Intermission October 2021

T UL S A PER FO R MIN G A R T S CENTER

O C TO B ER 2 02 1

C.S. LEWIS' THE GREAT DIVORCE • BREAKIN' BRICKS • KAL KALLAUGHER

Adel Barkat, M.D.

John Weber, M.D.

Michael Phillips, M.D.

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contents O C TO B E R 2021

Jeremy Charles

Featured Principal Guest Artists Jared Brunson and Rachael Jones.

insider

calendar

Brown Bag It

5 7

17 Spotlight

October 6

Exposition Marquee

Dreamgirls

An Enemy of the People Triumph

The Legend of Georgia McBride

Brentano Quartet

Breakin’ Bricks

Charlie and the Chocolate Factory

Chicago: High School Edition

David Brooks

Symphonic Poetry

DLUX Peter Pan

22 November-

December Events

features 10 The Great Divorce 12 A Chat with

Political Cartoonist Kal Kallaugher

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Come From Away

On the cover: Celebrity Attractions brings “Come From Away” to Tulsa

Join us as we kick off our Brown Bag It series once again! We open with a stunning Woodwind Quintet performance in the Westby Pavillion.

Don’t forget your lunch!

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At First Oklahoma, we know firsthand the devastating impact this pandemic has had on the creative economy.

So, we couldn’t be more thrilled to say....

TO T H E AT R E S & STAG E S TO M U S E U M S & G A L L E R I E S TO L I V E M U S I C . . .

TO T U L S A !

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is the official magazine of the Tulsa Performing Arts Center.

PUBLISHER Jim Langdon EDITOR Amanda Nichols CREATIVE DIRECTOR Madeline Crawford ADVERTISING SALES Rita Kirk

110 E. Second St., Tulsa, OK 74103 918-596-7122 • TulsaPAC.com

CHIEF EXECUTIVE OFFICER Mark Frie CHIEF FINANCIAL OFFICER Jen Alden VP OF OPERATIONS Bryan Clemons VP OF DEVELOPMENT AND ENGAGEMENT Sara Phoenix DIRECTOR OF PROGRAMMING Terri McGilbra DIRECTOR OF PUBLIC RELATIONS Amanda Nichols TECHNICAL DIRECTOR Scott McLarty DIRECTOR OF TICKETING SERVICES Jeff Newsome DIRECTOR OF PATRON SERVICES Tosha Hollis

TULSA PERFORMING ARTS CENTER TRUST CEO Mark Frie CHAIR Vincent LoVoi VICE-CHAIR Wendy Drummond TREASURER Jen Alden SECRETARY Laura Creekmur TRUSTEES Billie Barnett, Ken Busby, Mayor G.T. Bynum, Stanton Doyle, Linda Frazier, David Holden, Glenda Silvey, Peggy Simmons, Julie Smith EMERITUS TRUSTEE Robert J. LaFortune

INTERMISSION is published monthly by

exposition F RO M T H E C EO

As we continue to try to regain Mark Frie the momentum we had before the pandemic, I am so excited to welcome the Broadway hit “Come From Away” to our stage. This story, set in motion from the events of 9/11, is truly one of my favorite pieces of theatre. When 38 planes were redirected to the town of Gander, Newfoundland, the small town banded together to make those displaced feel at home. You may be wondering where the title comes from.

Native Newfoundlanders refer to those not born on the island as “come from aways,” and so, the travelers who landed on the diverted planes were said to have come from away.

But this show doesn’t center on the pain of that day; it focuses on a beautiful story set in motion because of that day. In an interview with the BBC, one of the show’s creators David Hein said: “These days we’re so used to our news feeds being filled with divisive anger and fearmongering, things that make us turn into an ‘us and them society.’ To see something where people were able to come together despite their differences and to remember that in times of crisis that’s what we do, that’s what we can do. I think that’s why people cry. It reminds us that we can be good.”

