DECEMBER 2013
HAPPY
Holidays
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BUY Beauty tickets before the public!
DECEMBER 2013
INTERMISSION MAGAZINE
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features
7 Directions
11 Q&A: Sara Phoenix
9 Bravo
Josh New
Theatre Tulsa’s aptly named president and artistic director has reinvigorated the 91-year-old company with smart planning and abundant enthusiasm Interview by Nancy Bizjack
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16 Nutcracker Nation
Rosalie O’Connor
Find out why The Nutcracker, in all its variations, is one of the most beloved and frequently performed ballets in the United States. by Tara Farrar
Happy Holidays by John Scott A Christmas Carol The Eight: Reindeer Monologues Disney’s Aladdin Jr.
23 Spotlight TSO: Mozart and Prokofiev Chicago I Love You, You’re Perfect, Now Change Feet Don’t Fail Me Now Funkadesi Beauty and the Beast Timothy Egan Charlotte’s Web TSO: Saint-Saëns and Mozart
26 January/February Events
in the gallery 18
18 Nightspotting
Impasto, Impasto, Impasto!!! December 5-31
Amy Frost
Looking for drinks and nibbles before or after the show? Try ZIN, blu and Valkyrie in the Brady District or, just east of downtown, Hodges Bend and the Campbell Hotel Lounge by Matt Cauthron
Swan Lake Autumn
20 20 Tulsa! A Radio
Christmas Spectacular
Michele Cantrell
by Barry Friedman The Playhouse Tulsa premieres a holiday show written just for Tulsa with specific actors in mind
Cover art by Stephen Smith
Artist Stephen Smith employs a technique called impasto, in which paint is laid on thickly, with visible brush strokes. The surface can be quite chaotic viewed up close, but from a slight distance, the viewer’s eyes blend that chaos into the image that Smith intended. Smith is a native Oklahoman who majored in fine arts at the University of Tulsa. His work appears in many private and corporate collections nationwide, and he has exhibited in numerous juried shows and galleries locally and throughout the West and Midwest. Decem ber 2013 IN TERM ISSION
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A Foundation for Learning. A Foundation for Life. Zane is on the Cascia Hall Academic team which has won two state championships and one runner-up title in the past three years. He is also a member of the varsity cross country and track teams. Zane is very involved in his church and mission work, locally and globally. Cascia Hall students consistently exceed the ACT college readiness benchmark scores. 2013 ACT Averages: Cascia Hall - 27.7; State - 20.8; National - 20.9 OPEN HOUSE - SUNDAY, NOVEMBER 3, 2013, 1:30 - 3:30 PM ENTRANCE EXAM - SATURDAY, NOVEMBER 9, 9:00 AM
Zane Dennis Class of 2014
The Cascia Hall Community congratulates Zane Dennis on his perfect ACT score.
2520 S. Yorktown Ave. Tulsa, OK 918-746-2600
www.casciahall.org admissions@casciahall.org
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OKLAHOMA CITY
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INTERMISSION director’s page
is the official magazine of the Tulsa Performing Arts Center.
PUBLISHER Jim Langdon
HAPPY HOLIDAYS HOLIDAY TIME at the John Scott and PAC got off to a festive Janet Rockefeller start with November’s sold-out run of Irving Berlin’s White Christmas, and there are more seasonal shows planned for December. Last month featured 53 performance activities and 40 more are scheduled for this month. To keep the PAC humming along at peak performance, we call upon the diverse talents of our staff. Last month I promised to provide a more expansive introduction to our Assistant Director Janet Rockefeller. Janet is a native Tulsan and Edison High School graduate who earned a bachelor’s degree at the University of Denver. She has worked at the Broadmoor Hotel in Colorado Springs, as a meeting planner for Walmart in Bentonville, and as an event coordinator, business manager and then assistant director at the Tulsa Convention Center. When management of that facility was transferred from the City of Tulsa to SMG, she was asked to stay on as assistant general manager, the position she held until coming to the PAC last month. Janet’s volunteer work includes serving as honorary director for the Metro Tulsa Hotel and Lodging Association, working with Junior Achievement, and chairing Tulsa Metro Chamber’s One Voice task force. She is also sergeant-at-arms for the Downtown Rotary Club. In 2012 she was named one of the Tulsa Business Journal’s Women of Distinction. Other new staff members are Nicklaus Faith, house manager, and Terry Baker, lead maintenance mechanic. Nicklaus may be a familiar face. He comes to his new position after working in our award-winning ticket office. Welcome to the team, all! I’d also like to congratulate Dewey Bartlett on his re-election. Mayor Bartlett has been a supporter of the arts for many years pre-dating his first term as mayor. We look forward to helping Mayor Bartlett make Tulsa the best it can be. Share the best entertainment Tulsa has to offer by attending one or more of the performances this month. Consider giving the people you care for most the gift of live arts performances. It’s a present that can create lasting memories and, as you accompany your loved ones to PAC events, you’ll receive as much as you’ve given. Thanks for all 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 ART DIRECTOR 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
Publisher of TulsaPeople Magazine 1603 S. Boulder, Tulsa, OK 74119
John E. Scott Director, Tulsa Performing Arts Center
For advertising information, Tel. 918-585-9924, ext. 240, Fax 918-585-9926. No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2368, nhermann@cityoftulsa.org.
