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NOVEMBER 2013
INTERMISSION MAGAZINE
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features 12 Q&A: Dan Rather The folksy but feisty TV journalist and news anchor discusses the highs and lows of his long and storied career at CBS and his current free rein at AXS TV Interview by Barry Friedman
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16 Bossing the Frosting Just in time for the holidays, TV’s Cake Boss, Buddy Valastro, returns with an all-new demonstration show titled Family Celebrations by Natalie O’Neal
departments 5 Directions For Your Information by John Scott
7 Bravo A Midsummer Night’s Dream Brown Bag It Deathtrap Frogz Fantasia Ivory&Gold The Critic as Artist Vienna Piano Trio Jim Brickman
23 Spotlight Tulsa! A Radio Christmas Spectacular Tulsa Festival Ringers The Eight: Reindeer Monologues A Christmas Carol Disney’s Aladdin Jr. The Nutcracker
26 December/January Events
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18 Irving Berlin’s White
Christmas
The 2008 musical version of the 1954 film classic is a tap-happy song-anddance heartwarmer — just like the ones you used to know by Nancy Bizjack
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in the gallery Building the Oil Capital: Views of Tulsa Under Construction November 1-27
21 The Importance of
Updating a Classic
Theatre Tulsa sets Oscar Wilde’s classic comedy of manners, The Importance of Being Earnest, in a post-apocalyptic, neo-Victorian London by Missy Kruse
Nothing changes a cityscape quite as dramatically as the building up and tearing down of its structures. This photographic exhibit presented by the Tulsa Historical Society shows images of Tulsa buildings and landmarks under construction throughout the city’s history. Nov 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
FOR YOUR INFORMATION THIS IS an important month John Scott for decisions by Tulsa voters. Of course there is the mayoral election, and on the same ballot will be the Improve Our Tulsa questions. On behalf of the Performing Arts Center, I’d like to provide some information about what is at stake for our facility. The Improve Our Tulsa package consists of two propositions. One would authorize general obligation (GO) bonds in the amount of $355 million for specific street and bridge projects. The other proposition would extend 1.1% of the current 1.167% sales tax for designated capital improvement projects. The PAC’s list of projects is in the second of those propositions. The PAC’s list includes replacing the building’s 36-year-old fire alarm system; adding fire sprinklers to those areas lacking them (including Chapman Music Hall); replacing the original fan coils; replacing the old HVAC motors with variable-drive units; replacing the roof; and several general renovation projects that would replace all the wall coverings in both main lobbies, replace furniture in offices as well as green rooms and other public areas, and replace stage floors in the Williams and Doenges Theatres. Our project list totals $5,530,000. While not asking you to vote one way or another, I encourage you to become as informed as possible on these propositions and make the best decision you can about Tulsa’s future. It is my pleasure to announce the hiring of Janet Rockefeller for the PAC’s Assistant Director position. Check this page next month for more on Janet’s background and what she brings to the building. You can enjoy a wide range of events in November, from ballet to Broadway to drama and chamber music. Special events include Tulsa Symphony’s Fantasia with the orchestra playing the score live while the classic Disney movie runs overhead, a morning with veteran news anchor Dan Rather, the return of The Cake Boss, a ragtime concert by Ivory&Gold, and best-selling pianist Jim Brickman delivering “The Magic of Christmas.” 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 INTERN Allison Romero, Kalena Dobbs
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 Janet Rockefeller 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
John E. Scott Director, Tulsa Performing Arts Center
Publisher of TulsaPeople Magazine 1603 S. Boulder, Tulsa, OK 74119 For advertising information, Tel. 918-585-9924, ext. 240, Fax 918-585-9926.
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No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2368, nhermann@cityoftulsa.org. N o vem b e r 2 0 1 3 I N TE R M I S S I O N
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et to Tchaikovsky’s soaring score, choreographed by Marius Petipa and artistically directed by Elena Radchenko, the 60 dancers of the Moscow Festival Ballet weave this beloved fairy tale together with the trademark precision and exquisite grace of the great Russian ballet tradition. Join us in Oklahoma City’s magnificent new $24 million performing arts center for two spectacular nights of ballet. Buy tickets early—all previous shows have sold out.
Don Quixote Moscow Festival Ballet • Jan 28
Brian Stokes Mitchell An Evening With Midori (in recital) Simply Broadway Apr 24 Mar 27
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N o vem b e r 2 0 1 3 I N TE R M IS S I O N
THIS MONTH AT THE PAC TULS A BALLET
DELIGHT in the humorous tale of four crisscrossed lovers in this enchanting reimagining of Shakespeare’s classic, complete with magical flying effects and nearly 30 local children in the roles of woodland sprites and fairies. Music by Felix Mendelssohn and choreography by Christopher Wheeldon bring the forest to life. Tulsa Ballet first performed Wheeldon’s A Midsummer Night’s Dream in 2004. At that time, James D. Watts Jr. of the Tulsa World wrote, “Shakespeare’s lightest, most genial comedy has been translated winningly into pure movement and music. … Wheeldon’s choreography delineates the characters and their relationships so clearly that one hardly needs more than a basic synopsis to follow the action.”
Julie Shelton
A MIDSUMMER NIGHT’S DREAM
November 1-2 at 8 p.m. November 3 at 3 p.m. CHAPMAN MUSIC HALL Tickets are $20-$99.
PAC TRUST
TULS A PROJECT THE ATRE
BROWN BAG IT Vintage Wildflowers
THE POPULAR lunchtime concert series continues! On November 6, singer, songwriter and music educator Tavis Minner and pianist Rick Fortner will perform. Fortner is director of music at All Souls Unitarian Church and well known for his outstanding keyboard skills. Vintage Wildflowers and the Edison High School Orchestra take the stage on November 13.
DEATHTRAP Acclaimed for instrumental prowess, onstage charm and soulful vocals, Vintage Wildflowers has developed an enthusiastic legion of fans with its vibrant Celtic, folk and bluegrass blend. Acclaimed pianist Donald Ryan will play on November 20. Born in Trinidad, Ryan began playing the piano when he was three years old. A diplomate and Madeyska Award recipient of the Ninth International Frederic Chopin Piano Competition in Warsaw, Poland, Ryan has played for U.S. Presidents and other American and foreign dignitaries.