When speaking about the show they created, David and Irene Sankoff like to quote the then mayor of Gander, Claude Elliott, who didn’t go home for five days after 9/11, “We started off with 7,000 strangers, but we finished with 7,000 family members.” David adds: “Ultimately, it’s this warmth and humanity to which audiences respond. Almost without thinking about it they welcomed people into the towns. It’s such an important thing for people to hear right now.”

People helping strangers in the midst of a tragedy sounds familiar, doesn’t it? As we continue to navigate our way through this strange new moment in time, this show reminds us that no matter our beliefs and which political side of the aisle we are on, there is so much good in people that we CAN COME TOGETHER despite our differences. Now that is something to sing about.

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No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2366, anichols@tulsapac.com.

Current and past issues of Intermission can be viewed at issuu.com/tulsapac/docs

Enjoy the show!

Mark Frie

CEO, Tulsa Performing Arts Center

Octobe r 2021 INTER M I SSI ON

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marquee T H I S M O N T H AT T H E T PAC

DREAMGIRLS THEATRE TULSA

Fame comes and goes. Dreams live forever. Meet The Dreams – Effie, Lorrell and Deena – three talented young singers in the turbulent 1960s, a revolutionary time in American music history. Join the three friends as they embark upon a musical rollercoaster ride through a world of fame, fortune and the ruthless realities of show business, testing their friendships to the very limit. This production features the classic songs “And I’m Telling You I’m Not Going,” “Listen,” and “One Night Only.”

October 8-9, 15-16 at 8 p.m.

October 10, 17 at 2 p.m.

J O H N H . W I L L I A M S T H E AT R E

AN ENEMY OF THE PEOPLE AMERICAN THEATRE COMPANY

TRIUMPH

The 1,200-mile Keystone XL Pipeline was designed to provide a direct route from Canada and send 830,000 barrels of oil a day passing through a pipeline hub in Cushing, Oklahoma. An Enemy of the People, a darkly comic drama, incorporates Oklahoma’s oil industry, fracking, wastewater wells and earthquakes, making the play supremely relevant to the world we now live in. This world premiere play is written by Tulsa playwright David Blakely.

The Tulsa Symphony Orchestra returns home to the Tulsa Performing Arts Center this fall for “Triumph,” featuring Shostakovich’s Festive Overture, Coleridge-Taylor’s Ballade, Liszt’s Les Preludes, and culminating with Beethoven’s regal Piano Concerto No. 5 “Emperor,” featuring renowned pianist Garrick Ohlsson. Award winning conductor Lina Gonzalez-Granados will lead this performance.

October 8-9, 14-16 at 8 p.m.

October 10 at 2 p.m.

L I D DY D O E N G E S T H E AT R E

TULSA SYMPHONY ORCHESTRA

October 9 at 8 p.m.

CHAPMAN MUSIC HALL

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marquee T H I S M O N T H AT T H E T PAC

THE LEGEND OF GEORGIA MCBRIDE WORLD STAGE THEATRE COMPANY

He’s young, he’s broke, his landlord’s knocking at the door, and he’s just found out his wife is going to have a baby. To make matters even more desperate, Casey is fired from his gig as an Elvis impersonator in a run-down, small-town Florida bar. When the bar owner brings in a B-level drag show to replace his act, Casey finds that he has a whole lot to learn about show business — and himself.

October 21-22 at 8 p.m.

October 23 at 2 and 8 p.m.

October 24 at 2 p.m.

L I D DY D O E N G E S T H E AT R E

BRENTANO QUARTET CHAMBER MUSIC TULSA

Juergen Frank

Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. The Quartet will be joined by Michael Kannen, Brentano’s original cellist, and the performance will include Haydn: Quartet in D-Major, Op. 71 No.2; Bach/Adolphe: ContraDictions; Bach/Mackey: Lude; and Schubert: Quintet for Strings in C-Major, D 956.

October 24 at 3 p.m.

