09-2013 by Tulsa Performing Arts Center

SEPTEMBER 2013

TULSA BALLET’S

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SEPTEMBER 2013

INTERMISSION MAGAZINE

features 10 Q&A: Kostis Protopapas

Shane Bevel

Tulsa Opera’s artistic director explains the benefits of the company’s new performance schedule and talks about their upcoming productions and outreach programs Interview by Nancy Bizjack

14 The Many

Aspects of Dance

Julie Shelton

Tulsa Ballet opens its season with a diverse triple bill consisting of Jorma Elo’s ONE/end/ONE, Paul Taylor’s Company B, and an encore of Adam Hougland’s Rite of Spring by Natalie O’Neal

17 What’s New?

Brooklyn Rider

These classically trained musicians are turning the concept of chamber music inside out by embracing new influences, composers and venues by Nancy C. Hermann

departments 7 Directions Hello and Goodbye by John Scott

9 Bravo Beethoven and Adler Legally Blonde Love Bank

23 Spotlight Khaled Hosseini Stuart Little Brahms Love, Loss, and What I Wore Brown Bag It The Marriage of Figaro World Blues Seminar

26 October Events

in the gallery

Sarah Small

19 I Hate Hamlet

A young actor preparing to play the role of Hamlet rents an apartment once owned by John Barrymore and finds himself competing with the ghost of the legendary actor by Marti Going

Paul Kolnik

20 Blue Man Group Hard to describe but easy to enjoy, the Blue Man Group pushes the boundaries of performance and technology and makes you think as well as laugh by Charles D. Beard

Blue Glass Group September 5-29

Tulsa Glassblowing School (TGS) presents an exhibit of handcrafted glass art in blue hues in honor of the Blue Man Group’s performances at the PAC. The glass art on display was created by the students and staff of TGS, ages 13 and beyond! Pieces in the exhibit represent the various hot and warm glass techniques taught at TGS, ranging from manipulating molten glass to working with molds for cast glass pieces to creating intricate designs with cut glass for kiln-fired glass art.

Cover photo: Rosalie O’Connor

Sept em ber 2013 IN TERM ISSION

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INTERMISSION director’s page

is the official magazine of the Tulsa Performing Arts Center.

PUBLISHER Jim Langdon

HELLO AND GOODBYE WELCOME BACK TO the Tulsa Performing Arts Center for the beginning of another superb year of arts and entertainment! We blocked out our booking calendar for the last part of July and most of August to give our staff some hardearned and long-awaited opportunities to take some time off, and during that time many changes have taken place. Starting with changes to Dean Reed, Steven Fendt, John Scott and Scott Gaffen the physical plant, several significant projects have been completed. One backstage change is new countertops and floor surfaces in the Williams and Doenges Theatres’ dressing rooms. Projects in the public view include a newly renovated Promenade elevator, a new outside surface for the 3rd Street lobby entrance (Those uneven bricks are gone!), and a new stage curtain in the Williams Theatre. Also, new, fully dimmable LED house lights have been installed in the Williams and Doenges Theatres. These lights, designed by PAC Tech Director Pat Sharp, will run at much cooler temperatures, saving us money in our utility accounts. Other additions that aren’t quite so recent, but add significantly to patron comfort, are 28 new leather benches for the lobbies. These projects are all part of our continuing effort to make the PAC a comfortable and efficiently operating environment. I’m sorry to say our other changes this summer are in the personnel area. First, Assistant Director Steven Fendt announced his retirement effective October 1. Then House Manager Scott Gaffen notified us he was taking another position and his last day would be September 15. And since these things always happen in threes, Lead Maintenance Mechanic Dean Reed informed us he was leaving for another job as of August 31. So, after years of staff stability, we find ourselves scrambling to fill three very important positions. I have to say in all three cases, we will find other people to fill the positions, but we will not be able to replace the people. In total, the three guys represent 67 years of experience. Please join me in saluting their service and dedication. Best of luck to all! Enjoy a great September at the PAC. Thanks for your support and I’ll see you in the lobby.

EDITOR-IN-CHIEF Nancy Bizjack, PAC CONSULTING EDITOR Nancy C. Hermann, PAC CREATIVE DIRECTOR Amanda Watkins GRAPHIC DESIGNER Morgan Welch ADVERTISING SALES Jim Langdon, Rita Kirk INTERNS Marti Going, Hayley Higgs, Sharry Mouss

110 E. Second St., Tulsa, OK 74103 918-596-7122 • TulsaPAC.com A department of the City of Tulsa

DIRECTOR John E. Scott ASSISTANT DIRECTOR Steven J. Fendt TECHNICAL DIRECTOR Pat Sharp MARKETING DIRECTOR Nancy C. Hermann TICKET OFFICE MANAGER Terri McGilbra TULSA PERFORMING ARTS CENTER TRUST CHAIR Ken Busby VICE-CHAIR Glenda Silvey TREASURER Michael P. Kier SECRETARY Kristin Bender ASST. SECRETARY John E. Scott TRUSTEES Billie Barnett Jenny Helmerich Mayor Dewey F. Bartlett Robert J. LaFortune Stanton Doyle Rodger Randle Robyn Ewing Jayne L. Reed William G. von Glahn Kitty Roberts M. Teresa Valero PAC TRUST PROGRAM DIRECTOR Shirley Elliott PAC TRUST MARKETING & PR Chad Oliverson OFFICE ADMINISTRATOR Carol Willis INTER MISSIO N is published monthly by

Publisher of TulsaPeople Magazine 1603 S. Boulder, Tulsa, OK 74119

John E. Scott Director, Tulsa Performing Arts Center

For advertising information, Tel. 918-585-9924, ext. 240, Fax 918-585-9926. No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2368, nhermann@cityoftulsa.org.

