January 2014 by The Norman Transcript

TOWN

January 10, 2014

Helen Harris Arc photo provided

100 YEARS

and counting The 100th student . exhibition starts soon

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Jazzing up

t h e

c l a s s i c s

Norman Philharmonic to pair Beethoven with Basie

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It won’t be a matter of ‘roll over Beethoven’ at Norman Philharmonic’s first performance in 2014 on Jan. 19. The cat named Ludwig’s 18th century classical grooves will be performed in the same concert as tributes to modern jazz heroes Louis “Satchmo” Armstrong and Charlie “Bird” Parker. “We’re trying to approach orchestral music in a little different way than a lot of symphonies and chamber orchestras in the U.S.,” Norman Phil Music and Artistic Director Richard Zielinski said. “We intend to produce a variety of music. You won’t hear a whole concert of Mozart.” Zielinski said Norman’s 3-year-old philharmonic’s upcoming concert will include a variety of classical music as well as American music, such as work composed by Aaron Copland, and a variety of jazz. It’s not difficult to imagine that pairing a polka by Igor Stravinsky followed by Barry Switzer guest conducting the theme from movie “The Magnificent Seven” might raise eyebrows. But Zielinski is fearless that way and believes it’s just right for our diverse American culture. “In the second half of the concert we’ll bring in the Oklahoma City Jazz Orchestra,” he said. “When the curtain opens you’ll see an old time jazz

ensemble like Count Basie would have had, along with strings from Norman Philharmonic. You won’t find that in a lot of symphony concerts around the country.” Zielinski likes to stir things up and what he’s learned is that Norman Philharmonic’s musicians dig the style and genre change-ups. “Music is music to me and I’ve been told I’m very different from a lot of classical conductors,” he said. “There’s good jazz and good rock ‘n’ roll just like a lot of it is bad. You’ll find that in all kinds of music.” The notion that some baroque composers suck is not anathema to him. Breaking down comfort zones and helping listeners understand that all music involves emotional expression is his aim. Zielinski is a guy who always played piano and sang but also attended undergraduate school on a football scholarship. “There’s no difference to me between being a conductor and being a point guard on the basketball court,” he said. Zielinski described himself as a servant of the community with his task being delivery of music. Norman Philharmonic’s mission has an educational component and they’re in alliance with the Norman Public School district. Dr. Richard Zielinski directs the Norman Philharmonics as they perform during a concert. photo by Kyle Phillips

by Doug Hill

“We get our programs to the music teachers who take it to third through fifth graders,” Zielinski said. “They learn about the composers and the music we’re doing. We’ll also be doing some heavy recruiting among the high school jazz band members for them to come to the concert.” NPS Superintendent Joseph Siano and Director of Fine Arts Brad Benson have been instrumental in organizing events where thousands of students have been exposed to some of America’s most prominent composers. “Those kids have been blown away,” Zielinski said. Both among educators and the community-at-large, Norman Philharmonic has been received with open arms. Because the Nancy O’Brian Center for Performing Arts was at capacity (1,200) during its first concert, over 300 potential listeners were turned away. “This town is built on family, faith and education,” Zielinski said. “We really value those things and you don’t see that everywhere. Also the arts are recognized here as being important.” He credited Republic Bank and Trust’s President and CEO Chuck Thompson with being one of the visionaries that led to the Norman Philharmonic becoming a reality. “He knew a symphony and music

would be important to Norman,” Zielinski said. “Along with people like him we need volunteers and fundraisers. We’re doing everything we can to keep ticket prices at ten bucks. The minute you raise them to $50 you’ve excluded much of the community and we want families to be in this audience. Norman Philharmonic is for the community, that’s what it’s all about. The more response Norman gives us, the more motivated we’ll be to keep bringing better and more challenging music.” Jerry Neil Smith founded Norman’s first chamber orchestra in 1980. He’s now a member of the Norman Philharmonic’s Artistic Advisory Board of Directors. “Norman Philharmonic’s concert this month will include many fine players who can play any literature,” Smith said. “There will be a lot of modern music that orchestras of that size don’t usually attempt because it takes too much rehearsal.” The Norman Philharmonic’s “Classical Meets Jazz” concert is scheduled for 3 p.m. Jan. 19 at the Nancy O’Brian Center for Performing Arts, 1809 Stubbeman Ave. General admission tickets are $10 and are available from normanphilharmonic.com.