J O H N H . W I L L I A M S T H E AT R E

BREAKIN’ BRICKS TULSA BALLET

In collaboration with the 1921 Tulsa Race Massacre Centennial Commission, this multimedia experience combines dance with documentary film to explore the events of 1921 and the path forward to hope and healing.

This year, on the 100th anniversary of the Tulsa Race Massacre, choreographer Jennifer Archibald is telling this tragic story through dance, captivating visuals, and footage from the actual event.

October 29-30 at 7:30 p.m.

October 31 at 2:30 p.m.

CHAPMAN MUSIC HALL

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2021–2022 SEASON Chamber Music Tulsa’s Sunday afternoon concerts this season are FREE!

Brentano String Quartet O CTO B E R 2 2 - 24 , 2 0 2 1

Catalyst String Quartet the story of nancy ward

F E B R U A R Y 2 5 - 2 7, 2 0 2 2

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Imani Winds

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M A R C H 2 5 - 2 7, 2 0 2 2

Verona String Quartet APRIL 8-10, 2022

For information, use the QR code or visit

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q&a

I N T E RV I E W BY N A N C Y B I Z J AC K

Max McLean is an award-winning actor and the founder and artistic director of Fellowship for Performing Arts, a New York-based company that produces theatre from a Christian worldview with the goal of engaging diverse audiences.

The nonprofit organization’s first project was an audio recording of the Old and New Testaments known as “The Listener’s Bible.” FPA now focuses on new and adapted works for the stage. Many of their productions were adapted by McLean himself, and he has starred in some of them as well.

Three of FPA’s shows have come to the Tulsa PAC in recent years: “C.S. Lewis: The Most Reluctant Convert,” “Martin Luther on Trial” and “The Screwtape Letters.” This month, FPA presents “The Great Divorce,” which, like “Screwtape,” is based on a novel by C.S. Lewis, who is best known for his fantasy series “The Chronicles of Narnia.”

In “The Great Divorce,” a group of people take a magical bus ride from a cheerless gray town to the lush foothills of heaven. There they are met by familiar people who offer to help them make their way up the mountain to eternal joy. For many, it’s an offer they surprisingly — or not — can and do refuse.

FPA’s adaptation has been called “infinitely thought-provoking” by The New York Times and has been recommended by The Washington Post as “a Christian fantasy without the sermonizing.”

Why are so many of the shows your company produces based on works by C.S. Lewis? C.S. Lewis had a rare abil-

ity to take the Christian worldview and express it in a way that is winsome, engaging, nuanced, imaginative, passionate and often funny. So, it was a natural choice to dramatize his writings.

How do you recreate the fantastical landscapes of “The Great Divorce” on stage and make some actors appear ghostly and others solid and bright?

That’s a good question, because “The Great Divorce” must depict both the gray town, Lewis’ metaphor for hell; the outskirts of heaven; and the bus ride between the two in an imaginative and dazzling way. To execute that, we acquired a stage-wide LED screen that delivers a new level of stagecraft. Images are both vivid and expansive — just what the story needs. As for the “ghosts” 10

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and “solid people,” we’re able to realize those characters through costuming, lighting, the inventiveness of the director, and our amazing actors.

How many actors are in this show and how many characters do they portray?

There are four actors in our production of “The Great Divorce” – Jonathan Hadley, Carol Halstead, Joel Rainwater and Tom Souhrada. Joel plays the narrator that Lewis speaks through in the book — in fact, he’s a stand-in for Lewis.

The other three actors bring 21 different characters to life.

Some reviews of the TV series “The Good Place” have said it contains elements of “The Great Divorce.” Are you familiar with “The Good Place,” and if so, do you see the similarities?