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ENTERTAINMENT TO APPLAUD

BEETHOVEN AND ADLER Siwoo Kim

ENJOY AN evening of music by Ludwig van Beethoven and Samuel Adler in honor of the 15th anniversary of the Rotary Club of Tulsa’s Crescendo Music Awards. Adler’s Violin Concerto, which will feature 2009 Crescendo winner Siwoo Kim as soloist, was jointly commissioned by the Tulsa Symphony and the Rotary Club of Tulsa. Another Adler work, “Song Cycle,” will also be performed, featuring several additional songs, by soprano Sarah Coburn. The evening will also include Beethoven’s “Leonore” Overture No. 3 and Symphony No. 5. Guest conductor is Philip Mann, music director of the Arkansas Symphony Orchestra and former associate conductor of the San Diego Symphony. September 7 at 7:30 p.m. CHAPMAN MUSIC HALL Tickets are $15-$70.

THE ATRE TULS A

LEGALLY BLONDE DELTA NU SORORITY President Elle Woods (Kelsey Luetjen) can handle anything. So when her boyfriend, Warner (John Tupy), dumps her in search of a more “serious” girlfriend, she decides to follow him to Harvard Law School and win him back. With some help from new friends Paulette (Karleena Riggs) and Emmett (Seth Paden) and her chihuahua, Bruiser, Elle realizes that she can use her knowledge of the law to help others while remaining her stylish blonde self. Legally Blonde is based on the novel by Amanda Brown and the 2001 film of the same name, with music and lyrics by Laurence O’Keefe and Nell Benjamin and book by Heather Hach. Other cast members include John Orsulak as Professor Callahan and Elizabeth Hunt as Warner’s new girlfriend, Vivienne.

Steven Michael Hall

TULS A SYMPHONY

September 20-21, 26-28 at 8 p.m. September 21, 29 at 2 p.m. JOH N H . W ILLI A MS TH E ATR E Tickets are $20; $16 for students and seniors.

WALKING ON WATER PRODUCTIONS

LOVE BANK, PARTS 1 AND 2 KAREN MATHEWS, a single, 35-year-old billionaire, seems to have it all, but she does not have true love. A beautiful, romantic, sassy and independent woman, Karen has been led to believe that love does not exist anymore. Betrayal is all she knows from her past relationships. A leap of faith leads Karen down a painful memory lane, but she discovers a fulfilling friendship and true love prevails. Love Bank was written and produced by Aneesah Perkins, CEO and founder of Mahogany Brides magazine. Part 1 of the play will be performed on September 21; Part 2 is on September 22. September 21 at 7:30 p.m.; September 22 at 3:30 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $20 per show; $45 for table seats.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Sept em ber 2013 IN TERM ISSION

Q+A Kostis Protopapas Interview by Nancy Bizjack

Shane Bevel

This year, instead of three performances over two weekends, Tulsa Opera will have two performances in one weekend. What led to that decision, and what do you see as the pros and cons of this new arrangement?

Kostis Protopapas has been

artistic director of Tulsa Opera since May of 2008. He was previously the company’s associate conductor and chorusmaster, while concurrently serving as assistant conductor for Los Angeles Opera, Santa Fe Opera and the Lyric Opera of Chicago. Protopapas’ leadership at Tulsa Opera has focused on furthering the company’s long-standing reputation for artistic excellence, expanding the company’s repertoire with adventurous programming like the 2012 production of Jake Heggie’s Dead Man Walking, strengthening the Tulsa Opera Orchestra and Tulsa Opera Chorus, and advocating for arts awareness and appreciation in Tulsa. Born in Athens, Greece, Protopapas studied archaeology and art history at the University of Athens before coming to the United States in 1993, on an Onassis Foundation scholarship, to study piano at The Boston Conservatory and to study conducting at Boston University. He became an American citizen in 2011 and lives in Tulsa and Chicago with his wife, soprano and stage director Cathleen Dunn-Protopapas, and their four cats, Gus, Miles, Zsa-Zsa and Gigi. 10

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This is a change we have carefully considered for several years. Tulsa Opera has high attendance rates compared to opera companies in comparable U.S. cities, but still, we were filling fewer than half of the seats we had available in our three performances. We like to focus on quality rather than quantity, and we put the artistic value and audience experience first. By reducing our performances to two, we are protecting what we know is most important to our community: three productions per season with top-notch artists and high production values. At the same time, by consolidating our audiences to two nights we will have fuller houses, which will make for a more exciting audience experience. The reduction of performances will also save us valuable resources, which in turn we will channel into our education and outreach efforts. It is our responsibility to make sure those theater seats are occupied for generations to come, so we are increasing our programming in schools and communities around the state to create many more opera lovers for the future. The only disappointment is that after all the work we put into each production, it seems a pity to only be able to perform it twice!

In February, Tulsa Opera will stage the Oklahoma premiere of Elmer Gantry, about a con man who gets involved with a female evangelist. Why did you select that opera and how do you think it will be received here in Tulsa? Elmer Gantry is a great work of American literature by a Nobel Prize-winning author [Sinclair Lewis]. Like any great work of art, it speaks about humanity in a rich, meaningful and complex way. It is a story about a wolf among sheep, about misused charisma, and about how destructive ambition can be if it is not rooted in a strong value system. Above all, it is a story rooted in the American experience, told in lyrical, accessible music and with a sense of humor. I think people are going to love the music, will be absorbed in the storytelling, and will find much to think about and discuss afterward.

How is producing a 21st-century opera like Elmer Gantry different from staging an 18th-century opera like The Marriage of Figaro or a 19th-century opera like Carmen, also scheduled for this season? The pressure is even greater with a contemporary work, because the vast majority of your audience has never seen it before, so you only get one chance to make a powerful and satisfying impression. Also, in the world of opera, there is often prejudice against new works, so you have to work a lot harder to get the information out to the community so people will come see it and have an open mind. On the other hand, at least you don’t have a couple of centuries of great performances to live up to!

Are there any performers making their Tulsa Opera debuts this season that you’re particularly excited about? I am always excited about our artists, new and old friends both. As it happens, the Figaro cast is mostly a debut cast of young, energetic, amazingly talented and staggeringly good-looking young artists whose names are being heard more and more at opera companies around the world. Keith Phares, who will portray Elmer Gantry, is one of the most charismatic young American opera singers, and he played the role in the premiere production and the recording of the opera. He is also very handsome to boot! The Carmen leads, Leann Pantaleo and Jon Burton, are also making their debuts, and they have both had great success all over the U.S. with their powerful voices and visceral portrayals of Carmen and Don Jose.

