Intermission 11-2012 by Tulsa Performing Arts Center

NOVEMBER 2012

HOW MANY

PRESIDENTS DOES IT TAKE TO GET YOU

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NOVEMBER 2012

INTERMISSION MAGAZINE

features

departments

11 Q&A: Andrew Weil, M.D.

7 Directions

The popular promoter of integrated medicine talks about fasting, obesity, drugs and how diet and exercise may help you overcome your genetic destiny Interview by Nancy Bizjack

Remembering, Recognizing by John Scott

16 Step in Time!

24 Spotlight

Kyle Froman

OU graduate Con O’Shea-Creal stars as the tap-dancing jack-of-all-trades Bert in the Tony Award-winning Broadway musical Mary Poppins by Natalie O’Neal

8 Bravo!

Zodiac Trio Green Women on Fire Brown Bag It A Christmas Story Tulsa Symphony: Yellow Side by Side The Eight: Reindeer Monologues A Christmas Carol A Song of Winter The Nutcracker Mannheim Steamroller Christmas

26 December Events

18 The 39 Steps 16

Broadway’s longest-running comedy thriller is a spoofy recreation of a 1935 Alfred Hitchcock film, with more than 150 characters played by four quick-change actors by Missy Kruse

in the gallery Steve Tomlin November 1-27

Life’s Infinite Possibilities

21 Playing Politics

David Mamet has created a president that Republicans AND Democrats can hate — and laugh at — in November, staged by Theatre Pops by Barry Friedman

23 Art at the Center, Part 2 While stretching your legs at intermission, check out works by Eugene Bavinger, Wolf Kahn and Warren Brandt in the lobby outside Chapman Music Hall by Nancy C. Hermann

Cover photo by Jeremy Daniel

C.S. (Steve) Tomlin has worked in Tulsa for the past 32 years as a fine arts contemporary artist and award-winning visual arts educator at Grissom Elementary School. In 1999 Tomlin’s work was selected for the Tulsa International Mayfest’s promotional poster, and he became the spotlighted artist for Philbrook Art Museum’s Festival of Trees. His two-dimensional work has been shown at the Tulsa Artists’ Coalition, Oklahoma Visual Artists Coalition and Individual Artists of Oklahoma, as well as in several galleries both in Tulsa and nationally. Tomlin works within a structured format, building up layers that play on contrasting colors and shapes. He often works on three to four paintings at a time in his home studio. His exceptional contemporary pieces are collected nationwide. IN TERMISSION Novem b e r 2012

INTERMISSION

director’s page

is the official magazine of the Tulsa Performing Arts Center.

PUBLISHER Jim Langdon EDITOR-IN-CHIEF Nancy Bizjack, PAC

REMEMBERING, RECOGNIZING I’D LIKE TO BEGIN this month John Scott by recognizing and thanking all the veterans who have given their time and, in some cases, their lives in the service of our country. The United States is a stronger union for the efforts of all its veterans. Happy Veteran’s Day to all who have served, and let’s also remember those who are currently serving. Fall is normally the time of year we think of orange, red and yellow as the leaves change, but this month I’m thinking green. Not only because of Tulsa Symphony’s “Green” concert on Nov. 3, but green as in preserving our environment. A major player in keeping the PAC green is one of our house managers, Scott Gaffen. Some time ago, Scott assumed the responsibility of chief recycling officer. In the months when we have a heavy performance schedule, we may order as many as 30,000 Intermission magazines. With the help of our janitorial service that cleans the theaters after shows, Scott collects and stores all the magazines left behind. Once all seven recycle carts are filled, Scott calls the recycling company, moves the carts to the Third Street lobby, and meets the company’s truck for the pickup. That process is repeated as often as the carts fill up. Scott figures in the six years he’s been the PAC’s Mr. Green, we have recycled somewhere in the neighborhood of 130 tons of Intermission magazines. Bravo, Scott! The Performing Arts Center’s regional ticketing initiative, MyTicketOffice.com, continues to serve its 14 partner facilities and 23 different constituents therein. During the most recently completed fiscal year, MyTicketOffice.com sold 336,000 tickets having a whopping gross sales value of $21.7 million. This ticketing company operates within the PAC using current staff, none of whom have received pay raises, in spite of the huge increase in job responsibilities. Ticket Office Manager Terri McGilbra, Assistant Ticket Office Manager Zach Wheeler, Ticket Office Coordinator Jeff Newsome, Marketing Director Nancy Hermann, Marketing Assistant Nancy Bizjack, and PAC Assistant Director Steven Fendt are the “principals” of the company, and I want to recognize them for all their dedicated work related to MTOC. Our company’s clients are happy and successful, thanks to the conscientious efforts of our team. Enjoy November’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 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