I’ve never seen “The Good Place,” so I can’t really comment. I’ve also heard

Alex Barker

Max McLean

the same comparison to that older series “Lost.” All borrow from Dante’s “Divine Comedy.” The concept of a person bound for hell with a chance to go to heaven allows for a strong dramatic arc. Lewis’ message is about spiritual warfare and how we humans resist the promptings of our conscience or more specifically the Holy Spirit. Lewis develops John Milton’s argument that we would rather “reign in hell than serve in heaven,” that “all who are in hell choose it,” and that those who are in heaven are there not because of merit or good deeds but grace.

Is there a message to “The Great Divorce” that you think is particularly relevant in 2020? A theme you find in

all of Lewis’ fiction is the eternal value of our choices. He would say every choice we make moves us in one of two directions — toward hell or toward heaven.

In these very polarized times in which

we live, I think the idea of the seriousness of everyone’s individual choices is most relevant. There’s a reason Lewis sells more books year by year even though he died in 1963.

There are so many thought-provoking — and occasionally humorous — lines in “The Great Divorce.” What is one of your favorites? I’m reluctant to

name a favorite, because they are funny in context of the play but may not resonate independent of the action. Lewis had a particular way of developing humor. He speaks of humor as “not jokes, or flippancy — that I cannot endure — but rather as the bloom of the argument.” You will see that in abundance in “The Great Divorce.”

George MacDonald, a real 19th century preacher, is an important character in the play. Why do you think Lewis decided to use this real person in the play rather than come up with a fictional character who was similar, perhaps, to MacDonald? George

MacDonald was Lewis’ spiritual guide

from the moment he read MacDonald’s “Phantastes.” MacDonald’s writing influenced several mainstream authors beyond Lewis, including Lord Dunsany and Madeleine L’Engle. MacDonald is to Lewis as Virgil was to Dante.

What do you think Lewis was saying in “The Great Divorce” about the relationships between good and evil and heaven and hell? Lewis wrote

“The Great Divorce” in a response to an idea expressed in William Blake’s “The Marriage of Heaven and Hell.”

Blake tried to describe a point at which the differences between good and evil would somehow be resolved. Lewis himself wrote that he found the notion “a disastrous error.” In the preface to “The Great Divorce,” he wrote, “Evil can be undone, but it cannot ‘develop’ into good. Time does not heal it. ... If we insist on keeping Hell — or even Earth — we shall not see Heaven.”

Regarding heaven and hell, I think Lewis was getting at hell being the absence of God, that if you reject God,

you are choosing to experience what existence is like without him. If you desire God, by grace, you will experience an eternity of growing steadily more like him, which is what we were made for. MacDonald says in “The Great Divorce,” “There are two kinds of people in the end, those who say to God, ‘Thy will be done,’ and those to whom God says, in the end, ‘thy will be done.’”

Presented by Fellowship for Performing Arts October 10 at 4 p.m.

CHAPMAN MUSIC HALL Tickets at tulsapac.com and 918-596-7111

Jeremy Daniel

Carol Halstead, Jonathan Hadley, Joel Rainwater and Tom Souhrada in the Fellowship for Performing Arts’ production of “The Great Divorce”

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A Chat with Political Cartoonist

KAL KALLAUGHER As the editorial cartoonist for The Economist, The Baltimore Sun and the online newsletter Counterpoint, Kevin (Kal) Kallaugher has published over 10,000 cartoons, painted more than 150 magazine covers and had his artwork published in over 100 different publications. He has won a plethora of awards for his incredible work, including the 2018 and 2002 Berryman award presented by the National Press Foundation, prize finalist for the 2015 and 2020 Pulitzer Prize in Editorial Cartooning, and the 1999, 2002, 2005, 2014 and 2020 Award for Best Cartoons on International Affairs presented by the Overseas Press Club of America — an award he has won again this year.

“The importance of cartoons is, first of all: How long does it take a person to read a cartoon? Ten seconds out of their busy day,” says Kallaugher. Which is why, to him, this artform provides “the power to engage large swaths of the population on very important subjects.

And we are living in a very important time. History is unfolding all around us.