ONE OF the great popular successes of recent Broadway history, this ingeniously constructed comedic thriller by Ira Levin offers a rare and skillful blending of two priceless theatrical ingredients: gasp-inducing thrills and spontaneous laughter. Sidney Bruhl (Chad Oliverson), a successful writer of Broadway thrillers, is struggling to overcome a “dry” spell that has resulted in a string of failures and a shortage of funds. A lucky break occurs when a college student (Jonathan Gilland) gives him a script for a thriller that Sidney recognizes immediately as a potential Broadway hit. Sidney offers to collaborate with the student, and the younger man quickly accepts. After that, suspense steadily mounts as the plot begins to twist and turn, and Sidney seems prepared to go to any lengths to improve his financial situation.
November 6, 13 and 20 at 12:15 p.m.
November 1-2 at 7:30 p.m. November 3 at 2 p.m.
K AT H L E E N P. W E S T B Y P AV I L I O N Admission is free.
CHARLES E. NORMAN T H E AT R E Tickets are $20; $15 for students and seniors.
Chad Oliverson
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Nov em ber 2013 IN TERM ISSION
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A Foundation for Learning. A Foundation for Life. Sarah was Student Body President and Captain of the Varsity Basketball Team. She is an Oklahoma Academic Scholar, class Valedictorian, and recipient of the Cascia Medal for overall excellence. Sara is currently a Distinguished Scholar and member of the President’s Leadership Class at The University of Oklahoma.
Sarah Stagg Class of 2013 As an entering freshman, I never imagined the community and family Cascia would become for me. During my time there, I learned invaluable life lessons, received an incredible education, and made friends and memories that will stay in my heart forever.
OPEN HOUSE - SUNDAY, NOVEMBER 3, 2013, 1:30 PM ENTRANCE EXAM - SATURDAY, NOVEMBER 9, 2013, 9:00 AM
2520 S. Yorktown Ave. Tulsa, OK 918-746-2600
www.casciahall.org admissions@casciahall.org
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THIS MONTH AT THE PAC
PAC TRUST
TULS A SYMPHONY
IT’S “one of the wildest, weirdest, wackiest shows ever to play NYC,” says the New York Daily News. The New York Times calls it “inspired fun! A mastery of mime, dance and acrobatics!” The signature work of Portland (Oregon)-based Imago Theatre, Frogz is penguins playing musical chairs, a cat trapped in a giant paper bag, leaping frogs and more. It’s a madcap revue of illusion, comedy and fun that has inspired audiences worldwide. An unforgettable experience for adults and children as young as age three, the show’s ingenious masks, mesmerizing movement, outlandish costumes, and original musical score create a carnival of the absurd, presenting universal themes with a light touch.
RON SPIGELMAN, principal pops conductor of the Fort Worth Symphony, returns to lead Tulsa Symphony in another mix of live music and film. Spigelman previously led the orchestra as it accompanied showings of The Wizard of Oz and Disney’s Pirates of the Caribbean: Curse of the Black Pearl. This time it’s Disney’s Fantasia, which will include the original Fantasia, along with some of the new segments created for Fantasia 2000. The original Fantasia, which premiered in 1940, consists of eight animated segments set to the music of Bach, Tchaikovsky, Stravinsky, Beethoven and other classical composers.
November 8 at 7 p.m.
November 9 at 7:30 p.m.
J O H N H . W I L L I A M S T H E AT R E Tickets are $25-$30; $18 for students.
CHAPMAN MUSIC HALL Tickets are $15-$70.
FROGZ
DISNEY’S FANTASIA
RAGTIME FOR TULS A
IVORY&GOLD IVORY&GOLD, consisting of Jeff Barnhart on piano and vocals and Anne Barnhart on flute and vocals, will perform spirited ragtime music with a little bit of early jazz, boogie and blues sprinkled in. This husband-and-wife duo performed over 300 concerts throughout the U.S. last year. They also made numerous appearances in Europe and on top-of-the-line cruise ships. The Barnharts formed Ivory&Gold in 2001, and they continue to thrill audiences with their music, historical anecdotes and humor. The couple’s versatility and rapport create an incomparable listening experience for all ages! November 10 at 7 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.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Nov em ber 2013 IN TERM ISSION
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“Though I was impressed with Montereau, I loved the lifestyle I was leading and didn’t want to lose it. I found you don’t lose your lifestyle at Montereau, it just gets better. There’s so much to enjoy right here, and you’ll still have everything you’ve always loved. This community is about connecting with people and engaging in life. I’m so glad I chose Montereau.”
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THIS MONTH AT THE PAC
Clayton B. Hodges
THE ATRE TULS A
THE CRITIC AS ARTIST TULSA NATIVE turned theatre pro Clayton B. Hodges directs and stars in a production of The Critic as Artist by Oscar Wilde. This witty dialogue is one of four essays published in Intentions, Wilde’s manifesto on aestheticism. It offers an expanded notion of the art critic’s role in the creative process and suggests that the critic may, in fact, be the ultimate artist. Born in Dublin, Ireland, in 1854, Wilde became one of London’s most popular playwrights (The Importance of Being Earnest, An Ideal Husband). He died in Paris in 1900 at the age of 46, but the issues he raised in the late 19th-century still resonate today. November 10 at 7 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $12; $10 for seniors, students and children.
CHAMBER MUSIC TULS A
VIENNA PIANO TRIO STEEPED IN THE GRAND Central European tradition, the Vienna Piano Trio delivers electrifying performances with elegance and polish. Composed of Bogdan Bozovic (violin), Stefan Mendl (piano) and Matthias Gredler (cello), the trio is currently the ensemble-in-residence at Vienna’s Konzerthaus. On November 15, the trio will perform a one-hour concert of music by
composers from one of the greatest European music capitals. This “Evening in Vienna” concert will be followed by dessert and champagne in the Norman Theatre and an opportunity to mingle and greet the guest artists. On November 17, the group will perform Haydn’s Trio in E Minor Hob. XV/12; Beethoven’s Trio in D Major, Op. 70, No. 1, “Ghost”; and Saint-Saëns’ Trio in E Minor, Op. 92. November 15 at 8 p.m. JOHN H. WILLIAMS T H E AT R E Tickets are $30; $15 for students.
