OCTOBER 2012
t e l m a H Odeum o. The atr e C t r e T uls a a nd The a
OCTOBER 2012
INTERMISSION MAGAZINE
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16
Sharen Bradford
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Dario Acosta
Marco Borggreve
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features 9 Q&A: Sarah Coburn
The acclaimed soprano reveals her favorite role and composer, and discusses the challenges of taking on a new role, Marie in Tulsa Opera’s The Daughter of the Regiment Interview by Nancy Bizjack
12 Six Words
Theatre Tulsa and Odeum Theatre Company team up for a double dose of Hamlet, with the lead roles played by a youth cast and an adult cast by Barry Friedman
16 A Bite Out of History
As Tulsa Ballet revives Ben Stevenson’s Dracula, we examine the undying popularity of vampires: the myths, the legends, and the true stories by Natalie O’Neal
19 Strads and Sayonaras
Now on their final tour, members of the Tokyo String Quartet all perform on Stradivarius instruments once owned by Niccolò Paganini by Missy Kruse
21 Zombie Apocalypse!
American Theatre Company’s Any Day Now is a classic American family drama — with zombies! by Matt Cauthron
23 Art at the Center
Art is all around you at the Tulsa PAC — inside, outside, up above — and each piece has an interesting story behind it by Nancy C. Hermann
departments 5 Directions Scary Stuff by John Scott
7 Bravo! The Man Who Planted Trees Brain Storms Brown Bag It
24 Spotlight The 39 Steps Green November Andrew Weil Zodiac Trio A Christmas Story
26 November Events Cover photo by Michelle Pollard
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HAPPY HOWLOWEEN
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to our g o d r u Bring yo Annual
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ARTY P N E E p.m. WLOW
27 • 2-4 . t c O , y un Saturda izes • F r P • s t Trea
INTERMISSION
director’s page
is the official magazine of the Tulsa Performing Arts Center.
PUBLISHER Jim Langdon EDITOR-IN-CHIEF Nancy Bizjack, PAC
SCARY STUFF ALWAYS THE month for goblins John Scott and ghouls, October brings several events in keeping with that theme. It all starts with American Theatre Company’s Any Day Now, which features a family member wandering the backyard, even though he was buried several days before. The “dead/ undead” theme continues with Tulsa Ballet’s spectacular production of Dracula, followed by Theatre Tulsa’s presentation of Shakespeare’s ghost story Hamlet, using multigenerational casting. Feel free to come to any of those shows in your suitably themed Halloween costume! It’s not all vampires, ghosts and zombies this month, though. Tulsa Opera presents The Daughter of the Regiment, a light-hearted romantic comedy featuring Oklahoma’s own Sarah Coburn. The PAC Trust brings in from Scotland The Man Who Planted Trees, a puppet show for kids. Chamber Music Tulsa presents the fabulous Tokyo String Quartet, and the Trust’s free noontime series, “Brown Bag It,” begins its fall run. And speaking of kids and the PAC Trust, the show Brain Storms features short plays written by young writers. Congratulations to Terri McGilbra! Mayor Dewey Bartlett presented her with the City’s Tulsa Blue Award for her outstanding work as PAC Ticket Office Manager and for her efforts in leading the PAC’s MyTicketOffice.com regional ticketing initiative. Terri is an exemplary employee and a true pleasure to work with. And if you think Chapman Music Hall has a new look, you’re not imagining things. We are in the midst of replacing all the house lights in the theater. The new lights under the mezzanine and balcony are LED, up till now thought impossible for an application requiring full dimming capability. Credit PAC Technical Director Pat Sharp for developing the concept that will save the PAC a ton of money on our electric bill. As an example, the existing ceiling lights are 600 watts each; the new lamps will only use 99 watts. You do the math. We hope to have this project completed by the end of the month. Both Pat and Terri are shining examples that not all the stars at the PAC perform on the stage. Enjoy October’s activities at your Performing Arts Center. Thanks for all your support, and I’ll see you in the lobby.
CONSULTING EDITOR Nancy C. Hermann, PAC CREATIVE DIRECTOR Amanda Watkins GRAPHIC DESIGNER Amy Frost ADVERTISING SALES Jim Langdon, Rita Kirk DESIGN INTERNS Jill Graves, Brooke Lawson
110 E. Second St., Tulsa, OK 74103 918-596-7122 • TulsaPAC.com A department of the City of Tulsa
DIRECTOR John E. Scott ASSISTANT DIRECTOR Steven J. Fendt TECHNICAL DIRECTOR Pat Sharp MARKETING DIRECTOR Nancy C. Hermann TICKET OFFICE MANAGER Terri McGilbra TULSA PERFORMING ARTS CENTER TRUST CHAIR Ken Busby VICE-CHAIR Glenda Silvey TREASURER Michael P. Kier SECRETARY Robyn Ewing ASST. SECRETARY John E. Scott TRUSTEES Mayor Dewey F. Bartlett Robert J. LaFortune Kristin Bender Rodger Randle Connie Cronley Jayne L. Reed William G. von Glahn Kitty Roberts Jenny Helmerich M. Teresa Valero John H. Williams PAC TRUST PROGRAM DIRECTOR Shirley Elliott PAC TRUST MARKETING & PR Chad Oliverson OFFICE ADMINISTRATOR Carol Willis I N T E R MI S S I ON is published monthly by
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JOHN E. SCOTT Director, Tulsa Performing Arts Center
For advertising information, Tel. 918-585-9924, ext. 217, Fax 918-585-9926. No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2368, nhermann@cityoftulsa.org.