What operas would you like to stage in the coming years? Although I love romantic Italian and French opera, these days when I dream I think mostly of more contemporary works, which have more direct relevance to our community and our place in time. Like Jake Heggie’s Moby Dick, a powerful adaptation of a founding work of American literature; Peter Grimes by Benjamin Britten, which for me is the greatest opera of the 20th century; Jenufa by Leoš Janaček, a Czech opera from 1900 whose music is gorgeous and whose story resonates unexpectedly with contemporary America. In a more traditional vein, I would love, love, love to do Verdi’s Don Carlo and Puccini’s The Girl of the Golden West.

Tulsa Opera has been doing some fun things around town to promote opera, such as Opera Underground, Pop-Up Opera and Arias & Art. Will you continue those programs, and if so, tell us about them. We are focusing on outreach very much right now. Culture, communities and audiences have been changing a lot. Opera companies more and more have to get out of the opera house, bring opera to the people in the streets, and put classical music back into the cultural bloodstream. Expect to see us more and more at coffee shops, bars and public spaces like Guthrie

Green. We are continuing our partnership with the Philbrook Museum, where last March we gave the premiere of a new chamber opera, but we are also starting an Arias & Art program at the Oklahoma City Museum of Art. Down the road, I would like to start a series of fully produced chamber operas at unexpected spaces, like parks, garages, office buildings, churches and even street corners! But I have to be patient… shouldn’t try to do too much all at once!

What is Tulsa Opera doing to educate young people about opera? We have a statewide tour of a children’s opera for elementary school students that reaches about 30,000 students each year. This season we will also aim to bring in about a thousand middle- and high-school students to attend the final dress rehearsal of each of our operas. Our in-house training program for young singers, the Tulsa Youth Opera, has made great strides the past few years and this year will present Little Nemo in Slumberland, a new opera by Darren Hagen that involves both children and adult performers. The production will be fully staged and will feature 40 children alongside our Studio Artists, accompanied by a student orchestra!

How many young professionals are participating in your Studio Artists program this season? We have four young singers at the beginning of their careers joining us this year. Two are new and two are returning. They are all amazingly talented. They have roles in our mainstage productions, and they also sing in the school tour and all our outreach events. And one of our Studio Artists from last season, Alex Elliott, who is now with the Portland Opera, is returning to sing the role of the Count Almaviva in The Marriage of Figaro.

Because you bear a slight resemblance to Tulsa Ballet Artistic Director Marcello Angelini and you both speak with the accents of your native countries, I’ve heard that people sometimes get the two of you mixed up. Is that true? If so, how does that make you feel? Have you and Marcello ever talked about it?

to be mistaken for someone, I can’t think of a better guy than Marcello! He and I joke about it all the time!

You studied archeology and art history at the University of Athens before coming to the United States. How did you end up directing an opera company? Although I studied Archaeology and History of Art, music was always my focus. Piano was my main instrument, and then I started studying conducting. As a conducting student, I conducted my first opera at a workshop (Verdi’s A Masked Ball ) and I was hooked. I love opera because it brings so many things together: history, drama, literature, music. I had a leg up because I am a pianist and speak five languages, so I was lucky to get work as a rehearsal accompanist and assistant conductor at some pretty big places. I first came to Tulsa in 2001 as Carol I. Crawford’s assistant and fell into the artistic director job when she left the company in 2007. I really enjoy it! Love the theater and its people, and I believe in the transformative power of music and theater.

What do you like to do in your spare time? I read a lot; I am very much into American literature right now. I also like to cook and I play chess online. (It’s hard to find people to play in person… Anyone want to play? E-mail me! kprotopapas@ tulsaopera.com)

THE MARRIAGE OF FIGARO October 18 at 7:30 p.m. October 20 at 2:30 p.m.

ELMER GANTRY February 28 at 7:30 p.m. March 2 at 2:30 p.m.

CARMEN

May 2 at 7:30 p.m. May 4 at 2:30 p.m. Presented by Tulsa Opera CHAPMAN MUSIC HALL Tickets are $25-$98. MyTicketOffice.com and 918-596-7111

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S ep te m b e r 2 0 1 3 I N TE R MI S S I O N

A letter to Lindsay Hurley Fick, Saint Simeon’s President and CEO

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Dance

THE MANY ASPECTS OF E very triple-bill Tulsa Ballet’s Marcello Angelini conceptualizes has a different purpose. Sometimes the three-ballet program consists of one work that challenges the audience’s perception of dance bookended by two slightly more traditional ballets. Other times, he shocks and awes with an explosive mixture of three “highoctane” pieces. And sometimes he likes to present a sampler platter, showcasing the variety of the company’s repertoire and versatility of its dancers. The latter is the case with this year’s season opener, which includes Jorma Elo’s ONE/end/ONE, Paul Taylor’s Company B, and an encore performance of Adam Hougland’s modernized Rite of Spring. “I wanted to start the season by portraying as many aspects of dance as possible, from the abstract, light-hearted and neo-classical ONE/end/ONE to the more modern-dance-oriented, slightly narrative Company B,” Angelini says. “Lastly, I wanted to share the dramatic

facet of dance, the one able to portray strong topics like initiation rituals and rape,” he adds, referring to Rite of Spring. Aware that many ballet-goers expect story ballets and frolicking, happy dancers, Angelini does his best to break through these expectations and foster an even deeper appreciation of dance. “My ultimate goal has always been the same: to make sure that our audience finds at least one work in the program irresistible while enjoying at least two, but possibly all three works. And yet, there has to be one piece, one dance, that expands our range and appreciation for the vast body of work contained in our field.” Brought to the Tulsa stage for the second year in a row, Hougland’s Rite of Spring is that one piece. Arguably the most pivotal ballet in the history of dance, the original Rite of Spring enraged and confused the audience so much on its opening night in 1913 that a near-riot ensued within the Théâtre des Champs-Élysées during the first few

by Natalie O’Neal

minutes. The audience was so unsettled by the dissonant sounds and forced movements of the dancers — a break from the traditional euphony and fluid dance found in ballets such as Swan Lake and The Nutcracker — that police were called in to calm the agitated crowd while Igor Stravinsky, the composer, fled the theater fearing for his life. One hundred years later, Rite of Spring dances to life (and death) with emotionally loaded choreography by the award-winning Hougland. “Adam managed to capture the essence of the Rite of Spring in his masterpiece,” raves Angelini. “In my opinion, if you want to engage modern audiences at the same emotional level Igor Stravinsky and Vaslav Nijinsky did on May 29, 1913, it’s necessary to modernize the language of the choreography. “As you watch the original version today,” Angelini continues, “you are presented with a brilliant artifact that, while evoking admiration and