John Allen plays the trombone for the Norman Philharmonic during a concert. photo by Kyle Phillips

Michael Sutton plays the violin during the Norman Philharmonic’s "Meet the Composer" concert photo by Kyle Phillips

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To hear Emily Ballew Neff say it, there’s long been a joke that her mother left her in a basket on the front steps of a museum and she never left. She admits that in many ways, the joke is true: She’s a self-professed “museum rat.” The art and museum lover is now making herself at home as the director of the University of Oklahoma’s Fred Jones Jr. Museum of Art. Neff comes from working as a curator for the Museum of Fine Arts, Houston. Neff, a Texas native, said she is excited for the adventure Oklahoma will bring her husband and her two boys, ages 13 and 11. And with a bachelor’s in art history from Yale University, a master’s in art history from Rice University and a doctorate from the University of Texas at Austin, it’s safe to say the Fred Jones is excited to have Neff, too.

with Emily Ballew Neff by Hannah Cruz

Q what was your plan for the future?

raise funds to try and buy a work of art or launch an educational initiative. We try not to have too many meetings but you have to have some meetings. The best part of the day is when you’re actually with the art.

really intended to take an art history course but I happened to take one and completely fell in love with the field. When you switched to art history

My parents asked that very same question. [laughing] They were a little concerned. What do art historians do? I’m not sure what I was envisioning. My freshmen year, actually, I remember it suddenly clicked for me that people did this for a living so I was fairly — I would say 99 percent certain — that a life in the museum was going to be the life for me. And I feel extraordinarily privileged to have that life and to have that life in incredible institutions. a day in the life like for Q What’s you?

Every day is different. You often did you get into art to begin Q How A hear people say, “I love my job with?

There’s obviously a large number of art historians who come from the side of artistic practice but that’s not me. I’m a terrible artist. [laughing] I am the worst. But I have the greatest respect for it. And I would say it’s probably just from early childhood visits — my mother would always take me to the museum growing up. It was a place I loved to be. I remember going to the museum on school field trips and very quickly it was a place I always felt comfortable and inspired and motivated and excited. So that was always a place I wanted to be. When I was in college at Yale my first major was history. I had never

“

It is our highest priority to make sure that museums are for absolutely everybody.

because every day is different,” and I’d say that’s true in our field. A day in the life is crazy. You work for a nonprofit. You feel passionate about what you do and you never have enough time so a day would be anything from let’s say I’ll be in New York next week for a number of museum exhibitions I will be seeing — and believe it or not — that’s work but obviously a pleasure. There will be a number of dealers I’ll be meeting for acquisitions or possible acquisitions. You’ll be meeting with trustees and hoping they’ll agree with you and that whatever it is that you’re presenting will make sense to them. You might be going to a fundraiser luncheon to try and help to

What has been the most difficult part in your career thus far?

your children into the operating room. They’ve had more opportunities to be a little bit more involved in what I do. I think that makes them happy and it makes me happy. has been your proudest Q What moment in your career?

A difficult. Obviously the long hours A single proud moment. I think that I don’t think any of it has been

are a challenge. I thought I had put all-nighters behind me in college, but that doesn’t necessarily happen if you are meeting deadlines for writing a catalogue. I thrive on challenges so I honestly don’t think that any of this has been difficult perhaps in the way you maybe intend it. The thing is that my avocation is my vocation and my vocation is my avocation so I don’t see it as difficulty. Probably people from the outside say, “Wow, you travel a lot,” or , “That must get old,” or , “Gosh, you work so hard.” But in the museum field, we don’t look at it that way. I will say, as a mother who works full time, I am very interested in issues that have to do with working women and women in the work place. I’ve been very fortunate to have been able to bring my kids along on business trips when it’s appropriate. I’m very interested in that so called balance between work and family life, though I would say a better model for that is the blending. It’s easy for me to do that to some degree in that it’s a weekend and we go to the museum and there’s great things for them to do if I need to run upstairs and take care of something. If I was a doctor, you don’t invite