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ENTERTAINMENT TO APPLAUD
PAC TRUST
BROWN BAG IT THE PAC TRUST’S free noontime concert series returns with Tulsa Clarinet Quartet on October 10. TCQ began in the spring of 2000 as a group of four friends getting together to play quartets. Each member of the group is a professional clarinetist as well as a clarinet instructor. They will perform a classical music mix. Steve Ham of the Jambalaya Jass Band performs jazz with his son Heath on October 17 as The Ham Boys. On October 24, Margaret Sewell and the Beethoven Folk Song Trio take the stage. Amanda Hardy, Jody Naifeh and Karen NaifehHarmon are Les Femmes Des Fetes. The trio performs original gypsy jazz compositions, including Karen’s “Tango Fantastique,” “Minor Tarantella” and “La Cumparsita Finale,” and original arrangements, such as Amanda’s arrangement of “Fever.” Les Femmes will perform on October 31. October 10, 17, 24, 31 at 12:10 p.m. Les Femmes Des Fetes
K AT H L E E N P. W E S T B Y P AV I L I O N These performances are free.
PAC TRUST
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“LAUGHS, HEARTBREAK, war, regeneration, scented breezes, sparkling wit and the best dog puppet ever. Perfect for children and grown-ups. Terrific.” – The Guardian This multi-sensory theatrical adaptation of Jean Giono’s environmental classic tells the inspiring story of a shepherd who plants a forest, acorn by acorn, transforming a barren wasteland. As much a touching tale as it is a hilarious puppet show, The Man Who Planted Trees shows the difference one man (and his dog!) can make to the world. This show is produced and performed by Puppet State Theatre Company of Edinburgh, Scotland.
THE WINNERS and select entrants of the Tulsa City-County Library’s Young People’s Creative Writing Contest, One-Act Play Category, will see their original plays produced under the direction of University of Tulsa professor Michael Wright and performed by accomplished Tulsa actors.
THE MAN WHO PLANTED TREES
October 12 at 7 p.m. October 13 at 11 a.m.
BRAIN STORMS: NEW WORKS BY YOUNG ARTISTS
October 20 at 7 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $5.
L I D D Y D O E N G E S T H E AT R E Tickets are $10.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM IN TERMISSION Oc to b e r 2012
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Q+A
Interview by Nancy Bizjack
Sarah Coburn “Once every decade or two, a voice comes along that is so breathtaking, so thrilling for its sheer beauty and power, you feel lucky to witness it.”
Dario Acosta
— Cincinnati Enquirer
When did you realize you had a talent for singing? I remember being pretty young and imitating operatic singing pretty well, or hearing someone singing opera, and thinking, “I can do that!” Doing that in front of an audience was another thing.
What sparked your decision to make singing your career? I can’t remember one particular thing that made me decide to pursue it as a career. I developed a love and a hunger for opera while at OCU in
That’s how classical music writer Janelle Gelfand described experiencing soprano Sarah Coburn’s performance in Cincinnati Opera’s 2008 production of Lucie de Lammermoor. Known as a bel canto specialist, Coburn was lauded by Opera News magazine for her role as Gilda in Los Angeles Opera’s Rigoletto. The Washington Post called her coloratura technique in Washington Concert Opera’s I Puritani “flawless.” Born in Petersburg, Virginia, Coburn grew up just an hour away from Tulsa in Muskogee. She graduated from Oklahoma State University and earned a Master of Music degree from Oklahoma City University. Since achieving recognition as a National Grand Finalist in the 2001 Metropolitan Opera National Council Auditions, Coburn has performed lead roles with leading opera companies in the United States and abroad. In 2007, she performed opposite Placido Domingo in the role of Princess Yue-Yang for the final two performances of the world premiere production of Tan Dun’s The First Emperor at the Metropolitan Opera in New York. She has also performed with the opera superstar in Washington and Los Angeles. In 2010, Coburn and her husband moved to Tulsa to be near her family, which includes two sisters and her parents, U.S. Senator Tom Coburn and Carolyn Denton Coburn, a former Miss Oklahoma. This month, Coburn takes on the title role in Tulsa Opera’s production of Donizetti’s romantic comedy The Daughter of the Regiment.
graduate school. I worked in the listening lab and spent a great deal of time listening to old records of many great singers. I also loved my Opera Lit class, taught by Dr. Ellen Jayne Wheeler. We listened to and watched so many wonderful operas, and she would let me take home videos of operas we had sampled in class. I think it took a great deal of encouragement for me to believe that I had what it took to sing on stage, and I give credit to my wonderful voice teachers and coaches through the years.
What are the unique challenges of your role in The Daughter of the Regiment? This role has presented quite a few challenges. It is a new role for me, and in French. Most of the roles that I perform are in Italian. French can be tricky, and quite sticky in the mouth. I need to make sure that I am not tensing any unnecessary muscles in order to achieve correct pronunciation. I sing several Donizetti roles, so the style is not anything new for me, which is a relief. It has been a few Continued on p. 10 IN TERMISSION Oc tob e r 2012
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Q+A
Sarah Coburn
Continued from p. 9 years since I have had to learn a new role, which has been great, since I have been a busy mom as well. So, this time has been difficult, since I had another baby in May and my daughter turned three in August. It has been extremely challenging to find the time to study, practice or vocalize. Who am I kidding? It has been challenging to find time to brush my teeth!