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I have this most amazing gift and privilege to have a big soap box on which I can express my opinions. There’s a great deal of potential there.

“I learned a lot about politics and the world through cartoons — seeing cartoons when I was a little kid. And when I was at university, it was during Watergate, and I had no idea what was going on. But I would look at the cartoons, and they would help decipher this very complex story,” says Kallaugher.

“And I’d like to believe that my cartoons can help do that for others.”

Many of Kallaugher’s cartoons are currently being used in various textbooks and are part of curriculums throughout the country. Because of this, he feels confident that his work “helps contribute to the conversation.”

When asked about his legacy, regarding both the world at large and his artwork, Kallaugher says, “I learned from the people who did my job before.

I also know that, thanks to the internet and the digital world, my work and the work of my colleagues is inspiration for

people around the world who don’t have a tradition in their country or don’t know what cartoons are. So, you feel you’re spreading this on and creating new artists. I like to think I’m doing that.

“I’ve spent almost 44 years on this, and I think I’m just getting the hang of it,” Kallaugher notes. Lucky enough for Tulsa, he’s willing to visit our city to speak with us about his incredible career and share the immense skills he draws on for his work. His intentions? “I’m going to show them all the tools that go into creating cartoons and the magic behind the curtain.” He even intends to give a drawing lesson.

“Daggers Drawn” Presented by Tulsa Town Hall October 8 at 10:30 a.m.

CHAPMAN MUSIC HALL Tickets available at tulsatownhall.com

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Beverly Bass Breaking the Glass Ceiling, Flying on 9/11 and Inspiring a Hit Musical Beverly Bass was a remarkable human being long before the events of 9/11 took place. She knew early in her life that all she wanted to do was fly planes. When she was young, her aunt would take her to watch them take off and land at the local airport every weekend.

When Beverly got to college, full of drive and passion, her male classmates were less than pleased to have an aspiring female captain in their midst. But she never wavered or strayed from her passion. She worked constantly, logging hours and refusing to give up.

Eventually, she applied at American Airlines. Out of the over 10,000 applications on file, the company hired 87. Beverly was one of the 87 hired. In her time with American Airlines, she became the first female pilot to captain an entirely female crew. She is an inspiration and a trailblazer. But,

if you ask her, she never set out to be either of those things — she was simply following her passion.

Beverly’s story is fascinating, and on 9/11, it took an unexpected turn. On that morning, she was flying a Boeing 777 across the Atlantic, from Paris to Dallas. It was a beautiful, clear day. She received a report that a plane had struck one of the World Trade Center towers.

She assumed it was a small, privately owned craft. But then came a report of the second plane and the word terrorism was thrown out. At that point, that was all she knew. No one on the plane had access to the news. They hadn’t seen what the rest of the world had seen. She didn’t yet know that two of the planes hijacked that day were American Airlines aircraft.

She didn’t yet know that her friends and colleagues were among those lost.

In the chaos that followed, American

airspace was completely closed off.

Beverly and her plane were redirected to the tiny town of Gander, Newfoundland, on a small Canadian island. A town of around 9,000 people, the population nearly doubled as 38 redirected planes and around 7,000 passengers descended on the town.

Beverly and her passengers were stuck on their plane for 28 hours. But when they finally emerged, they found tables upon tables of food. The people of Gander had stayed up all night cooking.

They banded together to ensure every need was met and all the passengers who had “come from away” were cared for.

What transpired in Gander in the days following 9/11 was so beautiful, it inspired a musical. Since being released, “Come From Away” has become a smash Broadway hit. It garnered multiple Tony Awards and surpassed

Matthew Murphy

The cast of “Come From Away.”

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Matthew Murphy

The cast of “Come From Away” perform the song “Me and the Sky.”

the previously held record for longest running Canadian musical.

One of the highlights of the show, and the only solo number included, is the song “Me and the Sky.” It tells the story of Beverly’s life in a little over four minutes. A main character in the story, she has now seen the show 158 times and befriended each of the women portraying her.