Rosalie O’Connor

Rite of Spring

S ep te mb e r 2 0 1 3 I N TE R M I S S I O N

Julie Shelton

Company B

appreciation, falls short of the awe reaction it generated at its premiere. Adam’s version is so imaginative and engages the audience almost as much as I think the piece did 100 years ago. I say ‘almost,’ because the subject matter of the work, while still extremely controversial, is not as taboo as it was 100 years ago.” Rather than the pristine natural environment of Nijinsky’s ballet, Hougland puts Rite in a dystopian setting of dirty pipes and industry. Ten soulless and depraved couples find a lone girl — very much alive and enamored with the beauty of life — and, well, sacrifice her. They surround the embodiment of hope and ruin her. “Rite, especially for the lead woman, is brutally exhausting and very challenging emotionally,” says Angelini. Stravinsky’s heart-pounding and emotionally draining score beats the dancers into a frenzy until all hope is diminished. “For Rite, I like for our dancers to stir every emotion possible in each and every member of our audience.” Last year’s lauded lead roles were performed by Sofia Menteguiaga and Alexandra Bergman, who have since moved to Europe and retired, respectively. Not yet sure (when interviewed in July) who will take up the lead this year, Angelini is confident in his potential principals. “At times, new people do surprise us. As dancers mature, something clicks and they are ready to tackle a higher challenge. For me, this is

the best of both worlds: we bring back an audience favorite but with new dancers embodying the roles. You have both familiar and ‘new and exciting’ in the same piece.” Speaking of familiar and new together, for those who prefer classical music and tutus, Finnish choreographer Jorma Elo’s neo-classical ballet ONE/ end/ONE balances the beautiful music of Mozart’s Violin Concerto No. 4 in D (K. 218) with a mixture of classical and non-classical movement. “It’s light,

soldiers fall in the background. Dancers in World War II-era costumes twirl on stage, incorporating elements from 1940s dances like the Lindy Hop and Jitterbug. Angelini regards Taylor as one of the pillars of American dance. “His Company B is regarded as a masterpiece and was an instant success when it premiered in 1991. The music of the Andrews Sisters takes us back to the World War II era, and the cheerful dances are a contraposition, maybe a reaction, to the stark reality of the war.”

“For Rite, I like for our dancers to stir every emotion possible in each and every member of our audience.” — MARCELLO ANGELINI full of energy, very entertaining, full of technical wizardry, remarkable dynamics and captivating aesthetics,” says Angelini. Elo’s inspiration from winning the first-ever Rudolf Nureyev Prize for New Dance, ONE/end/ONE requires impeccable classical technique with a twist. Company B, Paul Taylor’s tribute to The Andrews Sisters, offers yet another palate pleaser with dances choreographed to “Boogie Woogie Bugle Boy (of Company B),” “I Can Dream, Can’t I?,” and “Bei Mir Bist du Schön.” Each song is a mini-vignette of wartime relationships and emotions that embody happiness and joviality while shadowy

Tulsa Ballet has put together another delicious evening of exquisite dance. As you leave the theatre, Angelini hopes you will have been “thrilled by the audacity, skills and versatility of our dancers and emotionally drained, yet thoughtfully satisfied.”

RITE of SPRING Presented by Tulsa Ballet September 27-28 at 8 p.m. September 29 at 3 p.m. CHAPMAN MUSIC HALL Tickets are $20-$99. MyTicketOffice.com and 918-596-7111 Sept em ber 2013 IN TERM ISSION

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What’s New?

BROOKLYN RIDER tsunami victims in the devastated village of Kesennuma, for captivated concertgoers in Beijing and Hong Kong, at the U.S. Open tennis tournament and as the only invited classical music group at the ultra-hip SXSW (South by Southwest) Festival. All four members play in an orchestra called The Knights, and the group has been the quartet-inresidence at prestigious colleges such as

afternoon concert in Tulsa. Their program includes Schubert’s Quartet in C minor, D. 702, “Quartattsatz”; John Cage’s “In a Landscape”; Bartok’s Quartet No. 2, Op. 17; and Evan Ziporyn’s Qi. Ziporyn (born 1959 in Chicago) is a brilliant composer/clarinetist who has spent time in Bali and is Professor of Music at MIT. His Qi debuted at the Stillwater Music Festival in August 2013.

Colin Jacobsen, Eric Jacobsen, Nicholas Cords and Johnny Gandelsman

Dartmouth and the University of North Carolina at Chapel Hill. One of their shared accomplishments is establishing Minnesota’s Stillwater Music Festival in 2006. The name Brooklyn Rider refers to the borough of New York the group calls home — Colin and Eric share a three-story house there. The group draws inspiration from the German pre-WWI collaborative of artists and musicians named Der Blaue Reiter (The Blue Rider), whose members Wassily Kandinsky, Franz Marc, Gabrielle Münter, Arnold Schoenberg and Alexander Scriabin embraced daring, new expression. Brooklyn Rider will exhibit some of its own edgy expression during its Sunday

Also on the program is Colin Jacobsen’s “Three Miniatures for String Quartet,” which the Washington Post (2013) said “created lush, Persian-flavored sound gardens of extraordinary beauty.” “These guys are like motocross daredevils who never screw up a stunt,” wrote the international culture and news magazine Vice. “Eventually someone’s going to get carried away on a stretcher with a clavicle popping out of their chest, but until then we can all enjoy the show.”