The Daughter of the Regiment is your fourth performance with Tulsa Opera, following Lakmé in 2008, Lucia di Lammermoor in 2009 and The Barber of Seville in 2011. Of the four, do you have a favorite? I really don’t think I could pick a favorite. They are all fantastic for different reasons. Lakmé has one of the most beautiful scores in the world; Lucia is really fun for me because of the mad scene; Barbiere, to me, is the perfect comedy (next to Le nozze di Figaro), musically, and of course thanks to Beaumarchais. The jury is still out on Fille. I will let you know!
thrill of hearing an audience laugh. Comedy requires more work in rehearsals. It takes much more time for a cast to “gel” because it is all about timing.
Are there any roles you really want to perform, but haven’t yet had the opportunity? Yes. Massenet’s Manon. I have wanted to sing Sophie in Der Rosenkavalier for 10 years, and I am finally singing it in Cincinnati next summer. I hope I am not too old!
“Dying is easy; comedy is hard. This is very true. I think my personality is more suited to tragedies, but I really love the thrill of hearing an audience laugh.” Do your parents and sisters like to sing? Yes, we all sing together as a family.
What kinds of things do you consider when deciding to accept a role? Do you have a signature role? A favorite composer? I check for the number of high
I love harmonizing with my sisters. We have extremely similar voices and the effect is really cool.
notes. Just kidding! Of course, I must make sure that the role fits me vocally and is not too heavy, or even too light. I don’t think I would turn down a role because of dramatic or comedic challenges. I enjoy the process of becoming someone completely different! My favorite role is probably Gilda in Rigoletto. I am in love with the entire opera, (particularly Act 3), and pretty much everything Verdi composed.
Were any of them opera fans before it became your profession? Nope.
Do you prefer comedies or tragedies? Dying is easy; comedy is hard. This is very true. I think my personality is more suited to tragedies, but I really love the 10
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When you were growing up in Muskogee, did you ever attend Tulsa Opera productions? Unfortunately, no. My first experience at Tulsa Opera was in 1999, when I was in graduate school. I went to hear Stephanie Blythe sing Carmen. I didn’t know much about opera until college. I have one really fond memory from seventh grade that seems silly but might have inspired me. Our family had gone to Dallas for fun and shopping at the Galleria at Christmas time, and I bought the cassette tape Best Loved Classics, Vol. 1.
I remember coming home and lighting a candle in my room and playing that tape, feeling very grown up. I didn’t know anything about Maria Callas at the time, but her “Mon cœur s’ouvre à ta voix” is on that recording, and I remember thinking it was the most gorgeous thing I had ever heard.
What kinds of music and particular performers do you enjoy, besides opera? Dance music. Pretty much anything that was played at a junior high mixer from 1988 to 1992.
What do you like to do when you’re not practicing or performing? I love to play with my two sweet daughters, cook, decorate, read, or work in the yard.
You lived in New York City for many years before moving back to Oklahoma. Did you feel like you had to live in NYC to establish your career? What makes it possible for you to maintain your career at a high level while living in Tulsa? I do feel that it is important to be in New York at the beginning of a career because of the many opportunities to perform, audition, study, coach and meet people in the business. I think there is a point in one’s career where you can live anywhere you want, as long as you can get to an airport quickly. The only thing that makes it possible for anyone to maintain a career in opera at a high level is to take very good care of the voice!
The Daughter of the Regiment Presented by Tulsa Opera October 13, 19 at 7:30 p.m. October 21 at 2:30 p.m.
CHAPMAN MUSIC HALL Tickets are $41.50-$98. MyTicketOffice.com and 918-596-7111
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Samantha Woodruff, David A. Lawrence, Micah Weese and Jacquelyn Wieden
SixWords by Barry Friedman
By Barry Friedman
S
ix words. Jude Law said them … Mel Gibson said them… Mel Brooks said them. Six syllables. It is the best-known lament in English literature — maybe in the English language. 12
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It is da Vinci’s The Last Supper, Einstein’s E=Mc2, Beethoven’s Eroica. To be or not to be. “It is not,” says Whit Hanna, who is directing this unique Theatre Tulsa/Odeum production of Shakespeare’s Hamlet, a matter of “simply asking, to ‘live or not to live.’ Hamlet is contemplating suicide. Under-
standing this, the actor then has to put himself in a place where this thought is foremost in his mind. ‘When do we reach our limit? Where are we on an emotional level when ending life seems like an option?’” It is a role actors covet, fear and respect, even if it’s out of their reach, even if they’re not meant for it.
“No one ever asked me to play Hamlet,” Al Pacino once said, “I don’t think I’m right for the part, but it would have been nice to be asked.” Most scholars put Hamlet’s age at 30; as such, it is a role that demands an actor has lived long enough to have plumbed some of his own self-doubt and inadequacies and failures, which makes Hanna’s decision to include a youth cast in this production somewhat puzzling. “There is such a depth of concepts in the writing,” he says, agreeing, “that it can be hard for someone without much life experience to accurately understand the material. Hopefully by observing the adults connect to the words, the younger actors will soak up a little sage wisdom.” Not just observing — experiencing. “The plan has always been for the casts to perform together so that everyone is involved. This is not two shows with two casts, but one show with two casts.” Sara Phoenix, Theatre Tulsa president, echoes the approach. “I think it’s going to be amazing to see not only what the youth learn from the adults, but perhaps more interesting, what the adults are going to absorb from the teen cast.” Hanna says it is a joy for him to direct the greatest piece of literature ever written for the stage. Daunting? “I’m not worried about screwing up,” he says, laughing. But what of the logistical nightmares of two casts? Hanna laughs again — sort of. “Well, part of that will play out through rehearsal. I have gone out of my way to put in a rather large staff so that when people aren’t working with me, they can work with someone else.” The show will have an associate director, a tech director, a dramaturge, a voice/ speech specialist, and four stage managers. “The nice thing about the mentor/ student relationship,” Hanna says, “is that ultimately they will work with each other on character development and performance.”