Let us help plan your holiday party! Contact Tiffany Coats at tiffany@mcnellies.com or call 918.442.2993. Our gift cards make great stocking stuffers and are redeemable at any McNellie’s Group location! Purchase in store or online at mcnelliesgroup.com.
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Westby Pavilion on the PAC’s Promenade Rental information 918.596.7124
THIS MONTH AT THE PAC
John Knippers and Karl Krause
THE ATRE TULS A
DISNEY’S ALADDIN JR. THEATRE TULSA’S Broadway Bootcamp for kids ages 8-18 culminates with participants starring in a fully staged, all-youth production of Disney’s 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 wish-granting 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.
AMERIC AN THE ATRE COMPANY
THE ATRE POP S
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. 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 and Amber Leilani Williams as Charlotte. Edward Durnal directs again with musical direction by Christy Stalcup and choreography by Christina Jenkins.
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.
A CHRISTMAS CAROL
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.
THE EIGHT: REINDEER MONOLOGUES
December 12-14, 19-21 at 8 p.m. December 15, 22 at 2 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.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Decem ber 2013 IN TERM ISSION
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“ My happy place.” — Karl Krause as Scrooge in American Theatre Company’s “A Christmas Carol”
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Q+A Sara Phoenix Interview by Nancy Bizjack
was suffering — perhaps about to die — and came to the rescue. That old-timer was Theatre Tulsa, the longest continuously operating community theatre west of the Mississippi River. With the help of others, Phoenix worked out a plan for a complete overhaul of the organization, went to a Theatre Tulsa board meeting, and pitched it. The board was impressed and voted to make Phoenix president in May. She brought nine new people onto the board, and together they built a successful season, tripled their subscriber base and donations, and re-established grant and sponsor development programs. In just one year, Theatre Tulsa was out of debt and thriving. Phoenix, who also serves as the company’s artistic director, holds a BFA in Theatre from the University of Oklahoma. She has directed and choreographed more than 60 productions for various theatres and schools, including Oklahoma City’s Carpenter Square Theatre, Jewel Box Theatre and SummerStock Productions. She has won several notable awards for her Tulsa productions, including a 2011 Tulsa Award for Theatre Excellence (TATE) for Annie, which she directed and choreographed for Clark Theatre, and a 2012 TATE for her co-direction of Gruesome Playground Injuries for Odeum Theatre Company. As a certified high school drama teacher, Phoenix built award-winning theatre programs at Southeast and Del City high schools in Oklahoma City. In 2005, she started the Poteet Theatre’s dance and theatre education programs, which now serve 300 students per year. She is on the board of the American Association of Community Theatre and an associate member of the Society of Stage Directors and Choreographers. Where did you grow up? I grew up in
Josh New
In April of 2012, Sara Phoenix heard that a 90-year-old
Sapulpa and lived there until I went to college. I attended middle school and high school in Tulsa. So I know that part of Route 66 very well.
I was five years old, and I spent my childhood directing others in pretend plays and musicals. My mom once asked a teacher if I was being bossy, and she said, “No, that’s leadership.”
When and how did your love of theatre begin? I think it was always there. I was
What were some of your first experiences with Theatre Tulsa? I remember,
just lucky enough to have family and teachers who encouraged it. My dad was very involved with community theatre and some of my earliest memories consist of sitting in the audience during rehearsals and shows in which he was involved as an actor. I begged my mom to put me into dance classes when
so distinctly, going to the old playhouse on Delaware with my parents. Specific memories include Annie and The Sound of Music in the 1980s. I remember exactly what the sets looked like and everything! My first performance with Theatre Tulsa was in 1993. I was a dancer in the ensemble of The
Music Man and had my first opportunity to perform on the Williams stage at the PAC. I thought I had hit the big time!
How did you select this year’s shows? Last year, the shows were chosen based on the immediate need to stabilize the organization, bring in revenues, and rebuild our audience. Because of our success last season, I had a little more freedom this year. I essentially canvassed my friends and colleagues who are working in other theatres around the country. Based on their input, I figured out what was selling Continued on p. 12 Decem ber 2013 IN TERM ISSION
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Q+A Sara Phoenix Continued from p. 11
well in other regions and combined those ideas with what I thought we could reasonably produce with our talent pool here in Tulsa. And then I threw in a new play too [Clybourne Park], because I do think it’s important to offer new works and nontraditional options to Tulsa audiences.
What’s the Oklahoma City theater scene like, compared to Tulsa’s? Oklahoma City and Tulsa have very different theatre scenes. When I moved back home to Tulsa, I quickly realized that our community was lacking its great, civic theatre. I wondered what had happened to the Theatre Tulsa I knew from my youth. I was very frustrated by the fact that there was no strong, multi-faceted flagship theatre. Tulsa has a wonderful ballet, opera and symphony, but its theatre scene has become fragmented. After I had my children, I started to feel like something had to be done to build a strong civic theatre that can provide top-quality local entertainment and education to our community for another 90-plus years. There are many communities around the country, the same size as Tulsa, that have these unwavering, grand civic theatres anchoring their arts community. That’s what Theatre Tulsa should be. My twins are now two years old, and as they grow older, I want them to have access to a world-class theatre that serves Tulsa on a variety of levels.