November 17 at 3 p.m. JOHN H. WILLIAMS T H E AT R E Tickets are $25; $5 for students.
CELEBRIT Y AT TRACTIONS
JIM BRICKMAN: THE MAGIC OF CHRISTMAS WITH SPECIAL GUESTS Anne Cochran, Tracy Silverman and Luke McMaster, Jim Brickman delivers the perfect blend of music and entertainment. Emotion, intimacy, warmth and humor come together for the ideal winter’s night celebration, featuring holiday favorites and songs from Brickman’s latest CD, The Magic of Christmas, along with the hits that have made him the best-selling pianist of our time. Brickman has amassed 27 Top 40 singles on the adult contemporary charts, including
14 Top 10 smashes. “Valentine,” his collaboration with country singer Martina McBride, was a number one hit on Billboard’s Adult Contemporary Chart and a top 10 Country hit in 1998. The award-winning country pop group Lady Antebellum made their debut in 2007 as guest vocalists on Brickman’s single “Never Alone.” November 23 at 8 p.m. CHAPMAN MUSIC HALL Tickets are $50-$65.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Nov em ber 2013 IN TERM ISSION
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Q+A Dan Rather Interview by Barry Friedman
Dan Rather was named anchor of the CBS Evening News in 1981, after
Walter Cronkite retired (“You don’t replace Walter Cronkite,” Rather says, “you succeed him”), and stayed there 24 years. Born in Wharton, Texas, Rather first came to CBS after covering Hurricane Carla in Houston. That was 1961. He was in Dallas on November 22, 1963. He has been cursed at by one president (Nixon) ... found suspicious by another (Reagan) … tangled with another (George W. Bush) … reported for 60 Minutes and 60 Minutes II … and written four books. Now, in his seventh decade in the news business, and since 2006, he has been the creative force behind AXS TV’s Dan Rather Reports, an hour-long program of in-depth field reports and interviews that has garnered 12 Emmy nominations. (The show has won three). When he was hired by Mark Cuban to do Dan Rather Reports, the pugnacious billionaire said to him, “Go piss people off.” Rather chuckles when he tells you that story. You once said the problem with 24-hour news cycles would be all the information masquerading as news. Unfortunately, what I thought — and many others thought — was that it would be the beginning of the localization, politicization, and trivialization of news. Thirty years ago, most of the major networks — and that included a then very new CNN — had many more overseas news bureaus than today. What passes for international coverage now is four people in a room shouting at one another. That can be entertaining, but it’s not news. We’re lacking deep-digging investigative reporting, which is the most expensive, resource-intensive, difficult kind of journalism. One of the reasons is the conglomeration of news in which no more than six very large international corporations now control more than 80 percent of national news distribution, and in most cases — not saying all — they’re not interested in doing the kind of reporting that deals with government malfeasance, corruption, lying, propaganda.
In Rather Outspoken, you wrote, “Covering the Civil Rights Movement was the making of me, both as a journalist and as a human being.” How so? Remember, I was born in 1931. I grew up in Texas, 12
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which was a segregated society. Now the Texas I grew up in was not as bad, if you will, as deep Mississippi, Alabama, Georgia and South Carolina, but we had white schools and African-American schools, separate lunch counters, hotels. It wasn’t until I began covering the Civil Rights Movement and Dr. Martin Luther King that both my mind and my heart were opened in really life-changing ways. An example would be the first Ku Klux Klan rally I saw, which was on the Mississippi/Louisiana border. I remember how the hair on the back of my neck rose up — this was really scary — and I could only imagine the effect it would have on people of African-American heritage. And who would have believed that people in high, responsible positions would turn fierce dogs and high-pressure hoses on women and children who were peaceful? Seeing things like that made me do some deep thinking about who I was, who I had become, and what I wanted to be.
The Bush/National Guard story. CBS hired Tucker Carlson, Pat Buchanan, Matt Drudge, Ann Coulter and Rush Limbaugh to conduct what it called “an independent investigation.” One of the things that came out was that in their desperation — and I use the word measuredly — the very
top corporate leaders at CBS and Viacom wanted to please the Bush Administration. The decision was made to, “Well, let’s get a council, an investigative group, call it ‘independent,’ but we’ll run their names past the president’s helpers at the White House and through Republican powers in the Congress,” and so they proposed these people you mentioned. Anybody who knows American politics and American journalism knows this is not just ridiculous, but dangerously ridiculous.
About the memos from Bush’s commander, Lieutenant Colonel Jerry B. Killian, that couldn’t be verified... I believed then and believe now that we had verified the accuracy of the memos, but it’s fair to say we were most vulnerable in the story — and why we were attacked on it — was because we were not able to prove to the satisfaction of CBS that the Killian memos were what they were reported to be. But let the record show that it’s been — what? — seven, eight, nine years now, and nobody then or since has proved that they were NOT what they purported to be.
Nobody has reported on the story since. No, because the story became “too hot to handle,” which is to say the Bush Adminis-
tration had fired a very important shot, in effect saying, “Anybody who touches this story is going to pay a heavy price. And if you don’t believe it, look at what happened to Dan Rather and the people who were with him on this story.” Now, the central thing about this — and I don’t mind talking about it, but it’s been a long time ago — we reported a true story. Nobody, including President Bush or anybody around him or his family, denied the truth of the story. As a diversionary tactic, as a camouflage, we were attacked for the way we reached the truth. What is the truth? Truth One: That President Bush’s father used his influence to ensure his son would never have to go into a combat zone in Vietnam. No doubt about it. Whatever you think of the memos — set the memos aside — that is a fact. Truth Two: After the young George Bush was put into the so-called “champagne unit” of the Air National Guard, he disappeared for more than a year. Now think about that: Anybody who’s ever been in the military service knows that if you disappear overnight, you’re AWOL; you disappear for more than a week or two, it’s desertion. Now here’s a case where he disappeared for more than a year. That’s a fact. Those are the truths we reported.