I would say there’s not one

when we open an exhibition and the catalogue is produced, we have the opening of that at night and the trustees gather and we have a very lovely dinner and we may have only finished completing the show at 5:30 and run home, fix your hair and be back at 7 — but those are the most exciting, when all of those different elements come together. When you’re doing exhibitions you’re not only doing original research, a tremendous amount of travel, you’re doing a lot of negotiating of loans, you’re dealing with every single department in a museum in terms of public relations, in terms of fundraising, and it all comes together and is celebrated in an exhibition. Those are my proudest moments because maybe for five minutes you can take a deep breath and know it’s done.

what it’s like to Q Ifeelunderstand satisfied when you reach a deadline! is not the word, but you A Proud think, “Oh my gosh, it really happened, didn’t it?”

Q Jones Jr. Museum of Art?

What’s your vision for the Fred

a really good question, and A That’s I think it would be premature to say what it is because I need to get on the ground. I’m trying to learn as much as I can about the collection. I’m trying to learn as much as I can about the history of the university and the state. As a Texan, I thought only Texas had an interesting, fascinating history. [laughing] I’m trying to get to know the staff, the board — in other words, I want to get to know all the people involved in the museum. I want to listen to what they have to say and I think for about 90 days I’ll really be trying to figure all of that out. I think at that point we can launch a strategic plan for what the next five or 10 years will look like. I first saw the Fred Jones back in 2001 and the Weitzenhoffer Collection was just coming in. ... Just the whole thing was terrific. To come back many years later and see how it has doubled in size, has a brand new building and has just been growing — and not just growing in terms of numbers or statistics but growing smartly and strategically. All of that is very impressive. So obviously I want to maintain the excellence that is already there. That’s a great thing. You don’t build excellence overnight. This is what’s so great about the Fred Jones. It’s a great university art museum that obviously wants, needs and already does serve the needs and mission of the university but also functions as a museum on its own terms. That’s the part that I’m really going to be very interested in observing. do you think art and Q Why museums are important?

A It speaks to this idea of what it

Can you imagine life without it?

means to be human. This gets to the area of fundraising, but one thing that’s really frustrating is obviously health issues will always take precedence when it comes to funding. We, of course, gravitate towards those life and death issues. But if you’re fortunate enough to be alive and healthy, what about the quality of living? Do you want to live in a society that doesn’t celebrate creativity and living?

University museums are about ideas, the history of ideas and knowledge and spending four years interacting with all these different ideas, histories and so forth. Art is the physical aspect of this world of ideas. It’s made concrete. That to me is what’s so exciting about not only the art museum but a university art museum, is you’re already surrounded by this world of ideas and the art objects are a physical manifestation of that. Art is about being human and the human experience. What does it mean to be alive? What does it mean to be a human in the 21st century? Art museums help us look at the greatest examples of art and why that art work was made and why does it look that way? you have any specific plans to Q Do involve the community or minority groups with the museum? is our job, it is our highest A Itpriority to make sure that museums are for absolutely everybody. I’m very fortunate that I worked with a director who was very much about outreach and getting people in to museums but also getting the museum out to the people. It’s a very old model— the idea that it’s for elitism. But we are not doing our jobs as museum directors or professionals if we are not doing everything that we possibly can do to make sure that everybody understands that they are always invited to come in and look at the art and to learn from it. Our institution, for example, and this is probably true for the Fred, too, but people’s experiences at the museum starts at the parking lot. As a policy our friendliest guards are always at the front door to make sure the first experience people have is a warm one. You want people to feel welcome. That’s why we put so much effort into getting as many students and young children into the museum at an early age so it’s never something they’re afraid of. One of my favorite expressions is, “It’s a playground for the mind.” The idea is that museums are fun. This is where we go to have fun. Learning is fun. Museum’s are visually exciting. There’s all these kinds of things that make it exciting for kids. We need to create an environment so when people walk in the door they

don’t feel like they’ve failed a taste. Just come in. It’s getting people to cross that threshold. So that’s a challenge for all museums and I think they are much better than they used to be, diverting many more resources to programs that help with that.

