULSA VOICE

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daytrip

n a world where digital technology increasingly takes the place of everyday tactile experiences, the last few years have seen a corresponding rise in the popularity of immersive art experiences. Artists like Yayoi Kusama, whose infinity mirror rooms currently appear as part of sold-out exhibits across North America, and destinations like Meow Wolf in Santa Fe and City Museum in St. Louis lift audiences from the roles of observers to those of participants. In these places, art isn’t a static image—it’s an environment to explore and absorb. Taking inspiration from these innovators, a team of Oklahoma City community leaders and artists formed a collective known as Factory Obscura earlier this year, and—with the help of numerous volunteers—spent three months planning and another three months constructing SHIFT, which they describe as a “fully-immersive, experiential art installation.” “To people who haven’t seen SHIFT, it’s difficult to explain what we’re trying to make,” said Kelsey Karper, exhibit curator and co-founder of both Current Studio and Factory Obscura. “It’s a little like an amusement park or theater. It’s a cross between a lot of things. It’s high-energy up front, and the farther you go back, the more relaxing it gets.” The installation is a cerebral funhouse where the underlying theme of human consciousness takes physical form as visitors explore roughly 1,200 square feet of intertwining environments representing the mind, the man-made world, and the natural world. “How we interact with those environments is how we explore our own consciousness,” Karper said. Visitors enter the space through a web resembling a floorto-ceiling skull made of welded pencil rod steel and blinking neurons. From there, they can climb through an enormous clock face into a life-size optical illusion, toward a whirling, hypnotic

32 // ARTS & CULTURE

FACTORY DIRECT Ninety minutes from Tulsa, SHIFT is Oklahoma’s foray into large-scale experiential art by MEGAN ROSSMAN

SHIFT at Current Studio in Oklahoma City | BRANDON SEEKINS

spiral. Or they can crawl through a blacklight-illuminated tunnel, which looks like the setting of a prehistoric rave. Tulsa native and pattern designer Tiffany McKnight painted the 1,000 inches of glowing canvas. On the other side of the studio, guests pass through a small black chamber filled with outer space-related videos and a touch-activated blinking staircase that ascends to a celestial bank of color-changing clouds composed of hundreds of plastic milk jugs threaded together. Even using the bathroom at SHIFT is an adventure. Mirrored walls, sea plants cascading from the ceiling, and diffused, reflective light turn a visit to the toilet into an undersea escapade. Beyond the bathroom, the nature theme continues as the exhibit veers into its final motif. A canopy of trees, walls of felt and

papier-mâché leaves, and ceilings of origami blossoms swaddle a trio of hanging “pods” and a grassy “nest” area. These cushy rest spots, paired with handmade flora and fauna and a soundtrack of chirping birds, encourage visitors to linger. “It’s a comforting space,” said Leigh Martin, Factory Obscura artist and Tulsa native. “And there are many details to observe. It incites a sense of wonder.” Martin, who works primarily as a fiber artist, focused on creating the pods. There’s a pod reminiscent of a beehive, an ocean-themed pod, and a forest pod—blanketed inside with LEDlit flowers and leaves—that’s large enough to accommodate an adult for a momentary escape. “It was a big opportunity for me to branch out,” Martin said. “It’s definitely challenging my skill set, joining forces with artists

whose work is so different from my own. It’s been a huge learning experience in collaboration.” The varying backgrounds of those involved—from architects, community organizers, and entrepreneurs to tattoo artists, ﬁlmmakers, and painters—results in a vivid sensory experience that also strikes an emotional chord with just about everyone who visits. “It’s been so cool to watch that transformation happen as they move through this space,” Karper said. “You can see there’s a change happening in people, there’s a sense of wonder and playfulness that maybe people don’t tap into on a regular basis.” She and the other members of Factory Obscura want to take it to a much larger scale. SHIFT is what Karper calls the group’s “proof of concept”—a jumping off point for something bigger. The group achieved its initial $50,000 funding goal in November and has seen more than 3,300 visitors since the exhibit opened that month. The group’s ultimate objective is to create a permanent home in Oklahoma City that will host large-scale, ever-evolving installations in a space of around 50,000 square feet. They plan to open the ﬁrst phase in 2020. Karper is also looking at ways to take SHIFT on the road as a traveling exhibit to share with communities across the state. In the meantime, Current Studio visitors can traverse their higher consciousness at no cost through February 25. In May 2018, AHHA will open “THE EXPERIENCE,” an artist-driven, fully immersive installation. But until then, Tulsans will need to hit I-44 for full-blown fantastical environs. a

SHIFT is open Thursday–Sunday, noon– 6 p.m., except Christmas Eve. Admission is free. Current Studio, 1218 N. Pennsylvania Ave., Oklahoma City. (405) 6731218 or factoryobscura.com. January 3 – 16, 2018 // THE TULSA VOICE

poem

BY BETHANY POWELL

I have combed my hair with the seed-combs of basil, cleaned my nails with the brush of soil, been midwife to bulbs, and built their villages, mourned the miscarriages of never-birthing seeds. This is not what is strange in me. You know my honeysuckle curls, that would cling to anything, and my willow-hands, brushing light where tenderness is better than pruning. I read my soul, staring into the sun-blue sky overlaced by maple buds. I ﬁnd my own roots, tugging among wheat and tares,

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and separate them from these things which would poison me. Time in the garden—ﬁelds and ﬂower-boxes—I spend hours in just minutes. Then I look up and night has come without notifying afternoon.

54th Annual

The part of me that sleeps during winter is not dead or hiding. It is unfolding unseen spires into new ground.

The Next Generation

A room of her own? More revolutionary still—land. Land to bring alive like a picture of a soul, and back to burial, with faith that again new life will rise. Do not ask me the dates of my transformations—the almanac is in riddles. They are truth all the same. Do not trust the fruit to be your friend, I hear, and do not plant all your seeds in one pot. Too much is as bad as too little—each plant has its own will. Do not take me out of the garden—I am there, and I meet me. Not pristine, not uniform, not made in the image of anything less than God. Yes. A maker in my own land, which is now under my nailbeds and up my life-breathing nostrils. I am. a

February 16-18, 2018 Tulsa, OK | River Spirit Expo Square LARGEST Indoor Car Show in the country! SPECIAL APPEARANCES: “Misfit Garage” Tom Smith “Gear Dogs” Nate Boyer, James Miller, & Lance Moland “Count’s Kustoms” Ryan Evans “Twinstunts Thrill Show” LIVE MUSIC: Jimmy Lee Jordan Band Rockabilly Brian Dunning DEMOLITION DERBY & ONE & ONLY INDOOR “HOONING” FREESTYLE ACTION ARENA!

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For entry & vendor info: @StarbirdCarShows www.StarbirdCarShows.com | (918)-406-8966 or (316)-655-7888 THE TULSA VOICE // January 3 – 16, 2018

ARTS & CULTURE // 33

contactsheet

CONTACT SHEET: LIGHTPLAY photos and words by CEILI LAWRENCE The word photography stems from the Greek words “phos” (light) and “graphé” (drawing), together meaning “drawing with light.” Inspired by this definition and my fondness for analog photography, I use my work as a manifestation of the fascinating optic physics behind each photo. Because of light’s fluid and evasive nature, it can be held and adapted to create different impressions of mood, insight, and fantasy. My work is an attempt to direct that fluidity into form and frame by incorporating kinetic photography, experimental camera techniques, and other darkroom methods. This project is influenced by the embracing of contradiction—between construct and aura, symbolism and surrealism—while still tethering the line between reality and unreality. a

Contact Sheet is a place for local photographers to share their projects. If you’re interested in submitting, write to voices@langdonpublishing.com.