How did you become the poster child for those convinced of a liberal media? I’ve had a lot of God’s grace in my career, but this part of it has always struck me as ironic. Those who attack me as being a liberal, a socialist, whatever, frequently say, “He’s an elitist, Ivy League,” which always brings a wry smile. I went to what was then Sam Houston State Teachers College, in deep east Texas, in Huntsville. I’m very proud of that, but no one has ever described it as an elite university. I graduated early and then volunteered for the Marines and was in the Marines, despite the fact I was 4-F in the draft because I had had rheumatic fever, an automatically disqualifying disease. Now I have one of the shortest and least distinguished records in the whole history of the military; however, I volunteered in wartime and tried to serve my country. I don’t deserve any praise for that, but
anyone who knows the record knows that the “liberal” charge is bullfeathers.
You get emotional, demonstrably so, when covering the military. I have been there and heard the screams of the wounded soldiers and the moans of the dying and seen the sacrifices they made. The first time I saw it: Vietnam. I’ve seen it many times since. I’m covering flag-draped coffins coming back to some cold and somewhat lonely airbase on the Northeast coast… uh, try as I may, most of the time I cannot hide the fact that I am deeply, emotionally touched by that — nor do I particularly want to hide it.
with the possible exception of the work during the Civil Rights Movement. I can be as dumb as a cement wall about a lot of things, but I’m at least smart enough to know that I’m really lucky to have this show at age 82.
Mark Cuban and George Clooney have had an impact on your life, haven’t they? They absolutely have. When I was in the process of leaving CBS News, George Clooney helped me get in touch with Mark, who not only offered me a job, but his only question was, “What do you want to do?” Mark Cuban is every bit as smart as you think he is.
Nixon called you a bastard. [Laughing]
Your Ratherisms...scripted? [Laughing]
He called me a lot of things. I am quoting directly now from the White House Oval Office, May 4, 1972 — quoting directly — from President Richard Nixon: “Rather is a son of a bitch. But he’s clever. Rather is a smart rat.”
No. I grew up with people who talked this way. I worked on oil fields and pipeline gangs. People who worked in the heat, stripped to the waist… You can only say, “It’s hot as hell” so many times, so they use colorful language like, “This is hotter than a Laredo parking lot.” And when I first started doing it, people at the network would say, “This got a chuckle, but I’m not sure what it means.”
Your thoughts on Keith Olbermann, Rachel Maddow, Bill O’Reilly? I’m not even sure they claim to be journalists. Now I want to make sure I don’t insult anybody and, surely, Rachel goes out on stories and does reporting and I respect that. And Olbermann has done some. And O’Reilly — I worked with him at CBS — he was a pretty good reporter, but they hang out a shingle that says, “I have a point of view and I’m going to share that with you.” There is a place for that, but I don’t think that any reasonable person would say we don’t need reporters who are trying to be honest brokers of information.
Which leads us to Dan Rather Reports. In some ways, the highlight of your career? Yes. In some ways it is. In what ways? This is the first time I have had — and I know of no other journalist who has had — a regular program in which I have total, complete, absolute creative and editorial control, and I get to do what I want to do, when I want to do it, how I want to do it. I think I have done the best, sustained work of my career. I know there are some who would say that’s damning with very faint praise; nonetheless, I take as much satisfaction in this as anything I have ever done on a sustained basis,
It’s your Yiddish. That’s a good way of putting it.
Your favorite Ratherism? That’s like trying to pick one of your children. [Laughing] I can’t do that.
You’ve seen more of our country, reported more about it than most. Where are we? The America of my grandchildren — I have two grandchildren now — may very well be better, a lot better. I’m an optimist. It’s easy to take a deep breath and think, “Our best days are behind us,” but I don’t believe it. I’m sorry I’m not going to be around to see a lot of it.
A MORNING WITH DAN RATHER Presented by Tulsa Town Hall November 8 at 10:30 a.m.
CHAPMAN MUSIC HALL Tickets are sold by subscription at TulsaTownHall.com and 918-749-5965.
Nov em ber 2013 IN TERM ISSION
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Enjoy your drinks in the theater Enjoy your drinks in the theater with our souvenir cups. with our souvenir cups.
Reusable at all Reusable atPAC all events. Two sizes available at the PAC events. Two concession sizes available at the stand. concession stand. Reusable at all PAC events. Two sizes available at the concession stand.
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Call 918.596.2368
3549 S. Harvard 742-9027
Gilcrease Museum Sunday Matinee Films ToM GilcreaSe Jr. audiToriuM
Free wiTh paid adMiSSion
November 10 • Film showing at 1:30 p.m.
Dwight D. Eisenhower: Commander-In-Chief Dwight D. Eisenhower lived a life marked by extraordinary success. A West Point graduate, his military know-how catapulted him through the U.S. Army ranks. Eisenhower’s steadfast leadership helped turn the tide of World War II. His intellect and skillful diplomacy later paved the way to the White House where he served two productive terms as president. In his role as commander-in-chief, Eisenhower became a well-respected and dedicated advocate for peace and human rights throughout the world. In this documentary profile, friends, family, colleagues and noted historians shed light on one of the nation’s greatest heroes.
Gilcrease MuseuM a university of Tulsa/city of Tulsa Partnership 918-596-2700
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gilcrease.utulsa.edu TU is an EEO/AA institution.
N o vemb e r 2 0 1 3 I N TE R M I S S I O N
It Starts with an Idea... and we can help create your perfect kitchen.
Cowen Residential stands committed to providing our clients with their perfect home or addition.We take the time to understand your ideas and work closely with you to build the home you want. Commitment to superb craftsmanship and quality – That’s Cowen Residential.