Q What is your favorite genre of art? know what, I like it all. I A You know that sounds like the easy answer but I really do. And I should. It’s not only that I gravitate in that direction anyway but I should. I want to be open to all forms of art and give everything a chance. My expertise is in painting and sculptures so I feel most confident when I’m around painting and sculptures. And my other expertise is American and British art but I also did African art and I’m also interested in Native American art. Collecting for museums can be different than collecting personally. I’ve never met anything I didn’t feel very, very strongly about for a museum. That said, some of them might have been more important because of the context in which they were made. They still have to meet the criteria of: Is this a great work of art? Is the condition great? You answer all these different questions, but would I want to take it home and have it on my wall? Not necessarily. I think that’s one of the things that’s different is you have to be as open as a museum curator or director as you can be. You’re not collecting for a museum just the things you like. That makes no sense. There’s a history to it. There’s a tremendous amount you bring to the table when you’re considering bringing in a piece of art. you have a Q Do large personal art collection? know, I don’t. A You There’s a lot of people that I know, curators who I

know, who love to collect. I love to collect, but to tell you the truth, we often have blank walls at home. I get pretty saturated in my work environment, but there’s something to be said about going home and having very little on the walls. Or to have things on the wall that aren’t necessarily great but are more meaningful and we have a personal association with.

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S R A E Y 100

Evan Ward Euphoria photo provided

g n i t n u o c d an The 100th student ex

hibition starts soon.

by Hannah Cruz

Sydney Vaughn Orchid photo provided

Andrea Duran Untitled photo provided

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Sam Greer Dad’s Hands photo provided

“

Several students showing work in the 100th Annual Student Exhibition commented on participating in the exhibit:

- Sydney Vaughn, senior European studies major

“

It’s a great experience to know the process of what goes in a show and what it takes, really. It’s a competition. It’s always going to be a competition. So it pushes your limits as an artist to really give it your best. You want to show your best work to your community. You don’t want to show something you’re not proud of. - Courtney Creedon, recent studio art graduate

“

“ “ It gave me a lot more confidence in my work and knowing I’m not the only one who appreciates it. Normally I would just shoot it and have it around my house. It gave me more confidence to go photograph other things.

Because it’s in such a nice and dignified environment, it gives me a sense of confidence that I’ve been in that nice of a space. It pushed me to give a very refined finished piece to match the environment that it’s in, unlike some of the more ad-lib shows that are a little more rugged. It pushed me to make my piece a little bit better. - Helen Harris, senior sculpture major

Ray Charles. Upson said choosing In its 100th year, the upcoming an artist that is not affiliated with the University of Oklahoma School university allows for a non-biased of Art and Art History Student jurying process. Exhibition highlights the diverse Charles will visit the school in talent the school has to offer. January to critique students work A total of 55 students will one-on-one. He will also select exhibit their art during the works from the exhibition to receive competitive, juried show that awards. Multiple awards with cash is annually held in the spring, prizes totaling more than $6,000 showcasing mediums like painting, printmaking, ceramics, photography, will be presented to students at the opening reception on Jan. 17, film and video, technology and including the top award, the T.G. design. Mays Purchase Award, which is Jessica Upson, with the OU offered to a student whose artwork School of Art and Art History, becomes a part of the Fred said the exhibition is Jones Jr. Museum of Art’s open to all OU students permanent collection. enrolled in at least An installation of one School of Art works by OU visual and Art History communication course, including The 100th Annual Student students also will undergraduate Exhibition opening reception accompany the annual and graduate level is scheduled for 7-9 p.m. student show in the students and non-art Jan. 17 at the Fred Jones Jr. Ellen and Richard majors. Museum of Art, 555 Elm Ave. L. Sandor Gallery. “A juried Awards will be announced XXVC features works exhibition allows for at 8 p.m. The event is free by current students a more competitive and open to the public. The and alumni to help experience for our exhibition runs through commemorate 25 years students. This should Feb. 16. Many additional, of the design program. give them a glimpse free events are planned in In conjunction with into the more conjunction with the 100th the exhibition, the professional world of Student Exhibition. See below school is also hosting exhibiting,” Upson for a complete listing: an Alumni Exhibition. said. “We always • Alumni Show opening The show runs Jan. urge our students to reception 6 p.m. Jan. 17 at 13 to Feb. 14 in the submit their work for the OU School of Art and Art Lightwell Gallery at the exhibitions outside of History’s Lightwell Gallery, School of Art and Art the School of Art and 522 Parrington Oval. History, and includes Art History, but this • Sterling Gates (alum) the work of 24 alumni show will really help lecture 6 p.m. Jan. 23 at the hand-picked by current to prepare students Fred Jones Jr. Museum of Art, faculty. for life as an artist 555 Elm Ave. For more post-graduation.” information about the The centennial • Michael Ray Charles (guest OU School of Art and anniversary exhibit juror) lecture 7 p.m. Jan. 16 Art History visit art. will be juried by at the Fred Jones Jr. Museum ou.edu. The Fred Jones artist and University of Art, 555 Elm Ave. Jr. Museum of Art’s of Texas at Austin • NASCENT: University of website is ou.edu/fjjma. art professor Michael Oklahoma Student Film Screening 7 p.m. Feb. 13 at the Fred Jones Jr. Museum of art, 555 Elm Ave.