What are some things you learned in Oklahoma City that you bring to Theatre Tulsa? I started out teaching at an underprivileged high school on OKC’s south side at the age of 23. At the time, I was a bit jealous of my friends going to New York and L.A., trying to start their careers and I wasn’t. I had a BFA in Acting and I was teaching theatre in a school that was falling apart, with a population that was not exposed to or interested in the arts. But what I started to discover was that I was making a lasting impact on that community. New York was just fine without me. But there, on the south side of OKC, I could make a difference in those kids’ lives. I was also learning skills that I would need to know in the future, like how to build a theatre company 12
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from nothing. With no funds for the drama department, I did everything! I taught acting to kids who never had any access to theatre, secured the rights for the shows, managed the budget, directed, choreographed, made the costumes, printed the tickets, designed the T-shirts, built the sets, wrote the press releases and hung the posters. It was like I was getting my MFA in Arts Management and I didn’t even know it!
What is your five-year plan for Theatre Tulsa? I plan to develop a stable, flourishing, multi-faceted theatre that serves Tulsa through arts, entertainment and education. We are on the right track with our Main Stage season full of family favorites, our New Stage program to present new pieces, and our quickly expanding education program for youth and adults. We have the vision, the experience and the talent. Now we just need the money and manpower to make it happen! I also hope to re-establish TT’s endowment and find a permanent home for our offices and rehearsals. It’s such an exciting time, and I am very excited about the progress we are making.
You’re on the board of the American Association of Community Theatre and you recently attended the Oklahoma Arts Council Conference. How does being involved in these types of state and national organizations benefit the Tulsa theater community? Yes! I am on the board for AACT and serve as the chairman of the education committee. This gives me the opportunity to travel to other theatres around the country, to see what they are doing well. I also get to attend theatre festivals, which exposes me to different pieces of theatre and other theatre professionals on a national level. The Oklahoma Arts Council does an expert job of bringing arts professionals from other places to our state. The opportunity to hear their stories, ask for their advice, and learn from knowledgeable, experienced artists gives me the opportunity to take that wisdom and apply it locally.
If you could perform any role in any play or musical, what would it be? I’d be thrilled to be in the ensemble of just about any musical. Honestly, I just live vicari-
ously through others on this point. There is a never-ending list of roles that I do not have the voice for and would never be able to play. I direct musical theatre because I was not born with “the voice.” Gotta know your type! Now, the list of shows I’d like to direct…that’s another story!
You’ve recently directed large casts of young people in the musicals Oliver and Legally Blonde, and this month Theatre Tulsa’s Broadway Bootcamp culminates with a production of Aladdin Jr. You seem to have a real love and a knack for working with kids and teens. What do you get out of it? I love their energy. I love the fact that you can push them to give more than they thought they could, and there is no ego pushing back at you. I love that they will take their experience with them, no matter where life takes them in the future, and it will become a part of who they are and what they do.
What has been your favorite experience with Theatre Tulsa since becoming board president and artistic director? The day I found out we had paid off the debt that we inherited when we took over. We worked nonstop last year to overcome so many challenges that preceded us, and that was a major accomplishment. I cried.
What has been your biggest challenge? Funding. And finding a workforce of volunteers who can help us achieve our goals. There is a specific structure that a nonprofit organization should have in order to be successful and we are working toward that, but we are not there yet. Every day, we are working to overcome those challenges.
What do you like to do when you’re not doing theater-related activities? I love to spend time with my husband and two-yearold twins. I also love to travel, read historical fiction and do yoga, but there has been little time for that lately!