Phoenix, too, sees this as an opportunity. “So this project, specifically the pairing of the two casts, is going to be a unique and enriching experience for everyone involved. Knowing that is what makes this a worthwhile endeavor, despite the extra work. It’s a big experiment.” There is something larger at stake, as well. “That’s how we plan to push the boundaries of theatre in Tulsa, to explore new ways of doing things, instituting programming that will keep up with our ever-changing society, and to keep our artists and audiences engaged.” As for the collaboration between Odeum and Theatre Tulsa, Phoenix says it seemed a natural thing to do. “Theatre Tulsa has the history and infrastructure to support a huge project like this, and Odeum Theatre has a reputation for excellence, so it was an obvious choice to work together.” But the inside baseball nature of the production isn’t the point here. As Shakespeare himself said — as Hamlet said — “The play’s the thing.” And the amazing “thing” about Hamlet, says Hanna, is “its themes and humanity are timeless. “That is why to this day, 400 years after the fact, it is the most recognized piece of theatre in the world. It amazes me to hear people quote Shakespeare in their everyday speech and not even realize that they are doing it.” He remembers a discussion with his father. “The other day my father said, ‘That guy is a real piece of work!’ This is a variation of Hamlet’s line: What a piece of work is man. Does he know he’s quoting Shakespeare? No.” (Ah, but “It is a wise father,” Shakespeare wrote in The Merchant of Venice, “that knows his own child.”) Hanna thinks the reason Hamlet resonates as much today as it did in 1987, or even 1601, when it was written, is that mankind hasn’t changed.
“We still lie, cheat, con, and go mad. We still kill each other to gain power or for revenge or to end our suffering.” It is a sentiment actor Liev Schreiber has had ever since playing Hamlet at the New York Shakespeare Festival in 1999, believing those shared generational and character defects make the role more — not less — approachable. “Hamlet is a remarkably easy role,” he was quoted as saying at the time. “Physically it’s hard because it tends to be about three hours long and you’re talking the whole time. But it’s a simple role … because the thing about Hamlet is, we all are Hamlet.” Even, Theatre Tulsa hopes, if you’re 15. You can’t, however, talk about Hamlet without talking about Laurence Olivier, for no one more completely “owns” Hamlet, the play and the character, than he. His 1948 film, which he directed and starred in the leading role, won the Academy Award for Best Picture, beating John Huston’s The Treasure of the Sierra Madre. Think about that — a movie culled from a 17th-century play and based on a 13th-century Danish legend about ghosts, incest and avunculicide wins the Oscar … and over a movie starring Humphrey Bogart! For Olivier, who also won Best Actor that year (the only one he ever received), Hamlet was a rarefied experience: “I should be soaring away with my head tilted slightly toward the gods, feeding on the caviar of Shakespeare.”
Hamlet
Presented by Odeum Theatre Company in collaboration with Theatre Tulsa October 26-27, 30* at 8 p.m. October 27* and 28 at 2 p.m. November 1-3 at 8 p.m. November 3* 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 and seniors, $10 for groups. *youth cast IN TERMISSION Oc tobe r 2012
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e t i AOuB t of y r o t s Hi “There are far worse things awaiting man than death.” – Béla Lugosi as Count Dracula, Dracula, 1931
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Welcome to Castle Dracula. Repressing a shudder, you pull your cloak-like blanket tighter around you as a slow chill creeps up your spine. You’re unsure whether it is due to the dying embers of the fire or the deep voice emanating from the black-clad storyteller in the armchair. “So you want to know about vampires, do you? Prepare yourself for something more sinister than anything you could have imagined. Because real vampires don’t sparkle in the sunlight.” Fortunately, you will have the chance
Sharen Bradford
by Natalie O’Neal
to confront the tale of Count Dracula from the safety of a seat in Chapman Music Hall. Last performed by Tulsa Ballet in a 2009 Oklahoma debut, Ben Stevenson’s Dracula wowed audiences with its theatrical elements and dramatic musical score. Who could forget that 23-foot-long velvet cape or Tulsa Ballet heartthrob Alfonso Martín as the surefooted master of the night? “He looks just wonderful as Dracula!” comments Marcello Angelini, Tulsa Ballet’s artistic director. Martín, who shines
in any comedic role that comes his way, is equally convincing as the darkly seductive, evil nobleman who stops at nothing to capture the hearts and blood of his intended victims. In Stevenson’s adaptation, Dracula preys on two lovely virgins — one a bride-to-be — who fall into Count Dracula’s seduction trap. In most accounts of the famous vampire, he’s a loner, but Stevenson’s Dracula is kept cold at night by his18 ghoulish brides and a spidergobbling henchman named Renfield. Stevenson presents a conflicted central character who is driven by smoldering lust. As Dracula, Martín woos and terrifies as his brides take flight and the choreographer’s pulse-quickening choreography intensifies the dies irae of Franz Liszt’s music. The late John Lanchbery adapted the ballet’s score from Liszt’s eerie compositions, including Dance of Death and the Mephisto Waltzes. The music brings to mind something Bela Lugosi’s Dracula says after hearing a haunting chorus of wolves, “Listen to them, the children of the night. What music they make!” Creepy. Vampires aren’t real, you say? As Professor Van Helsing in Dracula (1931) warned, “The strength of the vampire is that people will not believe in him.” The origin of Dracula is a blend of legend, myth and reality. History takes us back to the 15th century, to a region of Eastern Europe called Wallachia, where a mass-murdering tyrant ruled the land. Vlad III was dubbed Vlad Dracul after being inducted into the Holy Roman Emperor’s Order of the Dragon. “Dracul” also carries with it a second translation — devil. The feared Wallachian leader became known as the “impaling prince” because his favorite form of execution was to impale his enemies on long wooden poles. It is rumored that 100,000 Turks fell victim to Vlad the Impaler’s cruel fetish. Stories of the undead have surfaced across time and cultures. Images of the vampire have been found inscribed on