34 // ARTS & CULTURE

January 3 – 16, 2018 // THE TULSA VOICE

THE TULSA VOICE // January 3 â&#x20AC;&#x201C; 16, 2018

ARTS & CULTURE // 35

thehaps

FIRST FRIDAY ART CRAWL

Friday, January 5, 6 to 9 p.m. The Tulsa Arts District, thetulsaartsdistrict.org 108 Contemporary: “The State of Craft: Oklahoma Members,” Artist of the Month E. Dee Tabor; AHHA: Margi Weir: “Bearing Witness”; Brady Artists Studio: Pottery by Mel Cornshucker, Donna Prigmore, and Chas Foote, Jewelry by Seth and Rachael Dazey; Bush Arbor Grove: Interactive sculpture in the park; Club Majestic: Hoe You Think You Can Dance? Contest; FlyLoft: Art Market curated by John Hammer; Gypsy Coffee House: “ReSeen/ReScene” Photography by Jennifer Weigel; Henry Zarrow Center for Arts and Education: Monterrey Pop: 50 Years; The Hunt Club: The 5th Element; Living Arts: “Space, Held” by Holy Mother Collective, “To Be Seen” by Sarah Gross, “Chrysalis Project” by Erin Rappleye; Mainline: Art Directors Club group show, Music by Smoochie Wallus; Philbrook Downtown: “Identity & Inspiration” and “Game On!” – Oklahoma superstar larger than life; Soundpony: Soft Leather’s 1st Anniversary; Spinster Records: That First Friday HipHop Event w/ Alan Doyle; Tulsa Artists’ Coalition: “Decadence” by Yatika Fields; Tulsa Glassblowing School: Demonstrations by Kenneth Gonzales; Woody Guthrie Center: John Denver special exhibit EVAN TAYLOR

FLEA MARKET

MUSEUM TOUR

Fleas will be hopping at the grand opening of the 918 Flea Market on Route 66, held in the old Rose Bowl. Bugs will be stopping by too, courtesy of VW Club of Tulsa. Jan. 7, 10 a.m.–6 p.m., facebook.com/ 918fleamarket

Get a behind-the-scenes look at unseen parts of Philbrook at their Museum Secret Tours. Jan. 12, 6–9 p.m., Philbrook Museum of Art, philbrook.org

MUSIC TRIBUTE

ON STAGE

The Starlight will pay tribute to the King, hosting All Shook Up: A Birthday Tribute to Elvis, featuring live music and sketches, videos, trivia, and dancing to the music of Elvis. Jan. 8, 4 p.m.–2 a.m., thestarlite.net

Theatre Tulsa presents Andrew Lloyd Weber’s enduring tribute to Eva Perón, Evita. Jan. 12–21, John H. Williams Theatre, Tulsa Performing Arts Center, theatretulsa.org, $30-$32

RACING

RUN

The annual dirt track-sprint-racing extravaganza, The Lucas Oil Chili Bowl Nationals return to Expo Square. Jan. 9–13, chilibowl.com

Run past vintage and new airplanes at Tulsa Air and Space Museum’s Runway Run 5K. The ﬂat course offers an opportunity to set a new personal best. Jan. 13, 10 a.m., tulsaairandspacemuseum.org, $25

FOR UP-TO-DATE LISTINGS: THETULSAVOICE.COM/CALENDAR 36 // ARTS & CULTURE

January 3 – 16, 2018 // THE TULSA VOICE

BEST OF THE REST EVENTS Girls Night Out The Show // The real Magic Mike experience // 1/10, IDL Ballroom, idlballroom.com TimesTalks Webcast w/ James & Dave Franco // Circle Cinema will screen a webcast of The New York Times’ TimesTalk with James and Dave Franco, stars of “The Disaster Artist.” // 1/10, Circle Cinema, circlecinema.com Ok, So Story Slam // The open-mic storytelling competition’s first theme of the new year is The Unexpected. // 1/11, IDL Ballroom, facebook.com/oksotulsa Best of Fest Screening // Living Arts hosts a screening of past winners of BisonBison Film Festival: A Student Competition followed by a Q&A with filmmakers. The festival features films made by university and college students. // 1/12, Living Arts, bisonbisonfilmfestival.org

COURTESY

MARTIN LUTHER KING, JR. DAY PARADE Monday, Jan. 15, 11 a.m. to 1 p.m. | Greenwood, mlktulsa.com

Celebrate the life and legacy of Dr. Martin Luther King, Jr. as ﬂoats, music, and marchers representing over 100 Tulsa groups and organizations honor Dr. King’s dream of peace and unity. The parade’s theme this year, “50 Years Later the Dream Still Lives” acknowledges April 4th of this year as the 50th anniversary of King’s assassination. The parade begins on John Hope Franklin Blvd at Detroit Ave, winds through OSU Tulsa and Greenwood, and ends at Archer St and Elgin Ave.

Heller Theatre Company presents another edition of Second Sunday Serials, with new and continuing short plays by local writers. Jan. 14, 7:30 p.m., $5

THE TULSA VOICE // January 3 – 16, 2018

TU Men’s Basketball vs UCONN // 1/3, Reynolds Center, tulsahurricane.com TU Women’s Basketball vs Tulane // 1/3, Reynolds Center, tulsahurricane.com ORU Men’s Basketball vs Fort Wayne // 1/4, Mabee Center, oruathletics.com ORU Men’s Basketball vs Western Illinois // 1/6, Mabee Center, oruathletics.com TU Women’s Basketball vs Cincinnati // 1/6, Reynolds Center, tulsahurricane.com Tulsa Oilers vs. Colorado Eagles // 1/6, BOK Center, tulsaoilers.com

TFA 2nd Saturday Tour: Whittier Square // Tulsa Foundation for Architecture’s monthly tour ventures out of downtown for a look at the historic and evolving Kendall Whittier District. // 1/13, The Bobby Pin, tulsaarchitecture.org

ORU Men’s Basketball vs South Dakota State // 1/10, Mabee Center, oruathletics.com

PERFORMING ARTS

Tulsa Oilers vs. Allen Americans // 1/12, BOK Center, tulsaoilers.com

Cabaret // Escape to the seedy underbelly of Berlin as the world creeps ever closer to WWII. // 1/14, Broken Arrow Performing Arts Center, brokenarrowpac.com/ cabaret.html

COMEDY Comedy Night // 1/3, Centennial Lounge at VFW Post 577, facebook.com/ CentennilLoungeTulsa James Ervin Berry // 1/3, The Loony Bin, tulsa.loonybincomedy.com

LOCAL PLAYS

SPORTS

Moonlight Minx Parade Presents: Glitterbox // Tulsa’s newest burlesque and variety troupe presents an evening of entertainment featuring classic and neo burlesque, bellydancing, contortion, and more. // 1/13, The Vanguard, thevanguardtulsa.com

SYMPHONY

Grammy-winning composer and “Virtual Choir” conductor Eric Whitacre will lead Tulsa Symphony Orchestra and Tulsa Oratorio Chorus. Jan. 13, 7:30 p.m., $15–$70, tulsasymphony.org

New Bloods Vol. 9 w/ Audrie Brennan, Jersey Thornell, Garren McCurry, Leon Purley, Zahava Glaz, Terrell Norton, Blake Lensing, J.J. Molinaro // 1/14, The Venue Shrine, tulsashrine.com

Comedy Night // 1/10, Centennial Lounge at VFW Post 577, facebook.com/ CentennilLoungeTulsa