For more information about Theatre Tulsa, go to theatretulsa.org
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I
n 2010, New York Times dance critic Alastair Macaulay crisscrossed the country, seeing about 30 productions of The Nutcracker in its various forms and blogging about his experience in a series he called “The Nutcracker Chronicles.” His goal? To try to find out just why The Nutcracker has become such a phenomenon, especially in the United States. Macaulay estimated that at least half of the performances of The Nutcracker that take place across the world each year happen in the U.S. “The Nutcracker’s influence on the ballet world has been massive. It’s a
half or even more of a ballet company’s annual ticket sales. But even still, The Nutcracker is so pervasive in American culture, surely, Macaulay thought, there must be more to it than that. The Nutcracker ballet originated in Russia in 1892. Tchaikovsky was commissioned to write the score to accompany the choreography of Marius Petipa, following their successful adaptation of The Sleeping Beauty. (However, Petipa’s assistant, Lev Ivanov, is widely believed to have done most of the choreography for The Nutcracker, after Petipa became ill.) The story was based on E.T.A. Hoffmann’s The The Nutcracker and his army of mice
major point of entry for audiences into the dance universe,” says Tulsa Ballet Artistic Director Marcello Angelini. Indeed, there’s hardly a ballet company in the country that doesn’t perform The Nutcracker. The reason is largely financial — The Nutcracker can make up 16
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Nutcracker and the Mouse King, though Alexandre Dumas’ French adaptation, The Tale of the Nutcracker, was the direct source material. The Nutcracker’s rise in popularity mirrors that of ballet’s popularity as an art form in the United States. The Ballet
Russe de Monte Carlo is credited with the first U.S. production of The Nutcracker — a one-act version premiering in 1940, at a time when the Ballet Russe was traversing the country, introducing ballet to cities that had not experienced the art form before. In 1944, Willam Christensen created the first full production for San Francisco Ballet. And in 1954, George Balanchine staged his ubiquitous version with New York City Ballet, during what was a “boom time” for ballet, when companies like Tulsa Ballet were coming into existence across the country, started by former dancers from the Ballet Russe and others. Both Christensen’s and Balanchine’s versions are still performed today, Balanchine’s being arguably the best known, thanks in part to some notable television broadcasts of the production during the 1950s. Liberties have been taken with the story over the years — to streamline it, to assign different motivations to the characters, to “modernize” it. In some productions, the young heroine is Clara, while in others, like Tulsa Ballet’s, she is Marie — the character’s name in the original Hoffmann story. The essential bits of the story are almost always the same, though: a Christmas Eve party and a young girl and her toy nutcracker, which springs to life to help her battle an army of mice, then whisks her off to a magical land where they encounter a multitude of fantastical characters (many of whom look like people or dolls who appeared in the first act — enhancing the notion that the young girl is dreaming). As Macaulay discovered in his journey to see as many different Nutcrackers as possible, no Nutcracker is exactly like
Courtney Skalnik and Alfonso Martín
another. Many have taken on characteristics of the places where they are performed. In Tulsa, the production draws on the Art Deco influences of the city, with all the extravagant flourishes of its 1920s Paris setting. In San Francisco, you’ll see a production set at the 1915 World’s Fair. In Nashville, The Nutcracker takes place at the 1897 Tennessee Centennial Exposition, complete with appearances by famous Tennessee natives like Andrew Jackson. In Washington, D.C., you’ll see George Washington battling the British. And there are “nutty” versions and hip-hop versions. Yet, the same themes unfold time and again: the innocence of youth, the triumph of courage, and the power of dreams. It’s probably in large part the ballet’s adaptability that has contributed to its longevity. The settings and characters change as each place tries to present a Nutcracker that means something to their audience in order to deepen their connection with the work. There’s also a familiarity to The Nutcracker that is comforting. The prime contributor to that familiarity is no doubt the music. Tchaikovsky’s score has surpassed even the ballet in its inseparability from the holiday season. Before walking through the door, guests are likely already humming “The Dance
of the Sugar Plum Fairy,” which has pervaded TV and radio commercials since just after Halloween. Peter Stafford Wilson, Tulsa Ballet’s principal conductor, has performed Tchaikovsky’s Nutcracker score more than 100 times. “The music always warms my heart,” he says. “The Nutcracker IS the Christmas season for me. It’s a brilliant score full of color and majesty. I never tire of leading it.” The dancers also understand the power that The Nutcracker holds with the audience, and the need to provide them with something at once familiar and awe-inspiring. Tulsa Ballet’s ballet master and recently retired principal dancer Alfonso Martín reflects on The Nutcracker as a sort of marking post for his career. “As a dancer you sometimes think, ‘Oh, The Nutcracker again.’ But as the years pass, it becomes a tradition that you and the audience share. For that reason, I looked at each year as a new challenge. I always wanted my performance to be better than the year before, so that the audience could experience it anew with me.” Ma Cong, Tulsa Ballet’s Ma Cong resident choreographer, originally from China, experienced firsthand the magnified reception The Nutcracker receives in the U.S. compared to other countries. “Moving to America 14 years ago, I quickly learned how important The Nutcracker is as a tool for exposing people to art and culture, while at the same time providing entertainment and filling the young audience with hopes and dreams.” The crowd-pleasing Mouse King and Russian Dancer became Cong’s signature roles in Tulsa Ballet’s production. “As a
performer, I felt a sense of responsibility to carry on that magic, to do my part to help make the holidays special.” The Nutcracker is a rite of passage that ballet companies hope transpires into a lifelong love affair with the art form. For Marcello Angelini, “The Nutcracker is our opportunity to connect with a new ballet patron through a performance that’s inspiring, that impresses upon them the beauty of dance.” Macaulay posits some other theories in his “Nutcracker Chronicles” about the root of The Nutcracker’s popularity (Is it Americans’ immigrant spirits seeing themselves in the young heroine being welcomed into a new land?). But Courtney Skalnik, who dances the role of the young Marie in Tulsa Ballet’s production for a second time this year, sums up more simply what makes The Nutcracker so special. “It’s a beautiful Christmas story that everyone can relate to, no matter what age.”