Babylonian pottery and in ancient Peruvian rites. There are names for this creature in Chinese tales, Greek mythology, West African legend and in the folklore of numerous countries. The idea of an aristocratic vampire emerged at the same time as Mary Shelley’s conception of Frankenstein. In 1816, a group of Shelly’s friends, including husband Percy Bysshe Shelley, Lord Bryon and John Polidori, spent the better part of an evening trying to scare each other with horror stories. Shelley’s tale, of course, went on to become the everpopular Frankenstein two years later, while Polidori’s The Vampyre would eventually rise to immortal fame as the first English vampire story. Irishman Bram Stoker crafted his own elusive and spine-tingling brand of vampire in his 1897 novel Dracula. Stoker’s Count is the perfect stranger — the sensual sex symbol of fatal attraction. He casts no reflection except for perhaps the monstrous qualities found lurking in human nature. Shadowless and undead, he can transform into a bat or a wolf, become invisible when he chooses, and fade into mist. Skilled in necromancy and hypnotism, he easily lures his victims away from safety and into darkness. Hollywood has never resisted the vampire allure. Creepy, bald, and bug-eyed Max Schreck played a rat-like Count Orlak (modeled on Stoker’s Count Dracula) in Nosferatu (1922), Béla Lugosi’s accent and eerie mannerisms became the standard for Draculas throughout the 20th century, and Frank Langella romanticized and sexualized the character in Dracula (1979) with his hypnotic eyes and seductive presence. Tom Cruise and Brad Pitt were mesmerizing in Interview With
the Vampire (1994), and films like The Shadow of the Vampire (2000), Let the Right One In (2008), the five Twilight films (based on the four Twilight books), along with Dark Shadows and Abraham Lincoln: Vampire Hunter, both released this year, have kept audiences coming back for gore. Television has capitalized on the vampire frenzy with the popular series True Blood. It took a practiced storyteller to flesh out such a well-known persona and turn a horror tale into a ballet. Having worked with Stevenson on another story ballet, Cinderella, Angelini was confident in the outcome. “Ben Stevenson is a master at creating story ballets, which is an art that has almost been lost during the past few decades,” he says. “Developing a story through dance, telling it through steps, making sure the steps follow the narrative (and are not self-serving) and constructing a three-act work that makes sense from beginning to the end is a dying art. I am so proud to present this work again for our audience and to work with a master of the caliber of Ben Stevenson.” And so the tale of Dracula lives on, immortal as its title character, brought to life through dance.
Dracula Presented by Tulsa Ballet October 26-27 at 8 p.m. October 27-28 at 3 p.m.
CHAPMAN MUSIC HALL Tickets are $20-$95. MyTicketOffice.com and 918-596-7111
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STRADS and SAYONARAS
by Missy Kruse
Marco Borggreve
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hen you attend this month’s Chamber Music Tulsa concert, you’ll experience six degrees of separation, more or less, from two of music’s most famous names — performer and composer Niccolò Paganini (1782-1840) and instrument maker Antonio Stradivari (1644-1737). That’s because each of the performers in the Tokyo String Quartet plays an authentic Stradivarius instrument, all once owned by Paganini, all on loan from Japan’s Nippon Music Foundation, which has one of the world’s largest collections of antique instruments. Founded in 1969, Tokyo String Quartet is on a busy international farewell tour. Two of its players, violist and last original quartet member Kazuhide Isomura and second violinist Kikuei Ikeda, who joined in 1974, are ready to retire. Among their American stops are two concerts sponsored by CMT. It’s the quartet’s fourth visit to the city. Tokyo String Quartet is more than just one of the world’s best. It also broke ground, according to first violinist and Canadian Martin Beaver, who joined the group in 2002. (British cellist Clive Greensmith joined three years earlier.) “In the late ’60s and early ’70s, they were pioneers in the interest and seriousness with which Japan embraced artistic culture from the West,” Beaver says of the quartet. The original members had studied at the Toho School of Music in Tokyo, but met as students at the Juilliard School of Music in New York, the city in which the quartet has based itself ever since. Over the years, Tokyo String Quartet has produced more than 40 recordings, including the complete quartets of Beethoven, Schubert and Bartók. Along with awards such as Best Chamber Music
Recording, they have received seven Grammy nominations. Children have watched them on Sesame Street; adults have seen them on CBS Sunday Morning or PBS’s Great Performances. How would Beaver describe the musical conversation among the group’s members? “I would say it is always a give and take. It really is a true conversation in that way. Our quartet has no particular leader… But often, even when the violin has a leading line, someone else is taking care of the tempo or the pacing. It’s a necessity for us to have that mutual respect for each other and to have the sensitivity … [to know] who really is the guiding force at any given moment.” And what about playing those Strads? “It’s a big responsibility traveling and taking care of these instruments on a daily basis. … It’s worth it because one really does feel exhilarated playing a Strad, and for our quartet to have four of them really helps us to achieve a blend of our sound and just many, many more colors in sound,” Beaver says, particularly since the
quartet’s ultimate goal is to play each piece as the composer truly intended. On October 20, they will perform quartets by Zoltán Kodály and Maurice Ravel. On October 21, works by Franz Joseph Haydn, Béla Bartók and Felix Mendelssohn are on the program. After the season ends in 2013, Beaver and Greensmith will begin teaching at the Colburn School in Los Angeles, while the retirees will continue to be active with special projects. Although it is the right time for the group to disband, Beaver says, “It is heartwarming so many presenters want to hear Tokyo String Quartet for the last time.”