Tulsa Oilers vs. Colorado Eagles // 1/7, BOK Center, tulsaoilers.com ORU Men’s Basketball vs North Dakota State // 1/8, Mabee Center, oruathletics.com

Tulsa Oilers vs. Wichita Thunder // 1/10, BOK Center, tulsaoilers.com ORU Women’s Basketball vs North Dakota State // 1/11, Mabee Center, oruathletics.com

ORU Women’s Basketball vs South Dakota State // 1/13, Mabee Center, oruathletics.com TU Men’s Basketball vs Wichita State // 1/13, Reynolds Center, tulsahurricane.com TU Women’s Basketball vs Memphis // 1/13, Reynolds Center, tulsahurricane.com Tulsa Oilers vs. Allen Americans // 1/13, BOK Center, tulsaoilers.com ORU Men’s Basketball vs South Dakota // 1/14, Mabee Center, oruathletics.com

Daniel Dugar // 1/10, The Loony Bin, tulsa.loonybincomedy.com ARTS & CULTURE // 37

musicnotes

anda Jackson, aka the Queen of Rockabilly, helped kick off the musical revolution known as rock ’n’ roll. From Elvis Presley to Elvis Costello, Bob Wills to Cyndi Lauper—and even Jack White— Jackson has shared the stage with many. Originally from Maud, Okla., she is a local and national treasure who has lived her dream of being a professional musician since 1952, her sophomore year of high school. Jackson—now 80, a great-grandmother, and still doing the damn thing—will return to Cain’s Ballroom on Jan. 21 to play an all-ages show. Tickets and more information at cainsballroom.com.

at the [Golden] Nugget and they were at the Four Queens, I think, so we’d chum around together. ROSE: Were female performers back then supportive of one another? JACKSON: Yeah, we were all that way in country music in that day and time. We were happy for everybody that got hits … there wasn’t any backstabbing or gossip. We were just all happy to be on TV. ROSE: You’ve had quite a few contemporary female performers, like Cyndi Lauper and Adele, cover your songs. Do you have a particular favorite?

KRIS ROSE: I noticed in your videos that you have “Wanda Jackson” written on your guitar. Was there more than one? Publicity photo of Wanda Jackson, age 17 | COURTESY

WANDA JACKSON: Yes. That was a series. Daisy Rock Guitars. I represented them for a while. but I don’t play guitar much anymore. It’s a signature line, I think is what it’s called. It has my autograph, then my initials in mother of pearl up the neck, I think. I get more comments on that than just about anything. I had my name and then two or three stars, and my mother and I put rhinestones around it. ROSE: Because everything has to have rhinestones, right? JACKSON: Yeah. ROSE: When did you stop playing so much guitar? JACKSON: I ﬁnally decided guitar was covering up my assets. (Laughs) And it’s heavy. I got tired of it. Your guitar is really what you’re hiding behind, so I started when I had a band—I didn’t pick up my guitar on the third set of the night. Before long I was doing two sets without it. Now I haven’t played in a while, because I’ve had 38 // MUSIC

‘SWEET LADY WITH THE NASTY VOICE’ STILL ROCKS Wanda Jackson talks Elvises, assets, and staying humble by KRIS ROSE excellent bands back me. So, I’ve lost my calluses, and it hurts to get those back. Guitars are heavy for me now. At 80 years old, I don’t have the strength I used to. I can still sing and rock. Rockin’ chair. Not really. I’m one of few rockin’ great-grandmas. We just had our ﬁrst great-grandchild. ROSE: Congratulations. I saw the picture. I also read in your book that you originally wrote the song

“Right or Wrong” with Brenda Lee in mind and that you worked with her a little bit. What other female rockabilly performers have you worked with? JACKSON: Lorrie Collins … It was a television show in California. [The Collins Kids] were regulars, and I would do a lot of guest appearances. When I had dates in California I’d do the Ranch Party. We were in Las Vegas at the same time. I was

JACKSON: Well, Cyndi Lauper, I thought she did “Funnel of Love” very good. She and I performed it together. That was fun, to work with her. She’s a real sweetheart. And I’ve had a lot of people cover “Right or Wrong.” I know Skeeter Davis had it in one of her albums. These new rockabilly artists [recorded a] whole album as a tribute to me. Like 21 different people were singing my songs. It was called Hard-Headed Woman. (Laughs) ROSE: Is there any current performer you’d like to cover your songs? JACKSON: I think Miranda Lambert, would do some of my things real cute. What I really wanna do is sing with Ronnie Dunn, another Oklahoma guy. He’s about my favorite male singer currently. ROSE: We have movies about Loretta Lynn and Patsy Cline. When are we gonna have a Wanda Jackson movie? JACKSON: It’s been in the works off and on. One company gave me a good bit of front money, but they’ve got other things going. Now that my book is out, maybe something will happen. January 3 – 16, 2018 // THE TULSA VOICE

ROSE: Do you have anybody in mind to play Wanda? JACKSON: I think there’s gotta be several Wandas. Miley Cyrus would be a good teenage Wanda. I love to hear her talk. ROSE: I love her accent, too. So, you know about the Harvey Weinstein scandal. Was there any Weinstein-type guy back in the day that the women performers warned each other about?

We all ﬁnd our way. Stay clear-headed and don’t get the big head. My daddy was a wise guy, and he said, “Wanda, everybody else gets a job. They have to get up, punch a time clock. That’s their job, and yours is no more than that. It’s the job you’ve chosen.” That keeps you on the straight and level. Don’t become a diva. Do your job, get paid, and live happily ever after.

ROSE: Are you looking forward to playing on the Cain’s stage?

JACKSON: And made it more of a show than just a dance.

JACKSON: Yeah. Elvis Costello was there one time. He had me come out and sing our song we’d recorded together. I worked there once, just me, and we had a good crowd. I remember the old Cain’s, but I think it’s very nice now.

ROSE: I remember reading that your husband said to Costello, “Great, that’s all I need is another Elvis in my life.” (Laughs) JACKSON: That’s all the hell I need. (Laughs) a

ROSE: They’ve cleaned it up.

JACKSON: Not that I recall. It probably went on, but I was always protected by my father. [He] acted as my road manager, booked dates, and drove me for about six years. Daddy kept me on a pretty short leash, because I was just 17 when I started touring. I’d had a couple of hits, Billboard chart songs, while I was in high school. I had a lot of respect from the men I worked with. I was their little buddy or sister. Then, not too long after I married Wendell Goodman, he took over the spot Daddy ﬁlled and began booking the dates. He was very capable, very smart, and he kept my band going. That’s a lot—trying to keep four or ﬁve guys out of jail. ROSE: You’ve had one of the most successful careers without any of the drama of alcohol, scandal, pills, or temper tantrums. What advice can you give to young female performers about having a long career? JACKSON: We’re all individuals, and we make our own way. Times have changed so much it’s hard for me to tell somebody how to get started. I tell them if there’s anything else that can ring their bell, that can make them happy, to get up in the morning ... then you might should go do that. But keep your eye on your goal. Even if you get sidetracked, get back on the right path and keep your nose clean. I told ‘em when they were writin’ the book, “I don’t know what you’re gonna write about. I never even had a divorce; I was able to raise two children reasonably good.” They said, “Well, you kept it all together, and that’s your story. It needs to be told.” THE TULSA VOICE // January 3 – 16, 2018