918-582-2220
cowenresidential.com
Building a Lifestyle A letter to Lindsay Hurley Fick, Saint Simeon’s President and CEO
When my mom moved from North Carolina to Tulsa in February, we found Saint Simeon’s to be a perfect fit for her. Here, she was welcomed by a warm, caring staff and fellow Residents. When Mom first came to Saint Simeon’s, she could barely walk a few feet without assistance. She has made so much progress, especially through her regular exercise in the warm‑water therapy pool. It’s no wonder Saint Simeon’s has such an excellent reputation! Saint Simeon’s Resident Jere with
Remodeling And Custom Built Homes • Quality Craftsmanship • Timely Construction • Innovative • Organized Architectural Designs Construction Management
Sincerely, Rex
glen RogeRs, BuildeR
daughter-in-law Jan, granddaughter Paige, grandson David, and son Rex.
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BOSSING the
FROSTING by Natalie O’Neal
V
oila! And with a few spins of his rotating cake stand and a bit of piping, Buddy Valastro manages to make an average, run-of-themill birthday cake look like it belongs in a high-end bakery’s display case. In fact, you might actually find this perfectly iced cake on the counter next to other delectable pastries at everyone’s favorite Hoboken sweet spot — Carlo’s Bake Shop. This cake is just one of 400 birthday cakes Buddy will supervise in a given week — along with 2,000 cupcakes, hundreds of pastries, pounds of biscotti and cookies, five monster wedding cakes, and four or five colossal specialty cakes. Good thing Buddy’s been doing this a while — nearly two decades, and that’s not even counting the time when he was a kid at Carlo’s watching his dad expertly treat New Jersey to Italy’s finest desserts. It was only natural for Buddy, a fourthgeneration baker, to take over the business at 17 when his father died. “My family played a huge role in discovering my passion. Baking is in my blood,” says Buddy, whose grandfather and greatgrandfather were both bakers in the old country. And famiglia isn’t something that the Valastros take lightly. Even through two TLC hit TV shows, Cake Boss and Cake Boss: Next Great Baker, Buddy has managed to keep the Italian tradition alive. 16
N o vemb e r 2 0 1 3 I N TE R MI S S I O N
When asked if the limelight has changed the way he views the business of baking, he replies, “Not at all. We still stay with our family values; things are still done the old-fashioned way my dad taught me, TV show or not.” While many would label him a master baker, he is first and foremost a family man, evidenced in the title of his new show, Buddy Valastro: The Cake Boss Family Celebrations Tour. Baking is an excellent way to strengthen bonds in a family, he says. “It’s a great activity to do with children, and it’s relatively inexpensive. You can buy a box mix at the store, pretty much all the ingredients for ten dollars, and can spend two to three hours baking and doing something creative with your kids and then have something to eat when you’re done.” When it came to picking cities for his 2013 tour, Buddy says couldn’t pass up Tulsa. “It was such a great time and turnout two years ago. When I came up with this new show, I thought, ‘I have to bring it to Tulsa again — the fans make it feel like home and family.’” Buddy has changed up the program since his Tulsa 2011 show,
Year. Just like on Cake Boss, there’s nothing mutually exclusive about baking and time spent with family. Working with family can’t be easy, but Buddy seems to masterfully balance work life and family life. “My sisters have always worked in the storefront and served the customers, and mother always did the bookkeeping. Their roles have grown a
“I want you to be successful at home. If you have the right tools and tips, anyone can be a pro.” — Buddy Valastro however, and added a lot more audience participation. “It’s a new and improved version; I took things that I loved from that show and kept them but added a lot of new content,” he says. The show consists of “a tutorial on how to make cakes — I make five cakes.” He even brings in a bit of his spin-off TV show, Next Great Baker. “I’ll call people up from the audience for each cake to make them compete with each other. The winner can take their pick of the cakes to take home! All the while I’m telling stories from my life, and if you’re a fan of Cake Boss, it’s a real great behind-the-scenes look at the show.” Buddy’s stop in Tulsa follows the November 5 release of his newest book, Family Celebrations With the Cake Boss: Recipes for Get-Togethers Throughout the
little more with the expansion of things, but everyone’s just happy to be part of the family business,” he says. Sometimes tensions run high as the stress of the shop and its incredible output become overwhelming. “At the end of the day, I won’t say we never fight because we do,” he says, “but we try not to let the fight go too long, a day or so — life’s too short.” Fortunately for Buddy, his passion — decorating cakes — is also his most effective stress reliever. “It’s a way of thinking clearly in my mind,” he says, and on the show, he refers to being in “the zone” when working on especially detailed cake creations. For Buddy, icing a cake is like any other artistic pursuit — you have to know the basics before you can progress to the
Michelangelo level of cake decorating. “The cakes I do at the show are based on that: I make a couple of beginner cakes and an intermediate cake, because I want you to be successful at home. If you have the right tools and tips, anyone can be a pro.” In other words, practice — with a few tips from an expert — makes perfect. As he told Intermission in 2011, “Piping out cookies on a sheet pan is the same as piping on a wedding cake. People don’t realize if you pipe out a thousand pans of cookies, odds are when you go to pipe on a wedding cake, you will know how to do it, because it’s the same exact thing. Or if you roll out a pie shell, you can roll out a fondant.” Overall, the show will be a fun experience for the whole family and a great start for any aspiring cake decorator. “Being a dad of four, I thought of a show that was clean family fun. It’s live, it’s entertaining. Plus, I’m from Jersey so I’m a funny guy,” he laughs. So bring your whole family, get some inspiration and tips from Buddy, and whip up some memories of your own!
Buddy Valastro
THE CAKE BOSS
Family Celebrations Tour Presented by Mills Entertainment November 24 at 7 p.m. CHAPMAN MUSIC HALL Tickets are $25.75-$36.75. VIP tickets ($95) include a post-show meet-and-greet and a copy of Buddy’s new book. MyTicketOffice.com and 918-596-7111
Nov em ber 2013 IN TERM ISSION
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Sharon Sipple
❄
❄
“Irving Berlin has no place in American music — he is American music.”