What’s it like to see your life brought to life on a Broadway stage? “I can’t even describe it … it was unimaginable,” Beverly says. Seeing the show, she said, “brought back some not good memories, but the show is so uplifting and so happy that you end on such a happy note. And, I believe, you are a better person after seeing it.”

According to Marika Aubrey, who stars in the current North American tour of “Come From Away” as Beverly, the show is just as empowering to be a part of as it is to see. She admits that, at first, she was nervous to take on the role of a real person who would be in the seats watching, but she and Beverly have become close friends, texting regularly.

Marika also points out that, “A lot

of people come to the show thinking it will be a lot more heavy handed and don’t realize that it’s delightful, and it’s charming, and it’s very funny. You’re often laughing and also remembering where you were on 9/11. … It’s like a collective catharsis about where we all were that week. Anyone over a certain age has a memory of that time really present in the hallways of our memories and minds as we watch the show. You can’t help but think about where you were when you saw those images. So everyone in the audience, 2,000 to 3,000 people, however many it is, is holding their own personal attachment to those events as they watch the show. So it’s really important to have those lighthearted moments to kind of let out the valve of that somberness that we’re all carrying. … Even though those were very sad events … what came out of it is really joyful, and that is the ultimate message of the show.”

The joy of the show comes from the people pulling together to make the best of a bad situation. Though from various backgrounds and beliefs, lifelong friendships were built, love was found and secondary families were established.

Beverly has gone back many times, even taking her family.

Now 69 years old, Beverly is still flying. “I was never going to let those terrorists take away what I had spent a lifetime trying to achieve and what I loved so much.” She’s also still adding to that 158 number and plans to see the show many more times.

While the show highlights themes that are particularly relevant at another time of national struggle — pulling together to protect and care for one another — Beverly herself has her own lessons to teach: never give up, stay true to your passions and never let anyone tell you what you can or cannot do. One would be hard pressed to find a show more worthy of our stage.

Come From Away Presented by Celebrity Attractions October 12-14 at 7:30 p.m.

October 15 at 8 p.m.

October 16 at 2 and 8 p.m.

October 17 at 1 and 6:30 p.m.

CHAPMAN MUSIC HALL Tickets at tulsapac.com and 918-596-7111 Octobe r 2021 INTER MI SSI ON

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Sue Ann Blair 918.813.3477

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sueann@mcgrawok.com

TULSA TALKS

A podcast on Tulsa’s community and culture from the publisher of INTERMISSION and TulsaPeople Magazine

Subscribe for FREE on Apple Podcasts, Google Play or Spotify.

Episodes are released the 1st and 3rd Wednesdays of each month.

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spotlight

O N U P CO M I N G E V E N T S

Jeremy Daniel

Cody Garcia as Willy Wonka and company.

Roald Dahl’s CHARLIE AND THE CHOCOLATE

CELEBRITY ATTRACTIONS

CHARLIE AND THE CHOCOLATE FACTORY Willy Wonka is opening his marvelous and mysterious chocolate factory ... to a lucky few. That includes Charlie Bucket, whose bland life is about to burst with color and confection beyond his wildest dreams. He and four other golden ticket winners will embark on a mesmerizing joyride through a world of pure imagination. Now’s your chance to experience the wonders of Wonka like never before!

November 2-4 at 7:30 p.m., November 5 at 8 p.m., November 6 at 2 and 8 p.m., November 7 at 1 and 6:30 p.m.

CHAPMAN MUSIC HALL

TULSA TOWN HALL

DAVID BROOKS Long considered one of America’s most influential thought leaders, David Brooks will discuss his most recent book, “The Second Mountain.” He will inspire us to consider our commitment to four core values: family, faith, vocation and community. Brooks is currently an op-ed columnist for The New York Times, as well as a commentator on The PBS News Hour, NPR’s “All Things Considered,” and NBC’s “Meet the Press.”