MUSIC // 39

musicnotes

WALL OF SOUND Helen Kelter Skelter’s new album is a turbulent, fuzzy ride by BECKY CARMAN Helen Kelter Skelter | DYLAN JOHNSON

ach dense, chaotic second of sound Helen Kelter Skelter puts out contains months or years of work and a lifetime of musical experience forged into a single moment. The Norman-based rock band’s new album, Melter, contains nearly an hour of those seconds. Helen Kelter Skelter is guitarist/vocalist Eli Wimmer, guitarist Tim Gregory, bassist Cody Clifton, keyboard player Jay Jamison, and drummer Scott Twitchell. Melter, which features drums from the band’s former drummer Nathan Harwell, is HKS’s sophomore full-length, out Jan. 19 on Chainsaw Kittens frontman Tyson Meade’s Shaking Shanghai imprint. Melter—a wall of sound—was recorded over 2016 at Gregory’s and Wimmer’s respective homes, as well as at Bell Labs Recording Studio in Norman. Contained therein is HKS’s signature mix of psychedelic rock, enveloping an array of ﬂourishes: There are piano lines reminiscent of a villainous Bond anthem, heavy guitar riffs that bring to mind the best of ‘70s glam rock, and ultra-heavy drum and bass lines mingling with effects pedals and all manner of sounds 40 // MUSIC

that can only come from months of studio experimentation. “I would go to Tim’s house to record minimal, skeleton song structures,” said Wimmer. “Not one of them was like, ‘Alright, let’s write a song.’” “Yeah, everything was written as we recorded. Instead of, ‘I’ve got this song,’ it was, ‘Let’s fuck around,’ and then it became a song,” Gregory said. This patient approach helps explain the many layers of Melter, a turbulent, fuzzy ride that, while possessing its fair share of musical twists and turns, comes across as a cohesive, conﬁdent statement record. It’s high-speed shoegaze, game show psychedelia, bratty punk, and garage rock. It’s surprising here and there, yet it promises to satisfy listeners’ potential pop sensibilities. Wimmer called the band “unshy” about showing its inﬂuences, and that rings true. “It actually is the sound we were going for,” Gregory said. “We want to write songs like a band we want to listen to.” “I thought it was going to sound much more brash. Trent [Bell, of Bell Labs] really mixed the shit out of it,” Wimmer said. “It

came out a lot shinier and more put-together than I thought.” In concert with the apparent technical skill from each instrument is a surprising (for a rock band) respect for preserving the integrity and idea of a song, reining in jamming and solos to keep the beat driving. Many of the band members have long resumes with area groups (among them Pidgin Band, Robots in the Sky, Gravity Propulsion System, and Creep City) spanning multiple genres, with Helen Kelter Skelter acting as the culmination of all of that taste and experience. When you put that many inﬂuences into a single song, things get loud. “Real loud,” Wimmer said. “Not completely loud in an unstructured way, though.” Gregory agreed: “We don’t just blare ... but bring your earplugs.” They’ll ﬂaunt those decibels for a run of album release shows, including two in Norman Jan. 12 and 13 and a Jan. 20 date at Mercury Lounge. For anyone who wants to take them home, they’ve pressed 100 ultra-clear and 400 black vinyl, as well as some CDs, for the occasion.

Beyond Melter, HKS is anxious to do a bit of touring here and to build on their growing fanbase in nearby college towns like Lawrence and Fayetteville. Then they’ll get to work on new material for Helen Kelter Skelter 3.0, whatever that may be. To hazard a guess, the heavier playing style of Twitchell might factor into the project—“He’s deﬁnitely amped up our songs,” Gregory said—just as literally anything someone in HKS heard and liked recently might. “I found a whole bunch of new bands to think about,” Wimmer said. “Not leaving anything behind, but we have a lot more to go alongside it all.” Of the band’s forthcoming songs, Gregory said something that won’t surprise anyone who listens to Melter for more than a single second: “Totally different. We want to do something different now.” a

MELTER TULSA RELEASE SHOW 10 p.m., January 20 Mercury Lounge | 1747 S. Boston Ave. mercurylounge918.com helenkelterskelter.com January 3 – 16, 2018 // THE TULSA VOICE

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musiclistings Wed // Jan 3

Sun // Jan 7

Mercury Lounge – Jared Tyler & Seth Lee Jones Soul City – Don & Steve White The Colony – Tom Skinner’s Science Project

Breakroom Tavern – Wesley Michael Hayes East Village Bohemian Pizzeria – Mike Cameron Collective Mercury Lounge – Brandon Clark Oklahoma Jazz Hall of Fame – Steve Wilkerson and the Midnight Riders – ($5-$20) Soul City – Bruner & Eicher Soundpony – E.P. Love The Colony – Paul Benjaman’s Sunday Nite Thing

Soul City – Susan Herndon Soundpony – Afistaface Spinster Records – Matthew McNeal, Kalyn Fay The Colony – Hosty! – ($5) The Hunt Club – Less Than 12 The Max Retropub – DJ Ali Shaw The Vanguard – Ben Kilgore, Sam Westhoff, Jacob McCoy Burton – ($10) The Venue Shrine – Shotgun Rider – ($7) Yeti – Cucumber Mike’s Happy Hour

Mon // Jan 8

Sat // Jan 13

Centennial Lounge at VFW Post 577 – Dave Les Smith, Papa Foxtrot, and Friends Hodges Bend – Mike Cameron Collective Mercury Lounge – Chris Blevins The Colony – Seth Lee Jones Yeti – The Situation

Bad Ass Renee’s – The Violet Hour, Sovereign Dame Cain’s Ballroom – Uncle Lucius, Carter Sampson – ($15-$17) Hard Rock Casino - Cabin Creek – Bobby D Hard Rock Casino - Riffs – Jesse Joice, Mayday By Midnight Lot No. 6 – Dave Les Smith Mercury Lounge – Pilgrim Osage Casino Tulsa – Signal Twenty-Nine Soundpony – Pony Disco Club The Colony – Smoky & The Mirror, Nature & Madness – ($5) The Hunt Club – RPM The Max Retropub – DJ Aaron Bernard

Thurs // Jan 4 Hard Rock Casino - Cabin Creek – Rusty Meyers Hard Rock Casino - Riffs – Scott Eastman, Another Alibi Mercury Lounge – Paul Benjaman Soul City – The Begonias The Colony – Jacob Tovar’s Thirst The Hunt Club – 5th Element The Max Retropub – DJ Moody Wyld Hawgz – Jake Flint

Fri // Jan 5 Beehive Lounge – Word of Hate Tour w/ Rue The Day, Chronic Trigger, Machine in the Mountain, Contagion 237 – ($8-$10) Blackbird on Pearl – Dixie Wrecked, Madewell, Follow The Buzzards Centennial Lounge at VFW Post 577 – Dan Martin Dusty Dog Pub – Barry Seal Hard Rock Casino - Cabin Creek – Pumpkin Hollow Band Hard Rock Casino - Riffs – Scott Ellison, Stars IDL Ballroom – Monxx – ($17.20-$22.35) Mercury Lounge – Les Gruff and the Billy Goat Mix Co – Wind Up w/ DJs Dodd and Nutter Osage Casino Tulsa – Drive Soul City – Susan Herndon Soundpony – *Soft Leather 1 Year Anniversary w/ Afistaface, Darku J, Foxy, Joey Brunk, Noms The Colony – Deerpaw w/ Joe Schicke – ($5) The Hunt Club – Rosy Hips The Max Retropub – DJ Ali Shaw Yeti – Cucumber Mike’s Happy Hour