— Broadway composer Jerome Kern
B
orn Israel Isidore Beilin in 1888 in a part of the Russian Empire that is now Belarus, Irving Berlin escaped to the United States with his family when he was five, after watching neighbors burn his family home to the ground during a pogrom. That this Jewish immigrant went on to write one of the most-recorded, best-selling, best-loved Christmas songs of all time seems remarkable, until you realize that Berlin’s true religion was his beloved America, a place where — ideally — everyone, regardless of their beliefs, could come together once a year to celebrate a season of treetops glistening and sleigh bells in the snow. As Berlin would — and did — say: “God Bless America” and “Happy Holiday!” 18
N o vem b e r 2 0 1 3 I N TE R MI S S I O N
TM
❄
by Nancy Bizjack “Irving Berlin’s songs typify a kind of pure, simple Americana,” says James Clow, one of the stars of the 2008 Broadway musical Irving Berlin’s White Christmas, based on the 1954 movie featuring the 1941 song. “There’s a time and a feeling and an innocence in that music. Songs like ‘White Christmas’ and ‘How Deep is the Ocean’ have a simple but timeless message.” Clow plays the role of Bob Wallace, portrayed by Bing Crosby in the movie. Crosby debuted the song “White Christmas” on his NBC radio show, The Kraft Music Hall, on Christmas Day 1941 and also performed it in the 1942 film Holiday Inn. Many other artists have recorded the song through the years, but Crosby’s version remains the biggestselling single of all time. However, the Ghost of Crosby Past doesn’t haunt Clow. “I never saw the movie White Christmas before I did the show,” he explains. “I’m not Bing Crosby and I’m not doing an
imitation of him, so I have to find the truth in it for me.” Clow has had plenty of time to do that, having performed the Bob Wallace role in the musical’s return engagement on Broadway during the 2009 holiday season. Mara Davi, who played the Judy Haynes role on Broadway, also plays Judy in this tour production. In the movie, Judy was portrayed by Vera-Ellen, who demonstrated that “The Best Things Happen While You’re Dancing,” in that song and others throughout the movie. And if you thought those spectacular dance numbers were the best part of the movie, Clow says you’ll love the musical. “I think there’s more dancing; there’s definitely more tap dancing,” he says. “Randy Skinner’s choreography — it’s just joyous. It’s that kind of a thing, where, like when you see theater pieces like 42nd Street, you start watching people tap dance and you go, “My God, I wish I could tap dance!” Skinner was nominated for Tony and
❄
Drama Desk awards for his choreographic work on White Christmas and on the popular 2001-2005 revival of 42nd Street. Clow doesn’t do much dancing in the show, but it’s his favorite part to watch. “I do very light tap dancing. There’s a song-and-dance team and I’m more of the song guy,” he explains. “David Elder [as Phil Davis] does most of the tap dancing with Judy and the ensemble.” Clow says he likes to watch from the wings as the curtain rises on Act Two. In the tradition of shows like 42nd Street and Anything Goes, Phil and Judy lead the ensemble in an extended tap dance extravaganza to the song “I Love a Piano.” “It’s thrilling and just inspiring to see everyone in the company doing that routine,” Clow enthuses. Now if you’re thinking to yourself, “I don’t remember ‘I Love a Piano’ or ‘How Deep is the Ocean’ being in the movie White Christmas,” you remember correctly. The stage version retains most of the memorable songs from the film, like “Sisters,” “Snow” and “Count Your Blessings Instead of Sheep” and features expanded versions of “Blue Skies” and “Let Me Sing and I’m Happy.” And, because it’s a full-on musical, and not just a movie containing musical numbers,
Sharon Sipple
“Sisters”
❄ more wonderful Irving Berlin songs, like “Happy Holiday,” “Love and the Weather,” “I’ve Got My Love to Keep Me Warm” and the two first mentioned were woven into the story to expand the characters and drive the narrative. Vocal and dance arranger Bruce Pomahac says a decision was made early on to keep the sound of the music in the post-World War II Big Band Era vernacular. “We approached every number as if it were being created, arranged and performed in that time,” he explains. “Employing period harmonies and musical devices made our story more honest and natural than it might have seemed had we used a more contemporary musical vocabulary to tell it.” The story, in a roasted chestnut shell, is this: Two GIs become a song-and-dance
❄
“Blue Skies”
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team after World War II, meet a couple of sisters who also sing and dance, and the four head up to Vermont to look for snow. There’s no snow (yet), which is bad for tourism, so they end up putting on a show in a barn to save the inn where they’re staying that just happens to be run by the guys’ former commanding officer. Of course, there’s also romance and misunderstandings about misters coming between sisters, but everything works out in the end. “It’s a very family-friendly musical,” Clow says. “It’s got a great love story. It has incredible tap dancing. And there are some surprises at the end. I don’t want to be a spoiler, but the audience goes crazy at the end. They really get caught up in the Christmas joy of it.”