1603 S. Boulder, Tulsa, OK 74119 For advertising information, Tel. 918-585-9924, ext. 217, Fax 918-585-9926.

JOHN E. SCOTT Director, Tulsa Performing Arts Center

No part of this publication may be reproduced without the written permission of the Tulsa Performing Arts Center: 918-596-2368, nhermann@cityoftulsa.org.

ENTERTAINMENT TO APPLAUD

TULSA SYMPHONY

Irina Mednick

GREEN

Riko Higuma, Kliment Krylovskiy and Vanessa Mollard

CHAMBER MUSIC TULS A

ZODIAC TRIO 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 from classical to contemporary 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 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.

November 18 at 3 p.m. (Schoenfield, Milhaud, Paus, Rorem, Bartók) J O H N H . W I L L I A M S T H E AT R E Tickets are $25; $5 for students.

TULSA 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 (pictured) will lead the musicians in this fresh program of 20th-century works. November 3 at 7:30 p.m. CHAPMAN MUSIC HALL Tickets are $15-$70.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM 8

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ACTOR’S & CHILDREN’S THE ATRE

WOMEN ON FIRE

IRENE O’GARDEN’s Women on Fire offers glimpses into the lives of a dozen different women — all intriguing, each with her own story, passion, emotions and secrets. Each woman represents a pit stop on a spiritual journey, suggesting that although fire can destroy, it can also create, and like the mythical phoenix, one can rise out of the ashes with a renewed sense of hope, love and personal strength. Young or old, rich or poor, content or unfulfilled, these women have existed at some point in time. Actresses in this production include Harriett Chenault, Ione Blocker, Sloopy McCoy, Sidney Treat, Mellissa Harris, Billie Sue Thompson, Noel Fairbrothers, Priscilla Mayfield, Ayn Grubb and Cathy Cox. Thompson is also the director. Unlike most ACT shows, this one is not suitable for children. November 18 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 $15.

PAC TRUST

ENCORE! THE ATRE ARTS

THIS SERIES OF FREE lunchtime concerts continues with pianist Rick Fortner and Friends on Nov. 7, Meray Boustani with Trio Aleszky on Nov. 14, and Tulsa Festival Ringers on Dec. 5. Fortner has been a featured performer at the Greenwood Jazz Festival. He has also performed for the Tulsa Jazz Society Annual Keyboard Concert, Ragtime for Tulsa, and the Oklahoma Jazz Hall of Fame Concert Series. Trio Aleszky consists of Allyson Eskitch, piano; Paulo Eskitch, violin; and Lou Lynch, cello. With soprano Meray Boustani, the ensemble will perform a variety of music from Bach and Beethoven to Gwyneth Walker. Tulsa Festival Ringers, the city’s only auditioned handbell choir, will perform a program of holiday music on the Victorian London set of American Theatre Company’s A Christmas Carol.

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 nine-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!

BROWN BAG IT

November 7, 14 at 12:10 p.m. K AT H L E E N P. W E S T B Y P AV I L I O N

December 5 at 11:30 a.m. and 12:45 p.m. J O H N H . W I L L I A M S T H E AT R E

A CHRISTMAS STORY

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 Novem b e r 2012

Congratulations National Merit Students! Seventeen percent of the senior class was recognized by the National Merit Scholarship Corporation for their performance on the qualifying exam. • 13 Semifinalist Students • 3 Commended Students • 1 National Achievement Student

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Q+A

Interview by Nancy Bizjack

Andrew Weil, M.D. Andrew Weil, M.D., is the founder and director of the Arizona Center for Integrative Medicine at the University of Arizona Health Sciences Center.