BROOKLYN RIDER Presented by Chamber Music Tulsa September 22 at 3 p.m.

J O H N H . W I L L I A M S T H E AT R E Tickets are $25; $5 for students MyTicketOffice.com and 918-596-7111 Sept em ber 2013 IN TERM ISSION

Sarah Small

he next wave in chamber music is here, and its name is Brooklyn Rider. This string quartet composed of classically trained, intrepid musicians of the highest caliber is bending the perception of what chamber music is and can be. Brooklyn Rider’s syncretic approach to classical music is grounded in the group’s open-world music philosophy, with the ventures and adventures of each member helping to form the quartet’s collective persona. Brothers Colin and Eric Jacobsen (violinist and cellist, respectively) along with violinist Johnny Gandelsman and violist Nicholas Cords are active in Yo-Yo Ma’s Silk Road Project, which was created by the famed cellist in 2000. An assemblage of musicians and composers from more than 20 countries, Silk Road develops and performs music that mirrors the multi-culturalism of a world easily and instantly connected. Silk Road is one among many Brooklyn Rider endeavors. Colin composes, Eric conducts, and Russian-born Gandelsman, who won Israel’s National Violin competition three times, spearheads community programs that explore connections between music and the visual arts. Cords is a speaker, blogger and educator, serving nearly a decade as viola instructor at Princeton. “The image one often has of a string quartet is of a very intimate, almost insular, conversation, a really protective relationship,” Cords told the Wall Street Journal. “We have responded to that by stepping outside of it and inverting that relationship. The string quartet is infinitely porous in terms of the influences it can absorb.” Time Out New York wrote that Brooklyn Rider’s “down-to-earth demeanor … demystifies contemporary classical music and invites everyone into the tent.” The quartet performed for Japanese

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S ep t e m b e r 2 0 1 3 I N TE R M I S S I O N

by Marti Going runner-up. But they have never attempted Hamlet, let alone poked fun at it. “All the Shakespeare plays that we have done, most recently Othello, have been these heavy, dark stories. So to take this turn with Hamlet will be really funny,” explains Courtneay Sanders, Playhouse’s artistic director. Apart from balancing the rest of their season, which includes two dramas, a family show, and a Christmas production, Sanders knew I Hate Hamlet was the perfect fit for Playhouse from the first time she read it. “There were certain individuals that I could hear in my head as I read the script, so I knew this show was perfect for the cast we have.” Along with being well-versed comedians, the actors that make up the six-person cast are all Playhouse veterans. Will Acker takes the role of Andrew Rally. Tyler Humphries, who has been in every Shakespeare play Playhouse has presented, is the ghost of Barrymore. Tony Schneider plays Greg, a cocky L.A. producer; Jenny Guy plays Felicia, a real estate broker who performs the séance revealing Barrymore; and Tabitha Littlefield plays Deirdre, Andrew’s girlfriend who is committed to “saving herself ” for marriage. Barbara Murn is Lillian, a real estate agent who Michele Cantrell

hakespeare’s tragedy Hamlet is given a comedic twist in Paul Rudnick’s play, I Hate Hamlet. After a young TV actor finds himself playing Hamlet, he rents an apartment once owned by legendary actor John Barrymore for inspiration. Barrymore’s ghost reveals himself and from that moment on, Andrew Rally’s life is no longer his own. Humor ensues as Andrew wrestles with Barrymore, his own expectations and the expectations of everyone else. Playhouse Tulsa, known for its awardwinning productions, has produced several Shakespeare plays in the past, including Macbeth, which won the 2011 Tulsa Awards for Theatre Excellence (TATE) for Outstanding Play, and The Tempest, the 2012 TATE second

had an affair with Barrymore years ago in Andrew’s apartment. The relationship between Andrew and Barrymore is a unique one, in part because Andrew is the only one who can see him. Although Barrymore becomes a mentor to Andrew, there is always a level of competition between the two. Barrymore, a well-known actor of the early 20th century and grandfather to Drew Barrymore, was famous for playing Hamlet, while Andrew, who has never performed Shakespeare, gets to live a life that Barrymore, quite literally, doesn’t get to anymore. Some of their tension is released on stage when Barrymore attempts to teach Andrew to sword fight. “With stage combat, it has to look violent without actually being violent,” Sanders says. “We choreograph it like a dance… a rather intense dance.” Silly swordplay, off-beat characters and plenty of laughs aren’t the only elements of I Hate Hamlet that make it worth seeing. Says Sanders, “In addition to all of the humor and mayhem, the play is full of heart. No matter how outlandish their antics, these people get under your skin in the best possible way.”

Presented by Playhouse Tulsa September 6-7, 12-14 at 7:30 p.m. September 8 at 2 p.m. J O H N H . W I L L I A M S T H E AT R E Tickets are $24; $21 for students and seniors, $9 for children. MyTicketOffice.com and 918-596-7111 Sept em ber 2013 IN TERM ISSION

ne word often used to describe the Blue Man Group is avant-garde. Russell Rinker — a 10-year Blue Man veteran — wouldn’t put it like that. “I’m not even sure what avant-garde means anymore,” he says. “It can be alienating, whereas our show is very accessible. It’s a family show for children, old people, any race, any color. Yes, it’s edgy and different, but it’s still successful.” But how should you describe a show that combines the latest technology with classic bits? What are you supposed to call it when silent, blue aliens drum on PVC pipes while a laser light show keeps rhythm? “It’s too hard to explain,” Rinker says. “There’s great music and technology.” Indeed, the paradox between the simple and the spectacular has defined the Blue Man Group almost from its beginning. The Blue Men can be thought of as otherworldly creatures who are trying to discover what it means to be human. “The Blue Man character is really innocent and very easy to play because he’s very pure,” Rinker explains. “You put yourself in that childlike, innocent state. The character has no ego. I don’t care about myself out there. I care about the audience.” In a way, the three characters’ innocence makes them prisms through which audience members can view themselves and the human condition. “The audience is kind of a fourth character. We’re trying to figure you guys out, and you’re figuring us out,” Rinker adds. Part of figuring humans out is trying to dissect our relationship with technology. As we have become more dependent on the devices in our pockets, the Blue Men have acquired some techy toys of their own to play with. Referring to the group’s origin in the mid-1980s, Rinker says, “The original Blue Men built the original 20