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Presented by Celebrity Attractions November 12-14 at 7:30 p.m. November 15 at 8 p.m. November 16 at 2 p.m. and 8 p.m. November 17 at 2 p.m. and 7 p.m. CHAPMAN MUSIC HALL Tickets are $20-$65. MyTicketOffice.com and 918-596-7111
Nov em ber 2013 IN TERM ISSION
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N o ve m b e r 2 0 1 3 I N TE R MI S S I O N
Open 10 - 6 Monday - Saturday • (918) 624-2600
THE OF UPDATING
A CLASSIC by Missy Kruse
I
Models wearing costumes designed by Paulette Record
Josh New
t’s back to the future… or maybe forward to the past, but there’s no question that Theatre Tulsa’s reimagining of the Oscar Wilde classic The Importance of Being Earnest will be unlike any you have ever seen. The farcical favorite travels through an alternate timeline to a post-apocalyptic, neo-Victorian London where trivial pursuits remain important diversions for the idle rich. Los Angeles-based actor, teacher, producer, director and former Tulsan Clayton B. Hodges returns to direct his vision of the much-performed play in which mistaken identities provide the basis for laughs. If you aren’t familiar with the storyline, here it is: two Victorian playboys — Jack (Rohit Sawant) and Algie (Denny Mask) — stay busy doing pretty much nothing and dodging unwanted social engagements with imaginary excuses. Jack pretends to have a wayward younger brother named Ernest, who takes him from country to city and back; Algie has a sickly friend called Bunbury to whisk him from dull parties. It all works well until they fall for two winsome women, Gwendolen (Erin DeCoursey) and Cecily (Natalia Rossi). The play “hits the sweet spot of aping the Victorian class system, the way of doing things, of treating women, of treating the lower classes,” Hodges says. “While the class system contributes to the humor of [the Theatre Tulsa version], I’ve decided to take a lot of that and flip it on its head.” Much of the play’s biting and sly humor remains, but Hodges has updated the references that meant something to Wilde’s original audiences, but wouldn’t necessarily make sense to today’s theatergoers. One example is Jack’s threat to banish his
brother to Australia, the worst place possible in 1895, when the play debuted. Hodges changes that to “the Canadian colony on Mars.” His updated version of Earnest is not the first. The 2002 movie was saucier than the 1953 version; women smoked cigarettes, drove cars and got their bums tattooed. In a 2012 stage play produced by actor David Hyde Pierce, the characters become Prohibition-era gangsters escaping to London to avoid being rubbed out. Why change a classic? “Classics speak about something universal, something about the human condition. That’s why they survive,” Hodges says. Unfortunately, period pieces can create a wall. “Audiences, especially youth, shut off. But if we can take the wall down by making it more immediate, more visceral, more exciting, then we’re introducing them to the universality of the condition, which is why they need to be exposed [to classics] in the first place.” In that vein, the play will rely heavily on
technology — from moving images and texts to actors Googling for information instead going to a musty home library. So what has Hodges created? “I like to think of it as science fiction, like steampunk,” he explains. Think of the fantastic machines in Jules Verne novels run by 19th century adventurers, Doc Brown arriving in Back to the Future III on his imaginative railroad engine, or sci-fi with rom-com and sit-com elements. Hodges adds: “It’s more active, it’s more sexual, it’s more aggressive and it’s a lot more interesting.” THE OF BEING
EARNEST Presented by Theatre Tulsa November 8-9, 14-16 at 8 p.m. Nov. 10, 17 at 2 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $18; $14 for seniors, students and children. MyTicketOffice.com and 918-596-7111 Nov em ber 2013 IN TERM ISSION
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A New Season Begins!
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
R CENTE Fusion Season 2013-2014
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Pick up your copy in our lobby racks.
918.596.7122 • www.TulsaPAC.com Follow us on Facebook and Twitter
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N o vem b e r 2 0 1 3 I N TE R MI S S I O N
11:48 AM
Tuesday – Thursday 10 – 5:30 4817 S. Peoria Tulsa, OK 74105 metalmorphis.studio@gmail.com
ON UPCOMING EVENTS
PL AYHOUSE TULS A
TULSA! A RADIO CHRISTMAS SPECTACULAR IN THIS WORLD premiere by playwright Cody Daigle, it’s Christmas Eve 1949. KMOK, Tulsa’s fourth-most-popular radio station, is preparing its annual “Radio Christmas Spectacular.” If the show doesn’t bring in more listeners, the station will close on New Year’s Eve. To ensure success, the station’s plucky new intern, Kate (Grace Stump), has coaxed Edith Montclair (Rebecca Ungerman), a famous Broadway actress, to headline the show. But when Edith is incapacitated (maybe by accident, maybe on purpose by the station’s resident leading actress, played by Janet Rutland), the KMOK staff has to somehow pull off a Christmas miracle. Tulsa! features new Christmas songs written and composed by Ungerman. Courtneay Sanders directs and Suzy Meredith-Orr is musical director.
Michele Cantrell
December 5-7 at 7:30 p.m. December 7-8 at 2 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $24; $21 for students and seniors, $9 for children.
PAC TRUST
THE ATRE POP S
THE Tulsa Performing Arts Center will ring with cheer as the Tulsa Festival Ringers return for their annual holiday concert of classic carols and modern medleys. Admission is free, and seating is first-come, first-served for both performances of this evergreen holiday tradition performed on the set of American Theatre Company’s long-running musical A Christmas Carol. Bring your lunch — and a Christmas cookie or two — for a fun, festive show by Tulsa’s only auditioned handbell choir!
IN THIS DARK, dark Christmas comedy by Jeff Goode, scandal erupts at the North Pole when one of Santa’s eight tiny reindeer accuses him of sexual harassment. As mass media descend upon the event, the other members of the sleigh team demand to share their perspectives, and a horrific tale of corruption and perversion emerges, which seems to implicate everyone from the littlest elf to the tainted Saint himself. With each deer’s confession, the truth behind the shocking allegations becomes clearer and clearer, and murkier and murkier.
December 4 at 11:30 a.m. and 12:45 p.m.
C H A R L E S E . N O R M A N T H E AT R E Tickets are $15; $10 for students and seniors.
BROWN BAG IT: TULSA FESTIVAL RINGERS
J O H N H . W I L L I A M S T H E AT R E Admission is free.
THE EIGHT: REINDEER MONOLOGUES
December 12-14, 19-21 at 8 p.m. December 15, 22 at 2 p.m.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Nov em ber 2013 IN TERMISSION
23
“My happy place.” — Teresa Miller, Writer, book lover and chocolate aficionado
Trollbeads Trunk Show Nov. 2nd & 4th - 6th Obsidian Jewelry Show Nov. 8th - 15th Holiday Party Nov. 16th & 17th
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Round-trip air 4 nights in a 5* Hotel near the White House 5 days of touring the capital Food tour of Alexandria Hillwood Museum & Gardens Most meals / All taxes / tips Ticket to Hal Holbrook’s Mark Twain Tonight! Fully escorted out of Tulsa by David Forbes Much more
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ON UPCOMING EVENTS
THE ATRE TULS A
AMERIC AN THE ATRE COMPANY
A CHRISTMAS CAROL EBENEZER SCROOGE, Bob Cratchit, Tiny Tim and Charles Dickens’ other classic characters, both human and spectral, return for ATC’s 36th annual production of A Christmas Carol. John Knippers and Karl Krause
DISNEY’S ALADDIN JR.