Sat // Jan 6 B41 Brookside – Dan Martin

Blackbird on Pearl – Deerpaw, The Dirty Little Betty’s Centennial Lounge at VFW Post 577 – The Casual Six, Echoes & Copycats, Hector Ultreras Hard Rock Casino - Cabin Creek – Lucas Gates Hard Rock Casino - Riffs – The Hi-Fidelics, Rumor Osage Casino Tulsa – Annie Up Soundpony – Soul Night The Colony – Ego Culture, Marie Curie – ($5) The Max Retropub – DJ Robbo The Vanguard – Spooky Fruit, Destro, Kompulsive Child, Carcinogen Daily – ($10) The Venue Shrine – Chris Duarte Group – ($10) Woody’s Corner Bar – Wayne Garner Band

42 // MUSIC

Tues // Jan 9 Gypsy Coffee House – Open Mic Night Hard Rock Casino - Riffs – Travis Marvin Mercury Lounge – Wink Burcham & Jacob Tovar Oklahoma Jazz Hall of Fame – Depot Jazz and Blues Jams Soul City – Dustin Pittsley The Colony – Singer/Songwriter Night Yeti – Writers Night

Wed // Jan 10 Mercury Lounge – Jared Tyler & Seth Lee Jones Oklahoma Jazz Hall of Fame – Eicher Wednesdays – ($10) Soul City – Don & Steve White Soundpony – The Living Deads The Colony – Tom Skinner’s Science Project

Thurs // Jan 11 Hard Rock Casino - Cabin Creek – Great Big Biscuit Hard Rock Casino - Riffs – dar, Push The Limit Mercury Lounge – Paul Benjaman Soul City – The Begonias Soundpony – Flock of Pigs The Colony – The Soup Kitchen w/ Dane Arnold The Max Retropub – DJ Moody The Venue Shrine – *Mike Dillon’s New Orleans Pocket Percussion ft. Jim Loughlin of Moe – ($10) Wyld Hawgz – *Blues Audition Night for VFW Fundraiser Yeti – The Dull Drums

Fri // Jan 12 Bad Ass Renee’s – Scarlet View, The Decomposed, Pawn Shop Heroes Blackbird on Pearl – Dirtfoot – ($8) Crow Creek Tavern – Bethan Grace and GypsySoul Hard Rock Casino - Cabin Creek – dar Hard Rock Casino - Riffs – Donte Schmitz, Paralandra Mercury Lounge – *Jared Tyler Band Osage Casino Tulsa – The Rumor Pippin’s Tap Room – Open Mic Night

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Sun // Jan 14 Blackbird on Pearl – Bumpin Uglies – ($7) East Village Bohemian Pizzeria – Mike Cameron Collective Mercury Lounge – Brandon Clark Oklahoma Jazz Hall of Fame – *Brian Haas and Annie Ellicott – ($5-$20) Retro Bar & Grill – Koolie Hight and The Wise Men Soul City – Bruner & Eicher The Colony – Paul Benjaman’s Sunday Nite Thing The Hunt Club – Preslar Music Showcase The Vanguard – Purgatory, Atonement, Iron Born, Piece of Mind, Upright – ($10)

Get the word out

Mon // Jan 15 Centennial Lounge at VFW Post 577 – Dave Les Smith, Papa Foxtrot, and Friends Hodges Bend – Mike Cameron Collective Mercury Lounge – Chris Blevins Soundpony – Two Houses, Duclau The Colony – Seth Lee Jones Yeti – The Situation

Tues // Jan 16 Gypsy Coffee House – Open Mic Night Hard Rock Casino - Riffs – Allison Arms Mercury Lounge – Wink Burcham & Jacob Tovar Oklahoma Jazz Hall of Fame – Depot Jazz and Blues Jams Soul City – Dustin Pittsley The Colony – Singer/Songwriter Night The Vanguard – Final Drive, Stanley’s Revenge – ($10) Yeti – Writers Night

Send dates, venue and listings to John@ LangdonPublishing.com

January 3 – 16, 2018 // THE TULSA VOICE

popradar

uring the late ‘70s and through the ‘80s, the dominance of professional wrestling in many ways defined the Midwestern mainstream. Proud white guys like Dusty Rhodes and Hulk Hogan (with some POC on our side, like Junkyard Dog and Ricky “The Dragon” Steamboat) went headto-head with the likes of The Iron Sheik and Ivan Koloff, Cold War caricatures straight from Orwell’s playbook, meant to stoke otherness and exploit the fire of a rabid audience. Later, with the Gorgeous Ladies of Wrestling, we got black welfare queens and dominatrix Aryans, further conflating perceived xenophobic threats for the entertainment and edification of a largely white, straight, male status quo. Decades later, the mainstream popularity of pro wrestling has waned. Now, in its place, we have political opinion theater, in which craven bomb-throwers like Sean Hannity, Matt Drudge, Alex Jones, Rush (not the band), and basically everyone on Fox News who isn’t Shepard Smith parade personality and faux-outrage for audiences eager to watch a cage match with weak-kneed leftist heels. For the crass spectacle, modern tabloid punditry conjures memories of ‘80s professional wrestling—the pregnant id of Real Americans on display during a media mitosis, exploited for fun and profit by ratings-hungry networks. It didn’t take long for the sensationalist entertainment proffered decades ago by the World Wrestling Federation (now World Wrestling Entertainment, Inc., or WWE) to cross over into the previously anodyne world of talk shows. And it was kinda glorious. Jerry Springer, Richard Bey, and Jenny Jones, among others, stood on the shoulders of Geraldo Rivera, Morton Downey Jr.—and, to a degree, Howard Stern—who in the late ‘80s shifted what was

THE TULSA VOICE // January 3 – 16, 2018

Geraldo Rivera and Jerry Springer took cues from the WWF. | JUSTIN HOCH / WIKIMEDIA COMMONS

HOT AIR BUFFOONS Hate the state of modern political discourse? Blame the World Wrestling Federation. by JOE O’SHANSKY acceptable in a format that, during the era of Phil Donahue and Dick Cavett (and in Stern’s radio realm, Don Imus), was traditionally for sober talk of current events. Even Dr. Ruth maturely (if adorably) dealt with the subject of sex with a mind to inform and enlighten the audience—and maybe even solve some people’s problems. Like a public service. Not so much with the new old guard, who claimed the mantle of news and weaponized it for the culture wars. From ‘92 to ‘96, Richard Bey, a vaudevillian version of Sean Hannity, would introduce segments with SNLish skits: for instance, colonials crossing the Delaware before an episode about cuck husbands and their dictator wives. It’s early men’s rights activism shit that

reminds you of the now, because of course it’s hilarious that your domineering ball and chain spends your money while holding back on the sex (because naturally she owes it to you). Toss in bikini contests with kindergarten trivia questions the hot girls are too dim to answer, fatty-go-boom segments such as “The Gargantugames,” topical parodies like “OJ Family Feud,” and you get a pretty clear picture of conservative humor, then and now. The Jerry Springer Show, which also got its start in ‘92, is still a Thunderdome of porn stars, transgender lesbians, incestuous love triangles, amputee swingers, and pissed-off, alcoholic dwarfs. What used to be transgressive is now daytime comfort food for those who seek relief in the