Tokyo String Quartet Presented by Chamber Music Tulsa October 20 at 7 p.m. K AT H L E E N P. W E S T B Y P AV I L I O N Tickets sold by subscription only; call 918-587-3802.
October 21 at 3 p.m. J O H N H . W I L L I A M S T H E AT R E Tickets are $25; $5 for students. IN TERMISSION Oc tob e r 2012
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Zombie Apocalypse!
by Matt Cauthron
ny Day Now. The title of American Theatre Company’s first play of the season doesn’t tell you much. So, hey, what’s it about? “It’s kind of like your classic American family drama,” director Robert Walters says. “But the thing that people notice,” he adds with a chuckle, “is that there are zombies in it.” Yes, zombies. The slack-eyed undead with a taste for brains, who seem to have replaced vampires as film, television and literature’s monster du jour, have now invaded theatre as well. They come courtesy of playwright Nat Cassidy, whose fresh slant on the genre fits well with American Theatre Company’s vision. “It’s a very well-written play, and unlike anything I’ve ever seen,” explains Walters. “It’s a challenge for us, but we’re up for it. We’re always trying to branch out and do edgy stuff.” Any Day Now opens as the Colbys, a typically dysfunctional but mostly ordinary American family, sit around the dinner table bickering about assorted topics. It could be any kitchen in any home in America, except for one differ-
ence: the family patriarch (played by Andy Axewell) is dead. Well, undead. However, unlike the zombies we’ve become accustomed to in TV and film, Dad isn’t hell bent on eating brains. Not yet, anyway. He’s simply there, back from the grave and back at the dinner table, while the tense bickering and family drama unfold as they always have. “Whenever he’s in the room, there’s this tension, because people just don’t know what to do,” Walters says. “He’s walking around and he’s not really talking. He’s walking into objects and making noise. When he leaves the room, you kind of feel the tension lessen among the other characters.” Such is the central conflict of the play. It’s not a tale of horrific gore, as the premise might suggest. It’s an examination of already strained familial relationships with the added twist that Dad has been resurrected from the dead and might turn — any day now — into a crazed, braineating monster. “I like that the apocalyptic tone of the play ties in nicely with all the 2012, end-
of-the-world hoopla,” Walters says. “And the ghoulish elements are all very wellsuited to the Halloween season.” But that’s not to say everything is entirely bleak. The play has a heart, and plenty of humor, says Walters. “It’s dreadfully funny, actually,” he says. “This play walks a fine line between comedy, horror and satire. “But in order to do that sort of thing, you really have to have a cast who can function at the same level. It all has to be very naturalistic. You don’t play the comedy for laughs, just like you don’t play the horror for screams. It has to seem totally real.”
Presented by American Theatre Company October 12-13, 18-20 at 8 p.m. October 14 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 $30; $27 for students and seniors. MyTicketOffice.com and 918-596-7111 IN TERMISSION Oc tobe r 2012
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Saluting the Arts Elegant conceptions brought to reality.
Plastic Surgery Center of Tulsa Greg Ratliff, MD, FACS 2107 E. 15th St., Tulsa 74104 918.712.0888 or 800.544.3237 www.pscoftulsa.com www.skindeepmedicalspa.net
Leta M. Chapman, painted by Claude Montgomery, and Gloria Schumann’s portrait of John H. Williams. Montgomery enjoyed an international reputation, mainly for his portraits, which brought him to Tulsa to paint notable Oklahomans such as Lillian and Burch Mayo for the Mayo Hotel, Gerald and Kathleen P. Westby, James A. Chapman, and Mr. and Mrs. Robert Sharp for T.U.’s Sharp Chapel, among so many by Nancy C. Hermann others. Montgomery didn’t like to work from photographs, but was forced to do so to finish President John F. Kennedy’s porThe Center itself is the work of celtrait, which hangs at the Harvard Club in ebrated architect Minoru Yamasaki. He Boston. Among other notable names, he also designed the former World Trade painted L.L. Bean, Pierre DuPont, SecCenter towers and the BOK skyscraper retary of State Edmund S. Muskie, and (above). While you are on Third Street World War I sea raider Count Felix von admiring Yamasaki’s structures, stop to Luckner, who posed for Montgomery for view David Lee Brown’s spiraling stainless the frontispiece of The Sea Devil. Montsteel sculpture. His untitled work (1977) gomery and his wife spent their life savings is the inspiration for the PAC’s wings-like remodeling a home in Maine and turned logo and can be enjoyed from a variety of it into a private shelter for the homeless. angles. Brown explained that he would They lived in Friendship House for five have liked the sculpture to be taller, but it years before the artist died in 1990. still accomplished his main objective, and Schumann, who passed away in Februthat was to play with light. “I try to get the ary 2012, was a proponent of the “oldcurves to work, but I’m not looking at the world style” of portraiture. Though she curves as much as how the light flickers eventually settled in Muskogee, she lived or races up them. The elegant geometry is hen you attend a show at the Tulsa extensively abroad and traveled in the driven by the light experience.” Performing Arts Center, you anticielite social circles familiar to many of her Inside the PAC’s lobby on Third Street, pate an arts experience. You can savor a clients. Among her portrait commissions beautifully performed Aïda, hear Pat Con- look up to see Stanley Landsman’s cascade were President Richard Nixon and Attorof chrome and smoked glass. So ’70s! roy speak, see Dracula danced, Hamlet ney General John Mitchell and his wife, acted