S ep te m b e r 2 0 1 3 I N TE R MI S S I O N

Paul Kolnik

by Charles D. Beard

Paul Kolnik

instruments in their apartment … like mad scientists.” At the time, the group was considered completely off the wall; Rinker calls their shows “performance art.” Now, while the Blue Man Group experience can’t be considered traditional, it has a way of integrating the ancient with the cutting edge. On one level, the show harks back to man’s earliest days, when drumming was our primary form of music, and even communication. “The drumming is very primal,” Riker agrees. “It goes back to tribal caveman days.” Even the way the actors portray their characters calls back to a simpler time. “The acting is very old-school, vaudeville kind of stuff. We have one guy throwing marshmallows and another guy catching them in his mouth.” On the other hand, the Blue Man Group is known for special effects, including light shows as breathtaking as anything this side of Trans-Siberian Orchestra. “We get to be part of big, flashy stage numbers,” Rinker says. “It’s a

mix of high tech and low tech.” When the Blue Man Group comes to Tulsa, expect their performance to put special effects on full display. Rinker hints that it will be a doozy. “The finale of the show is brand new. We think of it more as an experience than a show.” Expect to see some technological paradoxes directly addressed, including “a lot of stuff about texting … and being online.” Rinker says that the Blue Man Group likes to poke fun at modern man’s inability to click away from Facebook long enough to have real interactions. A large part of what they want to accomplish is to break us out of our technological boxes. “The show’s deeper goal is to get people to connect,” he explains. In their attempt to get us to break free, however, the Blue Men have become associated with the very technology we chain ourselves to. “We end up kind of making fun of ourselves,” Rinker admits. “While we talk about society and how dependent we are on technology, this is also a hightech show and therefore dependent on technology. … The company is always reflecting on itself.” But don’t think the Blue Man experience only has heavy-handed satire. It’s first and foremost entertainment. Rinker notes that the show contains a lot of comedy. “Firsttime audience members are always surprised at how funny it is. That’s one of the best parts.” Rinker should know what he’s talking about when it comes to comedy. He played one of the Blue Men when the group had a guest appearance in 2006 on Arrested Development, the cult classic sitcom. “That whole story arc was really good for us,” he says. “A lot of people really love Arrested Development. It’s such a great show.”

Paul Kolnik

Since the show recently returned to Netflix — complete with a fourth season — the Blue Men have been breaking into living rooms, hopefully getting local audiences ready for the group’s trip to Tulsa. Rinker certainly hopes the community responds to the invitation. One of his favorite parts of the show is a meetand-greet afterward, in which audience members get to interact with the cast. Rinker says he enjoys being able to get up close and personal with audiences. “People are always excited to have the Blue Men around. There’s a mystique about it.” In the end, “mystique” may be the best word to describe the fascinating aura of mystery, awe and power surrounding the Blue Man Group. Rinker puts it as succinctly as he can: “The show is about pushing boundaries of performance and technology, really targeting the universality of all humans.”

BLUE MAN GROUP Presented by Celebrity Attractions September 10-15 CHAPMAN MUSIC HALL Tickets are $25-$70. MyTicketOffice.com and 918-596-7111

Sept em ber 2013 IN TERM ISSION

After the show ... Complete your evening with a nightcap at The Campbell Lounge or a night’s stay in one of our unique theme rooms! The Campbell Hotel 2636 E. 11th St. Tulsa, OK • 74104 (918) 744-5500 • www.thecampbellhotel.com

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S ep t e m b e r 2 0 1 3 I N TE R MI S S I O N

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ON UPCOMING EVENTS TULS A TOWN HALL

KHALED HOSSEINI KHALED HOSSEINI’S first two bestselling novels, The Kite Runner and A Thousand Splendid Suns, broadened the world’s view of Afghanistan, offering millions of readers a personalized understanding of the nation and its people. His newest novel, And the Mountains Echoed, covers 60 years of Afghanistan’s history and also follows characters living in Europe, America and Pakistan. The novel offers a global perspective on how our lives are intertwined and how the choices we make resonate through generations. Hosseini was born in Afghanistan but has lived in the U.S. since age 15. While he is a U.S. citizen, his deep affinity for his homeland helped form his stories and also galvanized the creation of The Khaled Hosseini Foundation, a nonprofit that provides humanitarian assistance to the people of Afghanistan.

PAC TRUST

STUART LITTLE STUART LITTLE recounts the adventures of a most unusual mouse born into an otherwise ordinary human family. His life becomes a series of adventures and misadventures as he learns to survive in his supersized world of humans. In this Dallas Children’s Theater staging of E.B. White’s classic storybook, Stuart finds a best friend in Margalo, a bird that the Little family adopts. Unfortunately, Margalo is forced to flee the city when she

learns that a cat intends to eat her. Leaving his home and family behind, Stuart sets out to see the country and bring Margalo home. Along the way, he encounters a variety of colorful characters and exciting situations that test his spirit. Hopeful and determined in his quest to find Margalo, Stuart discovers the true meaning of life, loyalty and friendship. October 4 at 7 p.m. October 5 at 11 a.m. J O H N H . W I L L I A M S T H E AT R E Tickets are $10.

October 4 at 10:30 a.m.