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S R A E Y 100

Evan Ward Euphoria photo provided

g n i t n u o c d an The 100th student ex

hibition starts soon.

by Hannah Cruz

Sydney Vaughn Orchid photo provided

Andrea Duran Untitled photo provided

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Sam Greer Dad’s Hands photo provided

“

Several students showing work in the 100th Annual Student Exhibition commented on participating in the exhibit:

- Sydney Vaughn, senior European studies major

“

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review by Doug Hill

Musician: Maggie McClure Album name: Time Moves On (2013) Why you should listen: Oklahoma native and Los Angeles resident Maggie McClure’s sophomore LP drops early next month. All songs are her originals and from the lyrical content you could easily conclude that she leads a life of emotional turmoil and drama. The first three tracks “Reset,” “Liar, Liar” and “Uncertainty” are frankly not all sweetness and light. Another female singersongwriter of the same generation presently enjoying a very good place in her life recently observed that

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TAKE US BACK TO SCHOOL

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my paper, my town

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sad songs are easier to write than happy ones. All indications are that McClure has a busy successful career, abundant professional talent, good looks and is in a loving relationship. Still, compositions such as “Troubled Heart” preponderate in this album. It’s understandable because people relate easily to heartache and the music McClure makes is soothing for many. There’s good reason her songs have been purchased for use on television’s “Dr. Phil,” “The Real World” and “The Young and the Restless.” The title track chronicles one of life’s profound constants. Days pass like turning pages and wheels spin but they don’t take McClure to where she needs to be. Her soaring and crystalline pure soprano is at its transporting best on “Daydream at Midnight.” It’s an escape song in which she makes being

swept away to a magical oasis of tranquility seem wholly possible. Similarly, McClure’s lover and his Chevy truck with Beatles on the radio makes for a satisfying image in evolving relationship song “It’s Alright.” For a pair of numbers McClure cleverly employed LA’s Fall of Ai Chamber Orchestra. Her voice and the mighty strings combine for a near overwhelming aural experience. The strongest song of this collection named for the passing of seconds, minutes and hours is appropriately called “Central Time.” It’s about an Okie girl with red dirt loving heart whose boots are now firmly planted in the Golden State. McClure may have moved on from the 405 but this place in still in her soul.

ART SCIENCE

An exhibit of art work by revered OU ornithologist Dr. G.M. Sutton provides insight into his passion for the natural world. by Doug Hill

Today’s animal biologists live in an age almost totally dependent on digital imagery to record and store their observations. University of Oklahoma Professor Emeritus George M. Sutton (1898-1982) was an ornithologist decidedly of an era past. He was a life-long observer of birds who handpainted his subjects in watercolor and drew their likenesses with pen and ink. An exhibition of Sutton’s extraordinary pictures of birds and other wildlife go on display at OU’s Sam Noble Museum of Natural History Jan. 18 to April 20. “There will be 73 of his watercolor paintings,” said Michael McCarty, museum media specialist. “Along with several of Sutton’s personal items from his expeditions.” Among those artifacts from Sutton’s life is a paint box given to him in 1916 by his mentor and famed bird artist Louis Agassiz Fuertes. The container for paints and brushes was used throughout his entire lifetime of expeditions across North America and into the Arctic wilderness. “All watercolors on display are from the Sam Noble Museum collection,” McCarty said. A few of the works depict other varieties of wildlife. They are all incredibly detailed portraits depicted as Sutton saw them in their natural habitat. “A couple are of fish and there’s one of a wolf,” Museum Head of Exhibits Tom Luczycki said. “All the rest are birds.” Mostly Sutton stalked his fine feathered friends in Mexico and the photo provided