November 12 at 10:30 a.m.

CHAPMAN MUSIC HALL

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • 918-596-7111 Octobe r 2021 INTER MI SSI ON

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spotlight

O N U P CO M I N G E V E N T S

TULSA SYMPHONY ORCHESTRA

SYMPHONIC POETRY Led by renowned conductor Sarah Hicks, this program features enticing and stirring works such as Lili Boulanger’s D’un matin de printemps, Poulenc’s Les biches (The Does), William Grant Still’s Darker America, and Stravinsky’s thrilling Petrouchka.

November 13 at 7:30 p.m.

CHAPMAN MUSIC HALL

TPAC TRUST

DLUX PETER PAN DLUX Puppets presents a fun new multimedia adaptation of Peter Pan! Using state-of-the-art digitally projected scenery, highquality life-sized puppetry, actors, and popular songs from the 50s, 60s, 70s, and 80s, DLUX Puppets’ adaptation will teach children the power of their choices and to place attention on what they want to create in their lives. Peter Pan teaches Wendy, “A brain filled with fear has little space for dreams.

November 19 at 7 p.m.

J O H N H . W I L L I A M S T H E AT R E

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • 918-596-7111 18

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Places to go BEFORE & AFTER THE SHOW

Downtown Tulsa’s award-winning restaurant, Juniper, changes with the seasons to bring guests creative, modern cuisine focused on delicious, locally sourced ingredients.

Juniper boasts a beautiful and intimate downtown setting with its rustic brick columns, commissioned art by local artists, and a warm and inviting atmosphere.

PRHYME is an upscale and modern interpretation of the American steakhouse. Located in downtown’s Tulsa Arts District, PRHYME employs a highly hospitable, expert staff and features the best cuts of USDA prime beef in addition to an expansive wine program and cuttingedge private dining facilities.

JuniperTulsa.com • 918.794.1090

prhymetulsa.com • 918.794.7700

check us out in the October issue of

b u r g e r

t o w n

“When the chefs at Polo Grill decided to create an upscale burger, they went big.

Ground chuck might be fine for a backyard burger, but at Polo Grill it’s tenderloin that makes the burger so delightful. The half-pound tenderloin burger comes on a slightly sweet brioche bun.

Try it with cheddar, Swiss or blue cheese.

Tip: Add the applewood smoked bacon.

This is a burger worth every bit of its $15 price tag.

You’ll find it on the lunch and bar menus.”

The half pound Tenderloin Burger with Applewood Smoked Bacon.

UTICA SQUARE

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918.744.4280

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POLOGRILL.COM

Octobe r 2021 INTER MI SSI ON

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Shop Local Thank you for supporting locally-owned businesses.

Which are you, High Maintenance or Diva?

Design • Custom Furnishings • Gifts

1960 Utica Square Follow us @thedolphinfinelinens

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O ct o b e r 2021 I N T E R M ISSION

Opening October 9th An elevated and personalized shopping experience both functional and beautiful; feminine and bold.

Dedicated to diversity, quality, authenticity, community and sustainability.

1207 South Lewis Avenue, Suite A. Located in Tulsa’s Market District 918-850-0615

TWO WAYS TO SEE THE SHOW...

Tickets for Christmas Carol at the PAC TULSAPAC.COM OR 918-596-7111

Tickets for Christmas Carol at the Admiral Twin Drive-In AMERICANTHEATRE COMPANY.ORG

“Pumpkin at a Masquerade”, oil on canvas, 96” x 48”, by Steve Parks

Passion with Heart

A special exhibit featuring the works of Tulsa artists Steve Parks and Randolph Read and acrylics by Jill Pinkerton.

October 16 to November 6

Price Gallery

1 5 1 3 E ast 1 1 th Stre e t • 91 8-640 -303 0 O pe n Mo nday-S aturday 1 0 -4

The store your pet deserves!