knowledge that their lives probably could be worse. Perhaps by virtue of the fact he’s still on the air, Springer might be the purest distillation of Geraldo and Morton Downey Jr.’s politicized WWF legacy, pitting an evermore ratings-worthy, ostensibly freakish substrata of weirdos against each other, giving the presumably “normal” audience a chance to chime in on the drama, while providing an editorial voice to make it seem like real news. There was always a conservative bent to all of this. Geraldo, after all, failed upward from Al Capone’s empty vault to Fox News correspondent, and even G. Gordon Liddy had his own talk radio show. These moral arbiters wagged their ﬁngers at the culture, all the while feigning shock for ratings. But between the two pioneers, Downey was easily the more genuine. In his trademark chain-smoking outrage (he was proudly nicknamed The Loudmouth), he yelled of Oliver North being a hero, was an objective misogynist, and he gleefully exploited whatever ripped-from-the-headlines trend might up his ratings. But he also openly hated Nazis and talked civilly to liberal colleagues, like his friend Phil Donahue—he even encouraged him to run for ofﬁce, all while corrupting him to compete in the same sordid ratings war. Compared to modern ideological warriors with a national platform, Downey was practically nuanced, certainly entertaining, and weirdly prescient. On a 1988 episode of Nightline, debating television critic Bill Carter, Downey said of his show, “It’s an example of frustration that the American people have not been able to express themselves for fear of losing their jobs, being thrown out of their homes, having their wives leave them, or getting thrown out of school.” I imagine he’d be glad he didn’t live to see Twitter. a FILM & TV // 43

filmphiles

POSTHASTE

Tom Hanks and Meryl Streep in “The Post” | COURTESY

Spielberg’s latest is a rushed, romanticized hagiography IT’S SAFE TO SAY STEVEN SPIELBERG is a workaholic. With a lifetime of influential films in the rearview mirror, the prolific director, writer, and producer has a pace comparable to those of Ridley Scott or Woody Allen, often releasing two blockbusters in a year. “Jurassic Park” and “Schindler’s List”; “War of The Worlds” and “Munich”; “The Adventures of Tintin” and “War Horse.” His pattern of fantasy and reality walks the line between popcorn and prestige. During post-production of his upcoming FX-laden adaptation of a book (“Ready Player One”) substantially centered on nostalgia for his pop cultural peak, Spielberg somehow shot and finished “The Post”—because of course he did. I had no idea. “The Post” is based on the true story of Daniel Ellsberg, who, while working for the Rand Corporation, discovers evidence of a decades-long cover-up concerning our covert military involvement and escalation—like the bombing in Cambodia— leading up to the Vietnam War. Ellsberg steals the so-called Pentagon Papers and offers them up to The New York

Tulsa’s independent and non-profit art-house theatre, showing independent, foreign, and documentary films.

44 // FILM & TV

Times and The Washington Post. Their publication sent shockwaves as the country learned that the Johnson administration and the current Nixon cabinet had been lying to Congress and the American public for years. The new era of alternative facts, fake news, and a morally (possibly criminally) corrupt presidency compelled Spielberg to fast-track this film into theaters. And that sense of urgency shows—unfortunately, because it’s clear this film needed more time in the oven. It’s almost hard to believe, with a star-studded cast and an American master behind the camera, that instead of becoming a modern-day “All the President’s Men,” “The Post” winds up being so goddamn boring. Pedantic in its traditionalism and hamstrung by an overly expositional script that feels like a second draft, the vibrancy of Spielberg’s camera is a load-bearing wall in a house of cards. Largely centered on Washington Post publisher Kay Graham (Meryl Streep) and editor-in-chief Ben Bradlee (Tom Hanks), the screenplay is by first-time feature writer Liz Hannah, inexplicably teamed up with the co-writer of the infinitely more compelling and sharp “Spotlight.” Hannah does the production no favors, scripting dull scenes with limp observations of the cozy relationship between news outlets and the politicians they cover, all the while trying way too hard to generate drama around the nobility of journalism. Hanks and Streep are typically fine, but their being cast feels like a lazy move, doing as much as the half-baked script to take viewers out of the story. While I get his sense of expediency (not to mention superhuman work ethic), if Spielberg really thought the message here was that important, he should have given it the attention it deserves. Instead, “The Post” feels like a driveby afterthought. – JOE O’SHANSKY

Ia Shugliashvili in “My Happy Family” | TUDOR PANDURU

IRRECONCILABLE DISSONANCES ‘My Happy Family’ is about the wife who isn’t IF THE TITLE “A SEPARATION” HADN’T already been taken by a recent Oscar-winning Iranian drama, it would’ve been perfect for this film from the nation of Georgia. “My Happy Family” is an intentionally ironic title; the adjective “oblivious” would be more apt. Streaming exclusively on Netflix, it’s the portrait of a long-suffering middle-aged woman who must break free, not just from her husband but her entire household. Manana (Ia Shugliashvili) is part of a multi-generational family living under one roof at her mother’s house. Manana’s kids are young adults. None of the family—including her husband—appreciates her. Instead, they relate to her entirely on the basis of her traditional utilitarian roles. Stripped of personal identity, she’s not even allowed to celebrate her birthday on her own terms. They take her for granted yet expect everything from her. With heartbreaking realism, “My Happy Family” shows what happens when our assumed roles become the only things that define us, or the only connections we have to others, particularly our loved ones. When that happens, we start to lose our humanity. Introverted and distant, Manana begins to pull away, but her family is dismissive and annoyed by her depression, not sensitive or sympathetic to its causes or how severe it has become. They get a wake-up call when Manana announces she’s moving to an apartment

to live by herself—not for a while, but for good. She’s not looking for a lover, nor does she intend to cut herself off from her family; she simply can’t live with them or strictly for them. There’s conflict and confrontation here, but not the typical overwrought, melodramatic beats. There’s no airing of the proverbial dirty laundry. Manana’s husband Soso doesn’t beat her. Her children aren’t brats. Nobody’s done any one thing. Tension and confusion arise from more common problems, like disregard and neglect. The female–male directing duo of Nana Ekvtimishvili and Simon Groß intimately observe Manana in this oppressive environment, their camera lingering on her, accessing her exhausted psyche as life swirls around her. In this family, for that woman, life doesn’t enrich. It only drains. Once free, Manana is a better mother because she finally has something to give back: her true self. Shugliashvili embodies Manana’s beleaguered spirit. We empathize with her and sense the necessity of her decisions. In a society still following the patriarchal edict that a woman’s joy is her submission, she’s left with only one viable choice: independence. Manana’s resolve to reclaim her life is a quiet but firm act of necessary self-empowerment, a kindred sister of #MeToo. – JEFF HUSTON January 3 – 16, 2018 // THE TULSA VOICE

FREE IT ’S L E G A L T IL L

A BRIEF RUNDOWN OF WHAT’S HAPPENING AT THE CIRCLE CINEMA

OPENING JANUARY 5 MOLLY’S GAME Jessica Chastain stars in Aaron Sorkin’s Golden Globe nominated drama. For a decade, Molly Bloom ran the world’s highest stakes poker game, attracting famous high rollers. Co-starring Oklahoma’s own Samantha Isler. A native Tulsan, Isler will be at preshow meet & greet on Fri., Jan. 5, starting at 6 p.m. She will introduce the 7 p.m. premiere and talk about her role as the teenage Molly Bloom. Rated R.

OPENING JANUARY 12 I, TONYA A high octane, darkly comic biopic about Tonya Harding, the infamous 1990s Olympic skater accused of having her team rival Nancy Kerrigan kneecapped. Margot Robbie stars as Harding, and Allison Janney plays her profane, acidic mother. Golden Globe nominee for Best Picture and Actress (Musical or Comedy) and Best Female Supporting Performance. Rated R.