Presented by Tulsa Ballet 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. MyTicketOffice.com and 918-596-7111
Decem ber 2013 IN TERM ISSION
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Michelle Pollard
NIGHTSPOTTING by Matt Cauthron
F
ZIN offers weekly specials on glasses of wine. A cheese board as well as desserts crafted by Merritt’s Bakery and Ludger’s Bavarian Cakery are also available, Kaler says. And if you’re looking to sip something new and exciting, you’ll be well taken care of by Wilkins and the rest of ZIN’s knowledgeable servers. “Melissa really loves describing the experience of a drink,” Kaler says. “She’s big on destinations. She’ll tell you how sipping a Simi Cabernet is like curling up next to a fireplace in a log cabin.” With Tulsa’s winter weather in full swing, what could be better than that? Michelle Pollard
or many, an evening at the Tulsa Performing Arts Center is often preceded by dinner at one of downtown Tulsa’s many top-notch restaurants. But if you don’t have time for dinner, or if you simply want to grab a quick drink or a light appetizer before or after a show, the surrounding area is full of terrific options. Here’s a look at some of the newest hotspots downtown and beyond:
111 North Main Street www.zintulsa.com 918-500-3958
A recent addition to the Brady Arts District cocktail scene, ZIN is the place for anyone seeking a fine glass of wine, a delectable treat — or both. “It’s perfect for people who want a quiet, laid-back atmosphere,” bartender Courtney Kaler says. “Our owner, Melissa Wilkins, wanted people to have a place to pop in after a dinner or event and have a glass of wine and a dessert. We have wine options that are affordable but delicious in every varietal.” 18
D ec em b e r 2 0 1 3 I N TE R MI S S I O N
Michelle Pollard
ZIN
blu Another new arrival in the Brady Arts District, blu’s high ceilings, open layout
and soft lighting bring to mind a trendy upscale cocktail lounge. Its pool table, flatscreen televisions and local art adorning the walls balance that ambience with just the right dose of inviting Tulsa charm. And the drinks aren’t bad either. “We’re always updating our drink menu, based on the season,” says bartender Katy Bates. “But some of the big favorites — like the Key Lime Martini with a graham cracker rim — those aren’t going anywhere.” blu doesn’t serve food, Bates says, but “we don’t frown on anyone bringing in food from any of the nearby restaurants to eat while you have a drink.” The extensive list of specialty house cocktails and martinis, along with a wide selection of wine and beer, will satisfy any taste without breaking the bank. “With the location, the vibe and the quality — the prices are still very reasonable,” says Bates. “That’s something the owners have really tried to focus on. And our liquor selection is stellar. Just about anything you could want, we can make it for you.” 111 North Main Street www.blutulsa.com 918-728-7772
Amy Frost
Valkyrie “At Valkyrie, we’re all about playfully serving serious drinks,” says co-owner Aaron Post. “We strive to take all the pretension out of drinking well.” That mission has proven a popular draw at this contemporary lounge in the heart of the Brady Arts District. Large chalkboards display a frequently updated drink menu full of adventurous craft cocktails and a varied beer and wine selection. The space’s understated décor features rich wood and weathered brick accents, providing a stylish yet comfortable atmosphere. Whatever your thirst, Valkyrie can satisfy connoisseurs and casual drinkers alike. “We’re going to find something for everyone,” says bartender Shannon Robinson. “Whether it’s a great glass of wine or beer, or if you want to experiment with one of our many cocktails made with seasonal, local ingredients — everyone leaves here happy.”
2636 East 11th Street www.thecampbellhotel.com 918-744-5500
If you’re hungry for more…
Michelle Pollard
Campbell Hotel Lounge
Michelle Pollard
Nestled just outside of the Blue Dome District, Hodges Bend has delighted connoisseurs of handcrafted cocktails and locally roasted coffee since opening in early 2013. Boasting a large selection of specialty cocktails, top-shelf liquors and Tulsa-based
snack to share, everyone loves the wasabi deviled eggs and the smokie mac and cheese.”
823 East 3rd Street www.hodges-bend.com 918-398-4470
13 East Brady Street www.valkyrietulsa.com 918-295-2160
Hodges Bend
Topéca coffee drinks, this cozy downtown lounge has something for everyone. “One of the favorite cocktails is our Tobacco Old Fashioned, with housespiced rum and bitters infused with pipe tobacco,” says bartender Leslie Nelson. “And of course everyone loves the Moscow Müller, our take on the Moscow Mule — made with Muller Thurgau (a variety of white grape), vodka and ginger.” Hodges Bend also offers a cheese board with a rotating selection of high quality cheeses, as well as a charcuterie plate that currently features Serrano ham, chorizo, pistachio mortadella and a pork torchon.
The historic Campbell Hotel has reinvigorated the area near the University of Tulsa with its recently opened Campbell Lounge, providing a welcome destination just outside the downtown area for top-notch cocktails in an atmosphere that recalls the great hotel lounges of yesteryear. “It’s in the bottom of this beautiful building — a building that’s on the National Register of Historic Places — but it still has the feeling of a neighborhood bar,” says bartender Geb Graff. “It’s the kind of place that draws a lot of regular customers.” The lounge has an extensive beer, wine and cocktail menu. Graff recommends the Raspberry French 75 cocktail for a pre-show treat. A house specialty, it’s made with Beefeater gin, Champagne, Chambord, simple syrup and lemon juice. Those in need of a snack are in luck, as nearby Maxxwell’s Restaurant offers lounge patrons a full menu. “The fish tacos are great,” Graff says. “And for a
Hey Mambo: This charming brick-oven Italian restaurant and wine bar in the Brady Arts District has pizza, pasta and more. (Hint: Try the Center of the Universe pizza, with pesto cream, artichoke, spinach, pepper bacon, sliced prosciutto, roma tomatoes and feta.) The Tom Tom Room at the Vault: Located in an iconic midcentury modern building in the heart of downtown Tulsa, The Vault’s upper level houses the Tom Tom Room, which features a full bar and eats from the downstairs kitchen. (Hint: The room can also be reserved for private parties.) The Tavern: Tulsa’s modern, high-end take on the classic neighborhood pub features a darkwood bar manned by a master mixologist whose creations make up one of the best drink menus in all of Tulsa. (Hint: The Tavern Burger — a proprietary grind of short rib and brisket topped with with Stilton cheese and a mushroom cognac cream on a house-baked challah bun — can’t be beat.)