and Rachmaninoff played. The arts Landsman designed this fantasy landscape Martha. Using a technique taught only in specifically for the PAC and was on-site experience at the PAC also includes the England, Schumann took a minimum of during its installation, despite health issues visual arts. The PAC’s 72-piece collection six months to paint one portrait. She was that took his life at age 54. The mirrors and of sculpture, painting and tapestry, found a big fan of society artist John Singer Sarjust about everywhere you look, is yours to light bulbs on the south wall are part of the gent, noting, “Nobody could paint satin piece. More than an interest in the effects explore. like Sargent.” Of the PAC’s John Williams In the 1970s, a committee was entrusted of light, Landsman wanted to create a space portrait, she offered, “He is one of the with purchasing art for the planned PAC, larger than the actual volume of the piece handsomest men I have had the privilege he was constructing. His art literally mirthanks to a “one percent for art” city to portray.” rors his fascination with expanding space. ordinance. One percent of the approximate $18 million it took to build the PAC He said, “I want to break through the wall, There are 68 more pieces of art to view and learn about at the PAC, and group was enough to buy an exceptional array of penetrate matter, go out into the ether.” Still inside the lobby, take a moment to tours are available by appointment. Call art, and the PAC’s permanent collection 918-596-7122. study the fine portraits of PAC founders expanded from there.
Art at the Center
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IN TERMISSION Oc tobe r 2012
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ON UPCOMING EVENTS PAC TRUST
ALFRED HITCHCOCK’S ‘THE 39 STEPS’ WINNER OF THE 2008 DRAMA DESK AWARD for Unique Theatrical Experience, The 39 Steps is a comedic thriller based on the 1935 Alfred Hitchcock film. With more than 150 unique characters portrayed by a cast of four, the play follows a man who meets a woman who claims she's a spy. The next day, she’s dead and a mysterious organization called The 39 Steps is hot on the man's trail! The entirety of the Hitchcock adventure film is performed nearly verbatim. One actor plays the hero, Richard Hannay, and one actress portrays the three women with whom
he has romantic entanglements. Two other actors play every other character in the show: heroes, villains, men, women, children, and the occasional inanimate object. Thus, the film's serious spy story is played mainly for laughs. The script is full of allusions to (and puns on the titles of ) other Hitchcock films, including Rear Window, Psycho and North by Northwest. November 2 at 7:30 p.m. November 3 at 2 p.m. and 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 $30 and $40.
TULS A SYMPHONY
THE ATRE POPS
TULSA SYMPHONY goes green with a nature-themed program that includes Alan Hovhaness’ Mysterious Mountain, Tobias Picker’s Old and Lost Rivers, and Respighi’s Pines of Rome. The orchestra will also perform Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini, featuring Crescendo Award-winning pianist Steven Lin. “Mountains are symbols, like pyramids, of man’s attempts to know God,” Hovhaness wrote in a descriptive note that accompanied his hymn-like, lyrical composition. Picker, who composed his piece as a tribute to Houston, Texas, was inspired by a sign on Interstate 10 that crosses the Old River and Lost River bayous. The Kansas City Star called it “a sublimely beautiful piece: a hushed, hazy tone poem whose hints at Copland-esque modality tug at the heartstrings." Each movement of Respighi’s symphonic poem depicts pine trees in different locations in Rome at various times of day. Thirty-year-old composer/conductor Aaron Collins will lead the musicians in this fresh program of 20th-century works.
DAVID MAMET’s 2007 Oval Office satire depicts a day in the life of a beleaguered American commanderin-chief, portrayed in this production by Mike Pryor. It’s November in a Presidential election year, and incumbent Charles Smith’s chances for reelection are looking grim. Approval ratings are down, his money’s running out, and nuclear war might be imminent. Though his staff has thrown in the towel and his wife has begun to prepare for her post-White House life, Chuck isn’t ready to give up just yet. Amidst the biggest fight of his political career, the President has to find time to pardon a couple of would-be Thanksgiving turkeys, and this simple PR event inspires Smith to risk it all in attempt to win back public support. With Mamet’s characteristic no-holds-barred style, November is a scathingly hilarious take on the state of America today and the lengths to which people will go to win.
GREEN
NOVEMBER
November 3 at 7:30 p.m. Aaron Collins
CHAPMAN MUSIC HALL Tickets are $15-$70.
November 8-10 at 8 p.m. November 11 at 2 p.m. L I D D Y D O E N G E S T H E AT R E
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM 24
Oc to b e r 2 01 2 I N TE R M I S S I O N
TULS A TOWN HALL
CHAMBER MUSIC TULS A
PHYSICIAN AND AUTHOR Andrew Weil is one of the world’s foremost authorities on health, wellness and integrative medicine. His books and frequent appearances on TV have inspired people everywhere to live healthier lives, and his revolutionary work as a physician has triggered a profound change in the practice of medicine. Named one of “The World’s 100 Most Influential People” by Time magazine, Weil’s general philosophy is that mainstream and alternative medicine are equally important and should be implemented in conjunction with each other. His 11 books (including the international bestsellers Healthy Aging, Spontaneous Healing and 8 Weeks to Optimum Health) have sold over 10 million copies; six have been #1 New York Times bestsellers. The title of Weil’s Tulsa Town Hall talk is “Optimum Health: Maximizing the Body’s Own Healing Systems.”