SPECIAL EVENTS 75TH GOLDEN GLOBE AWARDS: VIEWING PARTY Seth Meyers hosts the 75th Annual Golden Globes, honoring the year’s best in ﬁlm and television. The Circle’s big screen party will be hosted by Theatre Tulsa’s managing director Jarrod Kopp. Snacks, trivia, and prizes will be included during commercial breaks. Arrive early for 6 p.m. red carpet! This event is free. (Sun. Jan. 7, 7 p.m.) TIMESTALKS WITH JAMES & DAVE FRANCO Free webcast event. James Franco, actor/

THE TULSA VOICE // January 3 – 16, 2018

director of “The Disaster Artist”, is interviewed along with his brother and co-star Dave Franco. (Wed., Jan. 10, 6:30 p.m.) D.O.A. (1980) Screened on the day that marks the 40th anniversary of The Sex Pistols performance at Cain’s Ballroom, this newly restored documentary chronicles the rise and fall of the punk movement, with interviews of Sid Vicious and Nancy Spungen. Intro by former Cain’s owner Larry Shaeffer. Footage from The Sex Pistol’s Cain’s show and U.S. tour will also be shown. Tickets $10. (Fri. Jan. 12, 8 p.m.) SID & NANCY (1986) New 4K digital print of the biopic about Sex Pistols bassist Sid Vicious, his heroin addiction, and tragic relationship with girlfriend Nancy Spungen. Starring Gary Oldman and Chloe Webb. (Fri. & Sat., Jan.12 & 13, 10 p.m.) THE PENALTY (1920) A presentation of Second Saturday Silents. Lon Chaney stars as a criminal mastermind. Now deformed, he seeks vengeance on the doctor who mistakenly amputated his legs. Accompaniment on the Circle Cinema’s original 1928 pipe organ. Adults $5; Children $2. (Sat., Jan. 13, 11 a.m.) SEVEN CHANCES (1925) Free special silent ﬁlm screening. Buster Keaton stars in this comedy about a man who learns he will inherit a fortune if he marries by 7 p.m. that same day. Includes one of Keaton’s most renowned set pieces through the streets of LA. Presented by the Sooner State Chapter of the American Theatre Organ Society (Mon., Jan. 15, 7 p.m.)

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FILM & TV // 45

free will astrology by ROB BREZSNY

CAPRICORN

(DEC. 22-JAN. 19):

Hungarian psychiatrist Thomas Szasz dismissed the idea that a person should be on a quest to “ find himself” or “ find herself.” “ The self is not something that one finds,” he said. Rather, “it is something one creates.” I think that’s great advice for you in 2018, Capricorn. There’ll be little value in wandering around in search of fantastic clues about who you were born to be. Instead you should simply be gung-ho as you shape and craft yourself into the person you want to be.

AQUARIUS (Jan. 20-Feb. 18): Is there anything about your attitude or your approach that is a bit immature or unripe? Have you in some way remained an amateur or apprentice when you should or could have become fully professional by now? Are you still a dabbler in a field where you could be a connoisseur or master? If your answer to any of these questions is yes, the coming months will be an excellent time to grow up, climb higher, and try harder. I invite you to regard 2018 as the Year of Kicking Your Own Ass. PISCES (Feb. 19-March 20): In 2018, one of your themes will be “secret freedom.” What does that mean? The muse who whispered this clue in my ear did not elaborate further. But based on the astrological aspects, here are several possible interpretations. 1. You may have to dig deep and be strategic to access resources that have the power to emancipate you. 2. You may be able to discover a rewarding escape and provocative deliverance that have been hidden from you up until now. 3. You shouldn’t brag about the liberations you intend to accomplish until you have accomplished them. 4. The exact nature of the freedom that will be valuable to you might be useless or irrelevant or incomprehensible to other people. ARIES (March 21-April 19): “I need more smart allies, compassionate supporters, ethical role models, and loyal friends, and I need them right now!” writes Joanna K., an Aries reader from Albuquerque, New Mexico. On the other hand, there’s Jacques T., an Aries reader from Montreal. “To my amazement, I actually have much of the support and assistance I need,” he declares. “What I seem to need more of are constructive critics, fair-minded competitors with integrity, colleagues and loved ones who don’t assume that every little thing I do is perfect, and adversaries who galvanize me to get better.” I’m happy to announce, dear Aries, that in 2018 you will benefit more than usual from the influences that both Joanna and Jacques seek. TAURUS (April 20-May 20): In the Scots language spoken in Lowland Scotland, a watergaw is a fragmented rainbow that appears between clouds. A skafer is a faint rainbow that arises behind a mist, presaging the imminent dissipation of the mist. A silk napkin is a splintered rainbow that heralds the arrival of brisk wind and rain. In accordance with the astrological omens, I propose we use these mysterious phenomena as symbols of power for you in 2018. The good fortune that comes your way will sometimes be partially veiled and seemingly incomplete. Don’t compare it to some “perfect” ideal. It’ll be more interesting and inspiring than any perfect ideal. GEMINI (May 21-June 20): In 2018, half-buried residues from the past will be resurfacing as influences in your life. Old dreams that you abandoned prematurely are ripe to be re-evaluated in light of what has happened since you last took them seriously. Are these good or bad developments? It will probably depend on your ability to be charitable and expansive as you deal with them. One thing is certain: To move forward into the future, you will have to update your relationships with these residues and dreams. CANCER (June 21-July 22): Poet Diane Ackerman tells us that human tongues, lips, and genitals possess neural receptors that are ultra-responsive. Anatomists have given unsexy names to these bliss-generating parts of our bodies: Krause end bulbs, also known as bulboid corpuscles. (Couldn’t they have called them “glimmering rapture hubs” or “magic buttons”?) In any case, these sweet spots enable us to experience surpassing pleasure. According to my understanding of the astrological omens for

Place the numbers 1 through 9 in the empty squares so that each row, each column and each 3x3 box contains the same number only once.

NOVICE

2018, Cancerian, your personal complement of bulboid corpuscles will be even more sensitive than usual. Here’s further good news: Your soul will also have a heightened capacity to receive and register delight. LEO (July 23-Aug. 22): Mise en place is a French term whose literal translation is “putting in place.” When used by professional chefs in a restaurant kitchen, it refers to the task of gathering and organizing all the ingredients and tools before beginning to cook. I think this is an excellent metaphor for you to emphasize throughout 2018. In every area of your life, thorough preparation will be the key to your success and fulfillment. Make sure you have everything you need before launching any new enterprise or creative effort. VIRGO (Aug. 23-Sept. 22): Experimental composer Harry Partch played one-of-a-kind musical instruments that he made from objects like car hubcaps, gourds, aluminum ketchup bottles, and nose cones from airplanes. Collage artist Jason Mecier fashions portraits of celebrities using materials like noodles, pills, licorice candy, bacon, and lipstick tubes. Given the astrological configurations for 2018, you could flourish by adopting a similar strategy in your own chosen field. Your most interesting successes could come from using things as they’re not “supposed” to be used. You could further your goals by mixing and matching resources in unique ways. LIBRA (Sept. 23-Oct. 22): I wish I could make it nice and easy for you. I wish I could proclaim that the forces of darkness are lined up against the forces of light. I’d like to be able to advise you that the opening months of 2018 will bring you a showdown between wrong and right, between ugliness and beauty. But it just ain’t that simple. It’s more like the forces of plaid will be arrayed against the forces of paisley. The showdown will feature two equally flawed and equally appealing sources of intrigue. And so you may inquire, Libra, what is the most honorable role you can play in these matters? Should you lend your support to one side or the other? I advise you to create a third side.