Elena Seibert

CHAPMAN MUSIC HALL Tickets are sold by subscription at tulsatownhall.com and 918-749-5965.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Sept em ber 2013 IN TERMISSION

ON UPCOMING EVENTS THE ATRE POP S

LOVE, LOSS, AND WHAT I WORE NORA and DELIA Ephron’s intimate collection of stories is back by popular demand! Adapted from the bestselling book by Ilene Beckerman, along with recollections of the Ephron sisters’ friends, the offBroadway production of Love, Loss, and What I Wore won the 2010 Drama Desk Award for Unique Theatrical Experience. The play is organized as a series of monologues by female actors who use clothing and accessories and the memories they trigger to tell funny, often poignant, stories. Showcasing the female wardrobe as a time capsule of a woman’s life, tales about unfortunate prom dresses, traumatic lighting in fitting rooms, high heels, short skirts and the existential state of having nothing to wear emerge. Accessorizing these vignettes — which are mostly comic but often sad or sentimental too — are the mothers who disapprove, the men who disappear, and the sisters who’ve got your back. October 10-12 at 8 p.m. October 13 at 2 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $15; $10 for students and seniors.

TULS A SYMPHONY

BRAHMS AWARD-WINNING pianist William Wolfram makes his Tulsa Symphony debut as guest artist in an evening of Brahms. After graduating from Juilliard, Wolfram worked with numerous orchestras and performed under internationally recognized conductors. He has made a reputation as a concerto soloist who is equally versatile and adept as a recitalist, accompanist and chamber musician. The performance of Piano Concerto No. 1 and Symphony No. 2 will complete the Brahms cycle of symphonies that Tulsa Symphony has done over the years. The concerto was one of Brahms’ earlier pieces, but it showcases maturity and technical difficulty that reflect the music’s symphonic origins and ambitions. Symphony No. 2 frames a slow second movement with fast-paced and lively classical arrangements. Steven Smith is guest conductor.

Vintage Wildflowers

PAC TRUST

BROWN BAG IT SERIES ENJOY A LITTLE music with your lunch! The PAC Trust’s free Wednesday noontime concerts begin next month with the Celtic, folk and bluegrass trio Vintage Wildflowers and the

William Wolfram

October 5 at 7:30 p.m. CHAPMAN MUSIC HALL Tickets are $25-$70.

Edison High School Orchestra on October 16, followed by the Susie Brown Trio on October 23 and fiddler extraordinaire Shelby Eicher on October 30. In November, it’s vocalist Tavis Minner and pianist Rick Fortner on the 6th, Appassionata Duo (harp and viola) on the 13th, and pianist Donald Ryan on the 20th. On December 4, Tulsa’s only auditioned hand bell choir, the Tulsa Festival Ringers, will perform their annual holiday concerts. October 16, 23, 30 at 12:10 p.m. November 6, 13, 20 at 12:10 p.m. K AT H L E E N P. W E S T B Y P AV I L I O N

December 4 at 11:30 a.m. and 12:45 p.m. J O H N H . W I L L I A M S T H E AT R E There is no charge for these events.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM 24

S ep te m b e r 2 0 1 3 I N TE R MI S S I O N

TULS A OPERA

THE MARRIAGE OF FIGARO LOVE, INTRIGUE and SOCIAL commentary mingle as servant outwits master in Mozart’s The Marriage of Figaro. The comic opera is a continuation of the plot of The Barber of Seville, recounting a single day of madness in the castle. Count Almaviva attempts to disrupt the marriage of Figaro, head of his servant staff, and Susana, the Countess’s maid. With the help of the Countess, Figaro and Susana conspire to embarrass the Count and expose his scheming.

WORLD BLUES

October 18 at 7:30 p.m. October 20 at 2:30 p.m. CHAPMAN MUSIC HALL Tickets are $25-$98.

THE ATRE POP S

Taj Mahal

CELEBRATE the global influence of American blues music as seen from three very diverse points of view and international points of origin. World Blues features legendary Mississippi Delta blues icon and Grammy Award winner Taj Mahal; “The Voice” of South Africa, Vusi Malahsela; and Fredericks Brown, a band from New Zealand. Mahal has reshaped the definition and scope of blues music over the course of his almost 50-year career by fusing it with nontraditional forms he learned from travel and his diverse cultural roots. Malahsela, who made his first guitar before teaching himself to play it, delivers a powerful voice and message through his music. Mahal and Malahsela will explore the intersection of African and American musical forms

SEMINAR

Jay Blakesberg

PAC TRUST

Ava Pine, Seth Mease Carico, Eleni Calenos, Alexander Elliott, Lauren McNeese, Peter Strummer, Linda Roark-Strummer and Marc Schapman star in this immortal opera masterpiece. Poetic Italian language and symphonic music express the variety of emotions within this opera, but English supertitles will also be used.

while Fredericks Brown, featuring Taj’s daughter Deva Mahal, brings a rock and roll perspective. October 23 at 7:30 p.m. CHAPMAN MUSIC HALL Tickets are $25-$60.

SEMINAR is a provocative new comedy by Pulitzer Prize-nominated playwright and award-winning TV writer Theresa Rebeck (NYPD Blue, Smash). The play ran on Broadway in 2011 and 2012. Seminar’s central character is an indiscriminately relentless teacher and international literary figure who believes he wrote the book on what makes a great author. When four aspiring young novelists sign up for private classes, they quickly realize they are in for a bumpy ride and perhaps the schooling of their lives. Under his recklessly brilliant and unorthodox instruction, some thrive and others flounder, alliances are made and broken, sex is used as a weapon, and hearts are unmoored. Wordplay is not the only thing that turns vicious as innocence collides with experience in this biting comedy. October 24-26 at 8 p.m. October 27 at 2 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $15; $10 for students and seniors.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Sept em ber 2013 IN TERMISSION

ON UPCOMING EVENTS Ariel Quartet

OCTOBER TULSA TOWN HALL

KHALED HOSSEINI Oct. 4 at 10:30 a.m. Chapman Music Hall PAC TRUST

STUART LITTLE Oct. 4 at 7 p.m. Oct. 5 at 11 a.m. John H. Williams Theatre TULSA SYMPHONY

BRAHMS Oct. 5 at 7:30 p.m. Chapman Music Hall THEATRE POPS

LOVE, LOSS AND WHAT I WORE Oct. 10-12 at 8 p.m. Oct. 13 at 2 p.m. Liddy Doenges Theatre PAC TRUST

BROWN BAG IT: VINTAGE WILDFLOWERS & EDISON HS ORCHESTRA Oct. 16 at 12:10 p.m. Kathleen P. Westby Pavilion TULSA OPERA