Arctic. In one water color a snowy white gyrfalcon with elegant gray feather highlights is perched vigilantly on a boulder by the sea. Sutton signed most works and some are dated. A few note where the painting was done such as on still-uninhabited Jenny Lind Island in Canada’s Queen Maud Gulf. “There’s a continuing interest in Dr. Sutton and this will be our third major exhibit of his work since we opened in 1999,” Luczycki said. “Mike McCarty is our resident expert on the man and knew him personally.” Professor Sutton befriended the young McCarty in the late 1970s and their relationship continued until his death in 1982. Norman’s Urban Wilderness Park bears the Sutton moniker along with an OU School of Music concert series. The professor was a music lover and musician himself. McCarty recalls him playing an organ and singing sea shanties for him in the home. The un-groomed park isn’t just named after Sutton; it’s a wooded respite from the city that the ornithologist actually frequented himself. In addition to the frozen north and tropical south, Sutton also watched birds in the wilds of Norman. “That was one of his favorite places to go, get away from the town and walk around looking at birds,” McCarty said. “He loved that place and went there a lot. There’s a pond at the park so birds are always around.” OU undoubtedly possesses the bulk of the art work that Sutton produced in a career that started when he was a teenager. For a time photo provided

in the 1920s he was Pennsylvania’s state ornithologist and some of his work resides in Pittsburgh’s Carnegie Museum. “He did over 20,000 study skins of birds during his careers and those are spread out across the country in various scientific institutions,” McCarty said. “OU has around 6,000 of them.” A search for art dealers selling Sutton’s work privately turned up nothing, which is somewhat unusual for a 20th century artist. In addition to drawings and watercolors Sutton also hand-tinted black and white photo negatives of birds and wilderness scenes for use on lantern slides that could be projected for audience viewing. “In the days before color photography it gave people a truer feeling for these remote places that most had never been to,” Luczycki said. Fourteen of these one-of-a kind slides from a technology seldom used today will be part of the exhibit. Sutton rarely worked with oil paints and no acrylics at all. Many of his pictures were used on the covers and within natural science periodicals. He authored 18 books about birds and his illustrations appeared in many others. A biography of Sutton’s life was published by the University of Oklahoma Press in 2007. Dr. Jerome A. Jackson, recently retired professor at Florida Gulf Coast University, authored the book. “Sutton was a master with pen and ink and with watercolor,” Jackson wrote. “He knew birds; he knew his medium; he understood light.” photo provided

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e s o o l t o Fo free y c n a f and

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ummars

Emily S the norm. by es ak sh se ca ow aphers’ Sh have anywhere from Young Choreogr three to 10 dancers per piece, depending on Performing the needs of the choreography. anything from neoclassical to contemporary Providing each student studio space, work, The University of Oklahoma Theatre dancers and guidance, Stanley said the next and School of Dance’s upcoming Young step is working out all the kinks on stage. Choreographers’ Showcase (YCS) is chockCostumes are pulled from storage, unless full with variety and talent from student students’ get grants for new costuming, and choreographers and dancers. the long hours begin as soon as student’s “People are nutcrackered out and they return from holiday break. want to see something more cutting edge,” Choreographers also must collaborate said Clara Cravey Stanley, associate professor with student lighting designers from the Peggy of dance. “This is sort of very far away from Dow Helmerich School of Drama. This year’s the nutcracker season, the cute story ballet lighting designers are Samuel Brown, Zak king of things. It’s a collaboration between the Houara, Emily Maddox, Cooper Simon and ballet and modern dance department — it’s the Joshua Tyger Walden. one time we rarely work together. We come Stanley said, in the end, the variety of together as one.” selected pieces appeal to a diverse audience, Featuring 10 different pieces, Stanley said offering works that range from narrative to students create the pieces from beginning abstract, from pointe to modern. to end, considering all elements that go into Calling the process a “learning experience a finished stage product like choreography, for everyone,” Stanley said it is the students’ costuming, scenic elements and lighting. showcase and the faculty truly just try to coach Dancers begin the process for YCS at him or her through it. the beginning of the fall semester, expressing “We like to see their [the student’s] creative an interest to choreograph. Faculty members ability,” Stanley said. “We want it to be theirs, mentor students throughout the process. but if we see something glaringly wrong with In the beginning, Stanley said about 17 to it, as mentors we should say that.” 18 students applied for the showcase. Widdling Stanley said the choreographers do not the applicants down, Stanley said the showcase always take the mentors advice, stating, teaches students a director may see a piece “sometimes they say it’s not the vision they and deem it not fitting for the companies have. Some stand their ground and we’re image. When thinking of the whole showcase, pretty proud of that, too.” a director needs to decide what meshes and “That’s why this is one of the favorite what does not in terms of choreography. pieces of the season,” This year’s selected choreographers Stanley said. “A lot of are Sierra Codalata, Caitlin Cullen, Diana people like to see what Drummond, Sydney Gettel, Kilmyn Graf, the student’s are coming Natalie Kischuk, Kiosh Monroe, Nicole up with, not Reehorst, Emma Sadler and Breehannah just reproducing classical Young. ballet or stories like Then comes the first of the three faculty the Nutcracker.” adjudications. Choreographers and faculty line