Decem ber 2013 IN TERM ISSION
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by Barry Friedman
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Tulsa! A Radio Christmas Spectacular is a world premiere presented by The Playhouse Tulsa, and like most Christmas shows, it evokes that holiday feeling — themes of love, community, friendship and an occasional miracle or two. But here, the bar hasn’t been lowered as much as it’s been moved … closer to home. According to writer Cody Daigle, he wanted to create a Christmas play with music and set it in Tulsa — specifically inside a fictitious radio station, KMOK. He had certain actors in mind as well. “It was cast before it was written,” he says. “I sketched out the characters I thought this world needed. I wrote each role for the actor playing it.” Which leads us to Rebecca Ungerman and Janet Rutland, two venerable Tulsa performers who play the leads. Ungerman and Rutland have known each other for more than 20 years, but until this show had never appeared together in a theatrical production. Rutland, who is cast as Barbara, the station’s leading actress (yes, the radio station employs a leading actress — don’t ask), has had a special affinity for the show from the moment she first heard about it. “It’s set in the 1940s — such a fun era to visit. And this is a Christmas play smack dab
Janet Rutland
Steve Clem
C
hristmas is the best time of year for theatre. The bar on the suspension of disbelief — the Aristotelian principle (and the foundation of theatre) by which an audience accepts fiction as reality, so as to accept the narrative being presented — is lowered in December, as well it should be. Stories of angels, spirits, miracles, Santas at Macy’s, dancing sugar plums, and Dickensian characters who develop hearts of gold overnight wouldn’t be as successful in the middle of May.
in the middle of the wonderful holiday season.” And then there’s Ungerman, who plays Edith Montclair, a Broadway diva who’s brought in by KMOK to star in its “Radio Christmas Spectacular” — a show that will determine whether the station, Tulsa’s fourth most popular, can stay on the air past New Year’s Day. Suspend, people, suspend! Rutland is giddy at the prospect of working with her friend. “Rebecca Ungerman is a Tulsa treasure. Now, I’m not the first to say that. Everyone is aware of her many talents — she wrote the music in this play, too! — but I think what I admire most about her is that energy. She brings it to every performance. When you sing in clubs like we do, there can be off nights. But she never cheats the audience.
Michele Cantrell
Grace Stump and Tony Schneider
his first comedy, but I don’t see how that can be when the script is this good.” And like Rutland, Ungerman can’t wait to bring their friendship to the stage, in part because in Tulsa, there’s a sisterhood of actors and performers — and it’s not a big group. “I can’t believe,” says Ungerman, “that I’m friends with Pam Van Dyke, Melanie Fry, Lisa Stefanic and Janet Rutland. After living away for years, I moved back to Tulsa and began to meet a lot of my local idols, including Janet. Her technique is flawless. She means and feels every word before sharing it with the crowd.” Their friendship began when she went to see Rutland perform the title role in
American Theatre Company’s production of Always … Patsy Cline. “I was blown away by the way she channeled Cline’s voice and spirit. I had to go back and tell her how much she moved me, and she shocked me when she said she heard I was in the audience and was nervous because I was there. WHAT the WHAT?!? I think that moment, in the bowels of the PAC, our true friendship was born.” “Now, all of a sudden, I’m not only costarring with her in Tulsa! A Radio Christmas Spectacular, but I’m writing songs for her and a duet for us! My arm is getting bruised from pinching myself.” Directed by Courtneay Sanders (with Suzy Meredith-Orr as musical director) the show also stars Grace Stump as Kate, the station’s plucky intern, and Tony Schneider as Benny, the station’s lead actor. The ultimate strength of Tulsa! is that it encompasses all those elements of the holidays and holiday shows: history, hyperbole, memories, laughs, music, tension, reconciliation, family and, specifically in this case, friends.