MASTER

SCORPIO (Oct. 23-Nov. 21): In 2018, your tribe will be extra skilled at opening things that have been shut or sealed for a long time: heavy doors, treasure boxes, rich possibilities, buried secrets, shy eyes, mum mouths, guarded hearts, and insular minds. You’ll have a knack for initiating new markets and clearing blocked passageways and staging grand openings. You’ll be more inclined to speak candidly and freely than any other generation of Scorpios in a long time. Getting stuck things unstuck will come naturally. Making yourself available for bighearted fun and games will be your specialty. Given these wonders, maybe you should adopt a new nickname, like Apertura (the Italian word for “opening”), Ouverture (the French word for “opening”), Šiši (Yoruban), Otevírací (Czech), Öffnung (German), or Kufungua (Swahili). SAGITTARIUS (Nov. 22-Dec. 21): I predict that the coming months won’t bring you the kinds of opportunities you were imagining and expecting, but will bring you opportunities you haven’t imagined and didn’t expect. Will you be alert and receptive to these sly divergences from your master plan? If so, by September of 2018 you will have become as smart a gambler as maybe you have ever been. You will be more flexible and adaptable, too, which means you’ll be better able to get what you want without breaking stuff and wreaking whirlwinds. Congratulations in advance, my daring darling. May your experiments be both visionary and practical. May your fiery intentions be both steady and fluidic.

Name ten items you would put in a time capsule to be dug up by your descendants in 500 years. t h i s w e e k ’ s h o m e w o r k // T E S T I F Y AT F R E E W I L L A S T R O L O G Y. C O M . 46 // ETC.

January 3 – 16, 2018 // THE TULSA VOICE

THE FUZZ

The Tulsa SPCA has been helping animals in our area since 1913. The shelter never euthanizes for space and happily rescues animals from high-kill shelters. They also accept owner surrenders, rescues from cruelty investigations, hoarding, and puppy mill situations. Animals live on-site or with foster parents until they’re adopted. All SPCA animals are micro-chipped, vaccinated, spayed/neutered, and treated with preventatives. Learn about volunteering, fostering, upcoming events, adoptions, and their low-cost vaccination clinic at tulsaspca.org.

THE TULSA VOICE SPOTLIGHTS: TULSA SPCA

2910 Mohawk Blvd. | MON, TUES, THURS, FRI & SAT, 10 a.m.-5 p.m. 918.428.7722

SHEP is one tough dog! Yes, his nose might look a little funny, but that’s because he suffers from an autoimmune disorder. Not to worry—it adds to his character and is treatable with medication. Shep is also heartworm positive and his treatment is covered by the Tulsa SPCA. Shep is a four-and-a-half-year-old, shepherd mix. He loves hugs, snuggles, and playing outside.

ACROSS 1 Make agitated 5 Better up to the task 10 Mrs. Harry S. Truman 14 Honor for an actor 19 Dangerous whale 20 Upon which to 57-Across 21 Relative of a grapefruit 22 Place for ironworking 23 Front of a sucker? 24 Glaringly vivid and graphic 25 Prison for a sailor 26 Fauna go-with 27 Nash-inspired heady humor (Pt. 1) 31 Rebuffs 32 Cute little tune 33 Prepared to drive a Titleist 34 Safari helmet 35 Maravich of basketball 36 Color slightly 37 Mayo dollop 40 Involuntary muscle twitch 43 Boy Simpson 44 Be short-winded 45 Concluded 46 Mortar tray 47 Its spots can be funny 52 Rope-a-dope creator 53 Right hands, figuratively 54 Loses singlehood 55 Exhorts 56 High or low roller 57 Enjoy a winter sport 58 Daytona doings 59 Patriot suffix 60 Nash-inspired heady humor (Pt. 2)

69 Above, poetically 70 Invisible envelope 71 Words exchanged in church 72 One of O.J.’s judges 73 Put on display 76 Absolutely certain 77 New Zealand aboriginal 80 Market closing? 81 Forgive and start anew 85 Clock standard (Abbr.) 86 State forcefully 87 Some pale drinks 88 Hospital section 89 Carrying too much weight 91 Place to find ink or a con 92 Dance with lots of hip action 93 Successful pitch result 94 What sirens do 96 Things charged and exchanged 97 Meat rotator 98 Refuse to compromise 101 Nash-inspired heady humor (Pt. 3) 108 Fowl pole? 109 Certain woodwind 110 One delivering furniture 111 Metric weight 112 Correspond 113 Pretoria monetary unit 114 Eliminate or delete 115 Reindeer relatives 116 With ___ in sight 117 Three-pointer in b-ball slang 118 Father Christmas 119 Catch one’s breath DOWN 1 Like the cheeks of 118-Across

WALKER is a super happy, smart dog who would make a great pet for any family. He already knows commands like sit, stay, shake, and down. Walker is a three-year-old hound mix who weighs about ﬁfty-ﬁve pounds. If you’re looking for an active dog to go hiking, camping, and running with, Walker is your guy!

2 Some cookies 3 Freeze, as a windshield 4 Spanks 5 Having an inclination 6 Turquoisey 7 Attachment to love 8 Long, sweeping story 9 “Run for your life” warnings 10 Soap’s creation 11 Protected wading bird 12 Start to fall 13 The stuff of UFO reports 14 Printing method 15 Not a liquid or gas 16 Gator relative 17 Indian tourist site 18 Type of estate? 28 Type of ballerina 29 Henchman of Al Capone 30 Annoying gossip 35 Remove skin layers 36 Bicycle with two seats 37 Huge cymbal 38 It’s better than never 39 Turkish governors 40 Not on the up-and-up 41 Crippler Salk battled 42 Gallic goodbye 43 What to jump in when retiring 44 Fragment 45 Inner layer of the skin 48 Senegal’s capital 49 Eight on a sundial 50 What a Q-tip is 51 Great enthusiasm 57 Exhausted at the mall?

WARREN would love to ﬁnd a forever home with lots of snuggles. He is not a fan of children and would ﬁt best in a home with one or two special people. His is a breed that bonds very strongly with one person. Warren is four and a half years old, loves to dress up in sweaters, and sit on laps.

58 Chain letters, to geneticists 59 Kolkata’s setting 61 Crew team worker 62 Motion sickness symptom 63 Some hair features 64 Word with restricted or gray 65 Dublin’s domain 66 City in Belgium 67 The stuff of agendas 68 Expertise 73 Trade 74 Bee’s place 75 Available to public entry 76 Underestimate 77 Noon and six, commonly 78 Good-sized planting unit 79 Having been around the block 82 Be a good ghost 83 Mark the writer 84 Din 90 “I’m turning” signal 92 Jeered, in a way 93 Fleet of foot 94 Most sage 95 ___ Doria (doomed ship) 96 “A Doll’s House” playwright 97 Glittered 99 Steps crossing a fence 100 Treaty preceders 101 It’s east of Iraq 102 Like many food orders 103 Rubbed raw 104 Aspen conveyance 105 Times three, a war film 106 Lendl who raised a racket 107 Wishing one had GPS

RALSTON was rescued from a hoarding situation by the Tulsa SPCA and continues to grow in conﬁdence every day. His ideal home would be a comfortable, quiet environment with plenty of affection. Ralston is almost two years old and enjoys naps in the sun and playing with feather toys.

Universal sUnday Crossword oPen wide, HeH-HeH By Timothy e. Parker

OREO is a big bundle of love and affection. He is a quiet cat who enjoys naps in the sun. Oreo is two years old, but has an old soul. His ideal home would be a calm, comfortable environment with plenty of petting and treats!

1/14 ETC. // 47

Pleas e re cycle this issue.