TRAINED IN New York and Paris, the talented and passionate young musicians of the Zodiac Trio perform to great acclaim on three continents. Employing the rare combination of clarinet, violin and piano, the trio’s engaging programs feature music Riko Higuma, Kliment Krylovskiy and from classical to contemVanessa Mollard porary masters. The Zodiac Trio was formed in 2006 at the Manhattan School of Music under the guidance of renowned clarinetist David Krakauer and violinist Isodore Cohen of the Beaux Arts Trio. The ensemble has been critically praised for its “impeccable technique” (Ouest), “remarkable musicality of rare intensity” (La Tribune), “seemingly effortless ease” (San Angelo Standard Times) and “truly exceptional and sublime talent” (Nice Matin).
November 16 at 10:30 a.m.
November 18 at 3 p.m. (Schoenfield, Milhaud, Paus, Rorem, Bartók)
CHAPMAN MUSIC HALL Tickets are sold by subscription; call 918-749-5965.
ZODIAC TRIO
Irina Mednick
ANDREW WEIL, M.D.
November 17 at 7 p.m. (Mozart, Bruch, Khachaturian) K AT H L E E N P. W E S T B Y P AV I L I O N Tickets sold by subscription only; call 918- 587-3802. 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.
ENCORE! THE ATRE ARTS
A CHRISTMAS STORY GET INTO THE Christmas spirit early with this holiday classic for the whole family! Humorist Jean Shepherd’s memoir of growing up in the Midwest in the 1940s follows 9-year-old Ralphie Parker in his quest to get a genuine Red Ryder BB gun under the tree for Christmas. Ralphie pleads his case before his mother, teacher, and even Santa Claus himself at Goldblatt’s Department Store. The consistent response: “You’ll shoot your eye out.”
All the elements from the beloved motion picture are here, including the family’s temperamental furnace; Scut Farkas, the school bully; Ralphie’s father winning a lamp shaped like a woman’s leg in a net stocking; Ralphie’s fantasy scenarios; and the boys’ experiment with a wet tongue on a cold lamppost! November 28-30 at 7:30 p.m. December 1 at 2 p.m. and 7:30 p.m. L I D D Y D O E N G E S T H E AT R E Tickets are $16; $13 for students and seniors, $11 for children and groups.
TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM IN TERMISSION Oc tob e r 2012
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ON UPCOMING EVENTS NOVEMBER
Mary Poppins
THEATRE TULSA
HAMLET
Nov. 1-2 at 8 p.m. Nov. 3 at 2 p.m. and 8 p.m. Liddy Doenges Theatre STEVE TOMLIN
ART EXHIBIT Nov. 1-27 PAC Gallery PAC TRUST
ALFRED HITCHCOCK’S THE 39 STEPS
Nov. 2 at 7:30 p.m. Nov. 3 at 2 p.m. and 7:30 p.m. John H. Williams Theatre Deen Van Meer
TULSA SYMPHONY
GREEN
Nov. 3 at 7:30 p.m. Chapman Music Hall PAC TRUST
BROWN BAG IT: RICK FORTNER AND FRIENDS Nov. 7 at 12:10 p.m. Kathleen P. Westby Pavilion THEATRE POPS
NOVEMBER BY DAVID MAMET
Nov. 8-10 at 8 p.m. Nov. 11 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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CELEBRITY ATTRACTIONS
TULSA TOWN HALL
ENCORE! THEATRE ARTS
Nov. 13-18 Chapman Music Hall
Nov. 16 at 10:30 a.m. Chapman Music Hall
Nov. 28-30 at 7:30 p.m. Dec. 1 at 2 p.m. and 7:30 p.m. Liddy Doenges Theatre
MARY POPPINS
PAC TRUST
BROWN BAG IT: MERAY BOUSTANI WITH TRIO ALESZKY
Nov. 14 at 12:10 p.m. Kathleen P. Westby Pavilion
ADMISSION AND LATE SEATING. Lobby doors open two hours prior to an event. Chapman Music Hall doors normally open 45 minutes prior to curtain. The remaining theaters open 30 minutes before curtain. Late seating is at the discretion of each sponsoring organization. Latecomers may be temporarily held out of the theater or asked to take seats at the back if available. TICKET OFFICE HOURS are Monday through Friday 10 a.m. to 5:30 p.m. A free parking zone is available in front of the Third Street ticket office,101 E. Third Street (Third and Cincinnati) on the south side of the PAC. In addition to regular hours, it opens two hours prior to curtain for events scheduled in Chapman Music Hall. The Second Street ticket office,110 E. Second Street on the north side of the building, opens two hours prior to each curtain for tickets to events scheduled that day in John H. Williams Theatre, Liddy Doenges Theatre or Charles E. Norman Theatre. PHONE ORDERS. Call the PAC ticket office, 918596-7111, or from outside Tulsa call 1-800364-7111. Nominal service charges are added to all phone and Internet orders. The PAC ticket office accepts DISCOVER, MasterCard or VISA. Subscriber hotline: 918-596-7109.
ANDREW WEIL, M.D.
CHAMBER MUSIC TULSA
A CHRISTMAS STORY
ZODIAC TRIO
Nov. 17 at 7 p.m. Kathleen P. Westby Pavilion Nov. 18 at 3 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.
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 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.
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