the walls of a large studio while dancers fill the room. A student choreographer then teaches about one minute of his or her piece and the student dancers then perform that piece. The choreographer writes down names he or she would like to see in their work but the faculty makes the ultimate casting decisions. “Sometimes we can’t give them the names they want because they will be working on other pieces,” Stanley said. “And we don’t want to stick a modern person in a pointe piece. Today it’s changed so much…dancers have to be much more versatile; they have to cross over the bridge back and forth.” Stanley said this year’s performances photo provided

WILLY WONKA would be jealous Norman’s tastiest festival returns for its 32nd year. by Hannah Cruz

Chocolate and art lovers rejoice: The 32nd Chocolate Festival, the Firehouse Art Center’s annual fundraiser, is back. Scheduled for 10:30 a.m. to 2 p.m. Feb. 1 at the National Center for Employee Development (NCED), 2801 State Highway 9 East, the event features thousands of chocolate-inspired treats from local vendors. Firehouse Executive Director Douglas Shaw Elder said the event is the Firehouse’s only fundraiser and acts as a way to raise funds, educate the public about what the Firehouse does and promote arts education awareness. With over 4,000 children participating in Firehouse in-house and public school art programs in 2012-2013, Elder said attending the festival is an easy way to support local arts. “Not only is it a beloved community event, but attending the festival supports both adult and children arts education,” he said. During the festival free art activities will be available for both adults and children. Firehouse faculty and University of Oklahoma fine art students will be on hand to demonstrate and discuss the children’s and adult art education programs offered at the Firehouse and in local schools. Elder said the activities, including foil sculpting for both adults and children and the “Creative Cube” project for children, help encourage imagination and creativity. The ultimate goal, he said, is that participants will discover an interest in art

that may or may not have existed before creating their work at the festival. Parents are encouraged to submit photos of their child’s cube to the Firehouse Facebook page. The most “liked” cubes will win one of three scholarships in each age group. Past awards for the Chocolate Festival include “Best Food Festival” multiple times by the Readers’ Choice Awards from “The Norman Transcript, and as the Best Charity Event from “Oklahoma Magazine.” It has won the Frontier Country Grand Award for Outstanding Food Festival in Central Oklahoma, has been ranked third among food festivals in the U.S. by TV’s Food Network and has been featured in “Southern Living” and “Bon Appetite” magazines. This year’s vendors include Custard Factory, Eskimo Sno, LOCAL, Lohmann’s Good Things, Michaelangelo’s Coffee and Wine Bar, The Candy Basket, The Diner, Unique Confections, Earth Fruit Yogurt and many more. Planned chocolate samples from vendors include everything from cake to chocolate chili. Premiere tickets offer fifteen samples for $40 10:30-11:30 a.m. Standard tickets offer ten samples for $25 during later, halfhour sessions. Tickets may be purchased at normanfirehouse.com. After Jan. 24, tickets will only be available in person or by phone at the Firehouse Art Center, 444 S. Flood Ave., or at the door the day of the event. For more information visit normanfirehouse.com.