Rebecca Ungerman
Presented by The Playhouse Tulsa December 5-7 at 7:30 p.m. December 7-8 at 2 p.m. Michele Cantrell
I think we’re both excited about working together in this adorable play.” Ungerman and Rutland both grew up in the Tulsa area, but were born after the 1940s, so they don’t personally remember the days of radio theatre. However, they do remember television’s “Christmas Spectaculars” of the 1960s and ’70s. Ungerman also recalls what it was like to be Jewish at that time. “Growing up, I had to look for the one dreidel among the red and green packages in the Neil Diamond Christmas special to find a touch of Jewish identity. When Tulsa had its first Holiday Parade, I felt included as one of the many citizens who celebrate a holiday other than Christmas at this time of year. I’ve long wanted to join the ranks of Irving Berlin, Mel Tormé and all those other fine Jewish songwriters who have given the world its best Christmas music. “It’s not always so easy growing up Jewish in the buckle of the Bible Belt, but it certainly is shiny!” The snark out of the way, Ungerman does want to make a point about the holidays, generally, and the holidays in Tulsa, specifically. “I love Tulsa during the holidays, from Reservoir Hill to downtown, from Utica Square to Rhema.” She also loves this new show. “This is an original play by the deliciously talented Cody Daigle. He keeps saying it’s
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. MyTicketOffice.com and 918-596-7111 Decem ber 2013 IN TERM ISSION
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Visit TulsaPeople.com/weekender by December 15 to register. We never share email addresses with third parties. Must be 18 or older to register for the prize. http://kaywa.me/wq7pu
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D ec em b e r 2 0 1 3 I N TE R M I S S I O N Download the Kaywa QR Code Reader (App Store &Android Market) and scan your code!
ON UPCOMING EVENTS CELEBRIT Y AT TRACTIONS
JOHN O’HURLEY of Seinfeld and Dancing With the Stars performs the role of defense attorney Billy Flynn in Chicago, Broadway’s longest-running American musical (1996 to present). Scandal, corruption and all that jazz are the backdrop for this fast-paced musical that delivers high-intensity choreography, an edge-of-your-seat storyline, and lots of sexy razzle-dazzle. The recipient of six Tony Awards, Chicago features music by John Kander, lyrics by Fred Ebb, book by Ebb and Bob Fosse, and choreography by Ann Reinking in the style of Fosse’s choreography for the original 1975 production.
Paul Kolnik
CHICAGO
January 21-23 at 7:30 p.m. January 24 at 8 p.m. January 25 at 2 p.m. and 8 p.m. January 26 at 2 p.m. and 7 p.m.
TULS A SYMPHONY
MOZART AND PROKOFIEV James Judd
JAMES JUDD, artistic director of the Miami Music Project, makes his Tulsa Symphony debut conducting two epic pieces of music: Wolfgang Amadeus Mozart’s Symphony No. 40
and Sergei Prokofiev’s Symphony No. 5. This concert touches an array of emotions with Mozart’s somewhat tragic, passionate symphony countered by Prokofiev’s light hymn to freedom and happiness. Judd served as principal guest conductor of the Orchestre National de Lille in France and a groundbreaking 14 years as music director of the Florida Philharmonic Orchestra. He led the New Zealand Symphony for eight years and now holds the title of Music Director Emeritus of that organization. January 11 at 7:30 CHAPMAN MUSIC HALL Tickets are $15-$70.
CHAPMAN MUSIC HALL Tickets are $20-65. Recommended for age 15 and older.
THE ATRE TULS A
I LOVE YOU, YOU’RE PERFECT, NOW CHANGE IT’S EVERYTHING you’ve ever secretly thought about love, romance and relationships — but were afraid to say out loud! Told as a series of vignettes, this riotous musical follows the twists and turns of modern-day relationships. As honest as it is hysterical, this is the perfect date night for couples who love to laugh. Off-Broadway’s second longest-running musical was created by playwright/lyricist Joe DiPietro (Memphis) and composer Jimmy Roberts (The Thing About Men). January 24-25, 30-31 at 8 p.m. February 1 at 8 p.m. January 26 and February 2 at 2 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $20; $16 for seniors, students and children.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Decem ber 2013 IN TERMISSION
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ON UPCOMING EVENTS
PAC TRUST
FEET DON’T FAIL ME NOW!
Joan Marcus
AFTER YEARS of selling out venues on its national tour, Rhythmic Circus’ Feet Don’t Fail Me Now continues its rise from underground Minneapolis-based percussive dance phenomenon to one of the most popular tap shows since Tap Dogs. Feet Don’t Fail Me Now features rapid-fire tap from four awardwinning dancers, along with a one-man beat-box phenomenon and an infectious six-piece band that channels everything from funk to blues, and rock ‘n’ roll to salsa. Perfect for all ages, this show energizes and inspires at every turn. January 25 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; discounts for seniors.
CELEBRIT Y AT TRACTIONS
BEAUTY AND THE BEAST TULS A CHILDREN’S MUSEUM
FUNKADESI
FUNKADESI has been hailed by Time Magazine and even caught the attention of President Barack Obama, who said, “Funkadesi really knows how to get a crowd fired up! There’s a lot of funk in that desi!” This Chicago-based band blends Indian music — bhangra, Bollywood, Indian folk — with reggae, funk, and Afro-Caribbean grooves, proudly representing the diverse multi-ethnic communities within the city. Funkadesi is a six-time winner of the Chicago Music Awards. January 26 at 2 p.m. and 4 p.m. J O H N H . W I L L I A M S T H E AT R E Tickets are $10.