THE MARRIAGE OF FIGARO Oct. 18 at 7:30 p.m. Oct. 20 at 2:30 p.m. Chapman Music Hall

HOUSE NOTES THE TULSA PERFORMING ARTS CENTER was dedicated in 1977, the fulfillment of many Tulsans’ long-held dream. Built with a combination of public and private funds, the facility is operated by The City of Tulsa. The Tulsa Performing Arts Center Trust is a non-profit organization of mayoral-appointed citizens who lend expertise and guidance in promoting Performing Arts Center goals. Local arts organizations and entertainment promoters are the Center’s main clients. ADMINISTRATIVE OFFICES are located at 110 E. Second Street, Tulsa, OK., 74103-3212. Office hours: Mon.-Fri. 8:30 a.m. to 5 p.m. Telephone 918-596-7122. Fax 918-596-7144. Please subscribe to our monthly PAC broadcast e-mail online at TulsaPac.com. LOCATION. Downtown Tulsa at Third Street and Cincinnati Avenue, accessible from the Broken Arrow Expressway, Interstate 244, Hwy. 75 and Riverside Drive. PARKING. Convenient underground parking is located west of the building, accessed from Second Street. Event parking also is available in several lots across the street to the east and south of the PAC.

S ep t e mb e r 2 0 1 3 I N TE R MI S S I O N

PAC TRUST

WORLD BLUES Oct. 23 at 7:30 p.m. Chapman Music Hall PAC TRUST

BROWN BAG IT: SUSIE BROWN TRIO Oct. 23 at 12:10 p.m. Kathleen P. Westby Pavilion

ADMISSION AND LATE SEATING. Lobby doors open two hours prior to an event. Chapman Music Hall doors normally open 45 minutes prior to curtain. The remaining theaters open 30 minutes before curtain. Late seating is at the discretion of each sponsoring organization. Latecomers may be temporarily held out of the theater or asked to take seats at the back if available. TICKET OFFICE HOURS are Monday through Friday 10 a.m. to 5:30 p.m. A free parking zone is available in front of the Third Street ticket office,101 E. Third Street (Third and Cincinnati) on the south side of the PAC. In addition to regular hours, it opens two hours prior to curtain for events scheduled in Chapman Music Hall. The Second Street ticket office,110 E. Second Street on the north side of the building, opens two hours prior to each curtain for tickets to events scheduled that day in John H. Williams Theatre, Liddy Doenges Theatre or Charles E. Norman Theatre. PHONE ORDERS. Call the PAC ticket office, 918596-7111, or from outside Tulsa call 1-800364-7111. Nominal service charges are added to all phone and Internet orders. The PAC ticket office accepts DISCOVER, MasterCard or VISA. Subscriber hotline: 918-596-7109.

THEATRE POPS

CHAMBER MUSIC TULSA

TULSA PROJECT THEATRE

PAC TRUST

SEMINAR Oct. 24-26 at 8 p.m. Oct. 27 at 2 p.m. Liddy Doenges Theatre DEATHTRAP Oct. 25-26, 30-31 at 7:30 p.m. Nov. 1-2 at 7:30 p.m. Oct. 27 and Nov. 3 at 2 p.m. Charles E. Norman Theatre

ONLINE TICKET ORDERS SERVICE OPTIONS. Buy tickets online and print them at home when you purchase at TulsaPac.com and MyTicketOffice. com. Use DISCOVER, MasterCard or VISA for online purchases. View our website and purchase tickets on your cell phone at TulsaPAC.mobi. In addition, purchase tickets through TulsaPAC. com or MyTicketOffice.com, choose the Tickets@ Phone option and have your tickets sent to your cell phone. Tickets will be scanned by ushers at the door. EXCHANGES. The ticket office gladly exchanges tickets to events with more than one performance, subject to certain guidelines. Otherwise, all sales are final. 24-HOUR EVENT LINE. For recorded information about ticket prices, dates, theater locations, upcoming events, Broadway series and season tickets, call 918-596-2525. GROUP SALES AND BUILDING TOURS. Group discounts are available. Please call 918-5967109 for group sales assistance. Tours of the PAC are offered free of charge and last approximately 45-60 minutes. Arrangements may be made by calling 918-596-7122.

Ticket prices are subject to change.

ARIEL QUARTET WITH MENAHEM PRESSLER Oct. 27 at 3 p.m. John H. Williams Theatre BROWN BAG IT: SHELBY EICHER Oct. 30 at 12:10 p.m. Kathleen P. Westby Pavilion

SERVICES FOR PERSONS WITH DISABILITIES. All Performing Arts Center facilities are accessible to persons with disabilities. Please ask about wheelchair-accessible seating when purchasing your ticket. Parking is located on the street level of the parking garage near the PAC elevators. Use the south elevator to reach Chapman Music Hall. Restroom facilities are located in the Third Street Lobby for Chapman Music Hall events, and adjacent to the John H. Williams Theatre Lobby for events in the PAC’s other theaters. Headsets and telecoil units for the Sennheiser infrared hearing assistance system in Chapman Music Hall may be picked up at the Coat Check in the Third Street Lobby for Chapman events, or from the House Manager on duty in the Williams Lobby for John H. Williams and Liddy Doenges Theatre events. The PAC’s TDD number is 918-596-7211. PLEASE NOTE: Smoking is prohibited inside the PAC. Also, as a courtesy to the performers and audience, please turn off all audible message systems and cellular phones. Cubic, A Creative Agency is the PAC’s exclusive Internet solutions provider. The PAC’s Internet ticketing is powered by Tickets.com.

THE PLACE FOR

Art in the Square

Dont’ miss this annual tradition!

Utica Square presents

Art in the Square — an outdoor art exhibition showcasing Tulsa’s finest artists. Saturday, October 5, 10 a.m. – 5 p.m. Kids, be sure to check out Art Alley in front of the Lolly Garden from 10 a.m. – 3 p.m. for face painting, cookies and an art activity. To learn more, visit us at UticaSquare.com.

U t i c a a t Tw e n t y F i r s t

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