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calendar NOVEMBER

DECEMBER

CELEBRITY ATTRACTIONS

WORLD STAGE THEATRE COMPANY

CHARLIE AND THE CHOCOLATE FACTORY November 2-4 at 7:30 p.m.

November 5 at 8 p.m.

November 6 at 2 and 8 p.m.

November 7 at 1 and 6:30 p.m.

Chapman Music Hall

DOUBT: A PARABLE December 2-3 at 8 p.m.

December 4 at 2 and 8 p.m.

December 5 at 2 p.m.

Liddy Doenges Theatre

THEATRE TULSA

CHICAGO: HIGH SCHOOL EDITION November 5 at 7:30 p.m.

November 6 at 2 and 7:30 p.m.

November 7 at 2 p.m.

John H. Williams Theatre TULSA TOWN HALL

DAVID BROOKS November 12 at 10:30 a.m.

Chapman Music Hall

TULSA SYMPHONY ORCHESTRA

THE POLAR EXPRESS IN CONCERT December 4 at 7:30 p.m.

Chapman Music Hall AMERICAN THEATRE COMPANY

A CHRISTMAS CAROL December 10-11, 15-18, 20-23 at 7:30 p.m.

December 12, 19 at 2 p.m.

John H. Williams Theatre TULSA BALLET

SYMPHONIC POETRY November 13 at 7:30 p.m.

Chapman Music Hall

THE NUTCRACKER December 10, 16-17 at 7 p.m.

December 11, 18 at 2 and 7 p.m.

December 12, 19 at 2 p.m.

Chapman Music Hall

TPAC TRUST IMAGINATION SERIES

TPAC TRUST BROWN BAG IT

DLUX PETER PAN November 19 at 7 p.m.

John H. Williams Theatre

FESTIVAL BELL RINGERS December 8 at 11:30 a.m. and 12:45 p.m.

John H. Williams Theatre

TULSA SYMPHONY ORCHESTRA

A Christmas Carol returns to the TPAC.

OKLAHOMA PERFORMING ARTS

HOLIDAY IN TULSA December 18 at 7 p.m.

Liddy Doenges Theatre

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 Tulsa Performing Arts Center Trust through a management agreement with the City of Tulsa. The TPAC Trust is a nonprofit organization of mayor-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. 9 a.m. to 5 p.m. Telephone 918596-7122. Fax 918-596-7144. Please subscribe to our monthly TPAC email newsletter 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.

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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 TPAC. ADMISSION AND LATE SEATING. Lobby doors open two hours prior to an event. Chapman Music Hall doors normally open 30 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 10:30 a.m. to 5:30 p.m. 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 TPAC ticket office, 918-596-7111. Outside Tulsa call 1-800-3647111. Nominal service charges are added to all phone and Internet orders. The TPAC ticket office accepts DISCOVER, MasterCard and VISA .

Subscriber hotline: 918-596-7109.

BUYING TICKETS ONLINE. Buy tickets at tulsapac.com using VISA , DISCOVER or MasterCard. Print your tickets at home or pull them up on your mobile device using the Tickets@Home option. 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.

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

SERVICES FOR PERSONS WITH DISABILITIES. All Performing Arts Center facilities are accessible to persons with disabilities. Please ask about wheelchair-accessible seating when purchasing your ticket. Parking is located on the street level of the parking garage near the TPAC 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 TPAC’s other theaters. The TPAC has a Listen Technologies RF system to assist the deaf and hard of hearing. It is available at coat check for Chapman Music Hall events. Ask the house manager on duty for equipment for the Williams, Doenges and Norman Theatres. Devices are provided at no cost.

PLEASE NOTE: The TPAC is a tobacco-free facility. Smoking and vaping are not allowed, nor is the use of chewing tobacco. Also, as a courtesy to the performers and audience, please turn off all audible message systems and cellular phones.

Ticket prices are subject to change.

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