A FAIRY TALE love story comes to life in Disney’s Beauty and the Beast, a lush, romantic Broadway musical for all generations. Based on the Academy Award-winning animated feature film, this eye-popping spectacle ran on Broadway for 13 years and has won the hearts of over 35 million people worldwide. Filled with unforgettable characters and lavish sets and costumes, Beauty and the Beast features dazzling production numbers, including “Be Our Guest” and the beloved title song. January 31 at 8 p.m. February 1 at 2 p.m. and 8 p.m. February 2 at 2 p.m. and 7 p.m. CHAPMAN MUSIC HALL Tickets are $20-65.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM 24
D ec em b e r 2 0 1 3 I N TE R MI S S I O N
TULS A TOWN HALL
TULS A SYMPHONY
TIMOTHY EGAN TIMOTHY EGAN is a Pulitzer Prizewinning reporter whose interests range wide across the American landscape. His book The Worst Hard Times: The Untold Story of Those Who Survived the Great American Dust Bowl won the 2006 National Book Award for nonfiction. Through Egan’s colorful storytelling, events previously documented in black-and-white photographs become vivid, alive and relevant to presentday life, as demonstrated through his appearances in Ken Burns’ 2012 film The Dust Bowl. The topic of Egan’s lecture is “The Dust Bowl and Beyond: Lessons for the Future From Past Hard Times.”
SAINT-SAËNS AND MOZART
February 7 at 10:30 a.m. CHAPMAN MUSIC HALL Tickets are sold by subscription at tulsatownhall.com and 918-749-5965.
PAC TRUST
CHARLOTTE’S WEB
Jean-Marie Guyaux
WILBUR THE PIG seems destined to wind up as pork chops! But when a little gray spider named Charlotte befriends Wilbur, something terrific, radiant and humble happens. Spinning the words “Some Pig” in her web, Charlotte weaves a solution that not only makes Wilbur a prize pig, but also ensures his place on the farm forever. This Theatreworks USA production, based on the beloved book by E.B. White, features madcap and endearing farm animals and explores bravery, selfless love, and the true meaning of friendship.
THE AUDIENCE CHOICE CONCERT this year centers on the work of Wolfgang Amadeus Mozart and Camille Saint-Saëns and features pianists (and twin sisters) Christina and Michelle Naughton. Born in Princeton, New Jersey, to parents of European and Chinese descent, the Naughton sisters are graduates of the Juilliard School and the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. They are Steinway Artists and currently reside in New York City. On the program are Mozart’s Concerto for Two Pianos and two pieces by Saint-Saëns: Carnival of the Animals and his Symphony No. 3, also known as the Organ Symphony. Sarah Ioannides, music director of the Spartanburg (South Carolina) Philharmonic Orchestra since 2005, is guest conductor. February 8 at 7:30 p.m. CHAPMAN MUSIC HALL Tickets are $25-70.
February 7 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 $10.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 596-7111 AND MYTICKETOFFICE.COM Decem ber 2013 IN TERMISSION
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ON UPCOMING EVENTS JANUARY LINDSAY LARREMORE
THE QUIET SIDE OF THE PEEPHOLE Jan. 6 – Feb. 2 PAC Gallery TULSA SYMPHONY
MOZART AND PROKOFIEV Jan. 11 at 7:30 p.m. Chapman Music Hall TCG PRESENTS
TONY BENNETT Jan. 19 at 7 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
TULSA CHILDREN’S MUSEUM
FUNKADESI Jan. 26 at 2 p.m. and 4 p.m. John H. Williams Theatre
Tony Bennett
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
FEBRUARY MICHELLE FIRMENT REID
ART EXHIBIT Feb. 6 – Mar. 2 PAC Gallery
TULSA TOWN HALL
TIMOTHY EGAN Feb. 7 at 10:30 a.m. Chapman Music Hall PAC TRUST
CHARLOTTE’S WEB Feb. 7 at 7 p.m. John H. Williams Theatre
PLAYHOUSE TULSA
A STREETCAR NAMED DESIRE Feb. 14-15, 20-22 at 7:30 p.m. Feb. 16 at 2 p.m. John H. Williams Theatre TULSA BALLET
TULSA PRESS CLUB TRUST
TULSA GRIDIRON Feb. 7-8 at 8 p.m. Liddy Doenges Theatre
CINDERELLA Feb. 14-15 at 8 p.m. Feb. 16 at 3 p.m. Chapman Music Hall
PAC TRUST
TULSA SYMPHONY
THEATRE TULSA
FEET DON’T FAIL ME NOW! Jan. 25 at 7:30 p.m. John H. Williams Theatre
SAINT-SAËNS AND MOZART Feb. 8 at 7:30 p.m. Chapman Music Hall
HOUSE NOTES
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.
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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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.
CHAMBER MUSIC TULSA
ADASKIN-SCHUMANN ENSEMBLE Feb. 23 at 3 p.m. John H. Williams Theatre TULSA OPERA
ELMER GANTRY Feb. 28 at 7:30 p.m. Mar. 2 at 2:30 p.m. Chapman Music Hall
CLYBOURNE PARK Feb. 21-22, 27-28 at 8 p.m. March 1 at 8 p.m. Feb. 23 and March 2 at 2 p.m. Liddy Doenges 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.
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.
HappyHolidays!
Enjoy the convenient extended holiday hours
and magical holiday scenery at Utica Square, Tulsa’s finest collection of shops and restaurants. To learn more, please visit us at www.UticaSquare.com. Utica Square gift certificates available at Commerce Bank.
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