This Tulsa tradition features music by local talents Bob Odle and Richard Averill and a revolving set designed by Richard Ellis. It’s a heartwarming story of generosity, family and goodwill as one lonely humbug is given the rare chance to change his life and find his heart. Karl Krause returns as Scrooge, and John Knippers is back in the role of the Spirit of Christmas Present. Cast newcomers include Chris Williams as Bob Crachit. Edward Durnal directs again with musical direction by Christy Stalcup and choreography by Christina Jenkins. December 12-13, 17-21, 23 at 7:30 p.m. December 14-15, 22 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; $12 for children.
TULS A BALLET
WITH ITS beloved score by Tchaikovsky and sparkling choreography by Artistic Director Marcello Angelini, Tulsa Ballet’s The Nutcracker is brimming with holiday magic. Returning elements from last year’s update of this production include new choreography, a larger children’s cast, and the return of the beloved, big-skirted character Mother Ginger. Young Marie’s fantasy of being swept off her feet by a handsome dancer unfolds in a production that mixes the visuals of a Broadway show with the heartwarming story of a fairytale Christmas. Uniquely set in 1920s Paris, Tulsa Ballet’s The Nutcracker evokes the Art Deco era, an important and glamorous time in Tulsa’s history. Local children and students join the professional company to help the Mouse King battle the Nutcracker Prince and his toy soldier
Rosalie O’Connor
THE NUTCRACKER
brigade. Tulsa Symphony performs live at every performance.
THEATRE TULSA’S Broadway Bootcamp for kids ages 8-18 culminates with participants starring in a fully staged, all-youth production of Aladdin Jr. This one-act, seven-scene musical is adapted from the animated Disney film Aladdin, based on the well-known folk tale about a magical wishgranting genie who lives in an oil lamp. In Aladdin Jr., Princess Jasmine’s father pressures her to choose a husband from among three visiting princes: Prince Baba of Ganoush, Prince Dahdu Rahn Rahn, and The Prince Formerly Known as “The Artist.” But Jasmine runs away and meets Aladdin, and their magic carpet adventures begin. Songs from the film that are included in Aladdin Jr. are “Arabian Nights,” “One Jump Ahead,” “Friend Like Me,” “Prince Ali” and “A Whole New World.” December 13-14 at 7:30 p.m. December 14-15 at 2 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $16; $12 for students, seniors and children.
December 13, 20-22 at 7 p.m. December 14-15, 21-22 at 2 p.m. CHAPMAN MUSIC HALL Tickets are $20-$99; discounts for children.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Nov em ber 2013 IN TERMISSION
25
ON UPCOMING EVENTS
STEPHEN SMITH
ART EXHIBIT Dec. 5-31 PAC Gallery PAC TRUST
BROWN BAG IT: TULSA FESTIVAL RINGERS Dec. 4 at 11:30 a.m. and 12:45 p.m. John H. Williams Theatre THE PLAYHOUSE TULSA
TULSA! A RADIO CHRISTMAS SPECTACULAR Dec. 5-7 at 7:30 p.m. Dec. 7-8 at 2 p.m. Liddy Doenges Theatre AMERICAN THEATRE COMPANY
A CHRISTMAS CAROL Dec. 12-13, 17-21, 23 at 7:30 p.m. Dec. 14-15, 22 at 2 p.m. John H. Williams Theatre THEATRE POPS
THE EIGHT: REINDEER MONOLOGUES Dec. 12-14, 19-21 at 8 p.m. Dec. 15, 22 at 2 p.m. Charles E. Norman Theatre THEATRE TULSA
DISNEY’S ALADDIN JR. Dec. 13-14 at 7:30 p.m. Dec. 14-15 at 2 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 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.
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N o vem b e r 2 0 1 3 I N TE R MI S S I O N
TULSA BALLET
THE NUTCRACKER Dec. 13, 20-22 at 7 p.m. Dec. 14-15, 21-22 at 2 p.m. Chapman Music Hall
Chicago
JANUARY LINDSAY LARREMORE
ART EXHIBIT Jan. 6 – Feb. 2 PAC Gallery
TULSA SYMPHONY
MOZART AND PROKOFIEV Jan. 11 at 7:30 p.m. Chapman Music Hall CELEBRITY ATTRACTIONS
CHICAGO Jan. 21-23 at 7:30 p.m. Jan. 24 at 8 p.m. Jan. 25 at 2 p.m. and 8 p.m. Jan. 26 at 2 p.m. and 7 p.m. Chapman Music Hall THEATRE TULSA
I LOVE YOU, YOU’RE PERFECT, NOW CHANGE Jan. 24-25, 30-31 at 8 p.m. Feb. 1 at 8 p.m. Jan. 26 and Feb. 2 at 2 p.m. Liddy Doenges Theatre PAC TRUST
FEET DON’T FAIL ME NOW! Jan. 25 at 7:30 p.m. John H. Williams Theatre
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.
Jeremy Daniel
DECEMBER
TULSA CHILDREN’S MUSEUM
FUNKADESI Jan. 26 at 2 p.m. and 4 p.m. John H. Williams 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.
CELEBRITY ATTRACTIONS
BEAUTY AND THE BEAST Jan. 31 at 8 p.m. Feb. 1 at 2 p.m. and 8 p.m. Feb. 2 at 2 p.m. and 7 p.m. Chapman Music Hall
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.
Lights On at Utica Square.
An annual holiday tradition!
Come join the magic as we kick off the holiday season with caroling and over 700,000 lights — Thanksgiving Day, Thursday, November 28 at 6:30 p.m. To learn more, please visit us at www.UticaSquare.com. Utica Square gift certificates available at Commerce Bank.
Utica at Twenty First
we didn’t invent the idea of life after retirement. just improved upon it.
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Corey redington, Assistant Vice President & karen ellis , Senior Vice President
With more than 30 years experience in helping create and implement retirement strategies for individuals and organizations, we have learned how to make your dreams become reality.
Learn about how we can help you at TrustOk.com, or call us at 918-744-0553 to discuss your specific needs.