Jacque Methuine hands out samples for Abbey Rd. Catering at the 2012 Chocolate Festival. photo by Kyle Phillips

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See our detailed calendar in N-town lite in the main edition of The Norman Transcript for a complete guide of this weekend’s events.

N-town staff picks the top things you can’t miss this month.

Family Day at the Fred Jones Create art as a family during Family Day 1-4 p.m. Jan. 26 at the Fred Jones Jr. Museum of Art, 555 Elm Ave. The day will include a variety of hands-on arts

activities. Guests are encouraged to view the 100th Annual School of Art and Art History Student Exhibition.

Ramp It Up! exhibit at Sam Noble Ramp It Up! includes 28 objects and 45 images, including rare archival photographs, skate decks (or boards) created by Native American artists, and film footage of these

acrobatic, artistic athletes in action. The exhibit opens with a free reception 10 a.m. to 2 p.m. Feb. 8 at the Sam Noble Museum, 2401 Chautauqua Ave.

Winter Wind at the Norman Depot Listen to the soulful duo Anne and Pete Sibley during their Winter Wind concert 7 p.m. Jan. 26 at the Norman Depot, 200 S. Jones Ave. Tickets, $15, may be purchased at the Norman

Depot. For more information regarding this and other Performing Arts Studio programs visit pasnorman. org or call 405-307-9320.

The Drowsy Chaperone at OU The Weitzenhoffer School of Musical Theatre presents the musical comedy “The Drowsy Chaperone,” a show-withina-show full of every cliché, gag and gimmick from

musicals of the 1920s jazzage. Rated G, performances are 8 p.m. Feb. 14-15, 20-22 and 3 p.m. Feb. 16 and 23 at the Rupel J. Jones Theatre, 563 Elm Ave.

Medieval Midwinter Ball at OU Dance the night away during the first Medieval Midwinter Ball 5:30-10:30 p.m. Jan. 11 at the University of Oklahoma’s Oklahoma Memorial Union Molly Shi Boren Ballroom. The international minstrel’s

troupe Wolgemut and professional dancers will be on hand to teach dances. Costumes are optional. Tickets, $35, are available at medievalmidwinterball.eventbrite.com. Price includes buffet dinner.

Clybourne Park at OU See the University of Oklahoma’s production of “Clybourne Park,” a wickedly funny and fiercely provocative play about race, real estate and the volatile

values of each. Rated PG, performances are 8 p.m. Feb. 5-8 and 3 p.m. Feb. 9 at the Weitzenhoffer Theatre, 563 Elm Ave.

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Musical murder mystery for Sooner Theatre Support the Sooner Theatre during its annual fundraiser, Musical Murder Mystery Dinner Theatre. Dinner and shows are Feb. 13-15 at The Hall at The Railhouse (formerly Old Town Plaza), 102 W. Eufaula St. Tickets, $75 each or $600 for

a table of eight, can be reserved by calling The Sooner Theatre at 405-321-9600. Box office hours are 10 a.m. to noon and 2-5 p.m. Tuesday through Friday. Doors open at 6:30 p.m. each night. The evening is for adults only.

Sooner Theatre’s newest production starts at the end of the month. by Hannah Cruz

There’s no way around it: A cast of 70 third to seventh grade students performing in a musical is like herding cats. Especially when that’s exactly what they’re acting to be. The Sooner Theatre’s upcoming production of “Cats” brings all the glitz and glam of the Broadway production, including full costumes, choreography and music. The bonus, director Melany Pattison said, is this group of actors are “stinkin’ cute.” “Obviously you come, you always come to the theater for an escape, but ultimately I want my audience

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this year to be blown away by the kids,” Pattison said. “Obviously it’s for enjoyment but I want them to be just blown away about how these kids can undertake such difficult music. And have fun and be excited about it.” Performances are 7:30 p.m. Jan. 24 and 25 and 2 p.m. Jan. 25 and 26. Tickets, $10, can be purchased online at soonertheatre.com, by phone at 405321-9600 or in person at the theater box office, 10 a.m. to noon and 2-5 p.m. Tuesday through Friday, as well as one hour prior to show time.

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