Integrative medicine is a healing-oriented approach that takes account of the whole person — body, mind and spirit — including all aspects of diet and lifestyle. It neither rejects conventional medicine nor accepts alternative therapies uncritically, thereby giving the practitioner the freedom to use the best available treatments to benefit a given individual. Weil earned his medical degree as well as his undergraduate degree in biology at Harvard University. He has appeared on the cover of Time magazine twice — in 1997 and again in 2005 — and is the author of 11 books, including the international bestsellers Spontaneous Healing, Eight Weeks to Optimum Health, and Healthy Aging.

It was heartbreaking to find out that Steve Jobs might still be alive if he had had surgery for pancreatic cancer immediately, instead of trying to heal himself with special diets, acupuncture and herbal remedies. How can ordinary people figure out when to choose conventional medicine and when to try alternative methods, when someone as smart as Steve Jobs couldn’t seem to do that? Common sense and intuition can help you analyze your symptoms, decide whether they are serious or not, and determine whether you should seek conventional medical attention. … The presence of symptoms that are unusually severe, persistent, or otherwise out of the range of your normal experience should signal the need for immediate medical attention by a conventional medical doctor. Do not rely on an alternative medicine provider for treatment of a health condition that conventional medicine can manage well.

We hear a lot these days about people going on fasts and doing cleanses to rid their bodies of toxins. Do those kinds of things actually do any good? Can they do harm? I’m not opposed to

More than a third of U.S. adults and approximately 17% of those under age 19 are obese. What, realistically, can be done to bring down those percentages? As a society we need to

cleansing regimens in general — they can make you feel good, and they give you a chance to consider anew what you are putting into your body. Restricting food intake in the short-term frees up energy that your digestive organs would otherwise consume; as a result, many people experience a clearer mental state and increased energy. … It’s best to consult with your health care provider first; definitely do not fast if you’re diabetic, pregnant, or nursing. In addition, only fast during times when you know your activity will not be as strenuous as usual. Keep in mind that fasting is not an effective weight loss strategy — it alters your metabolism in a way that may actually make it harder for you to lose weight or easier to regain the weight once you go back to the way you normally eat.

demand that the basic facts about nutrition, lifestyle habits and good health be taught during the elementary school years and beyond, and that following guidelines for optimal health be encouraged at every turn throughout a person’s life. In addition, our government and corporations have to work harder to make healthy lifestyle choices affordable and easy. For example, the federal government shouldn’t be telling people to eat more fruits and vegetables while at the same time making unhealthy foods cheap and healthy foods expensive through its patterns of crop subsidies.

What is the worst thing we eat? Highly processed, manufactured foods. Continued on p. 12 IN TERMISSION Novem be r 2012

Q+A

Andrew Weil, M.D.

Continued from p. 9 The best? The foods outlined in my antiinflammatory diet; forced to choose just one, I would select organic vegetables. If the question were framed in terms of taste, I would pick dark chocolate.

How has your experimentation with mind-altering drugs in the 1960s influenced your perception of the risks and benefits of legal and illegal drugs today? My thinking on this subject is fully presented in my book From Chocolate to Morphine: Understanding MindAltering Drugs.

What drugs do you think are overprescribed? Most of them. Half of all Americans are taking prescription drugs for conditions that often could have been prevented or treated through diet and lifestyle changes. Drugs that doctors overprescribe include those used to treat mood disorders such as anxiety and depression; antibiotics, especially for viral upper respiratory tract infections; and medications to treat GERD (gastro-esophageal reflux disease). The mainstream marketing of pharmaceuticals to the public significantly compounds and complicates the problem — it undermines the doctor-patient relationship, often provides misleading information, and drives the overuse of drug therapy by suggesting there’s a pill for every health problem. We need to lobby our state and local representatives to institute a ban on this type of advertising.

Opponents of changing our health care delivery system often say that the United States has the best health care in the world, so we should leave it alone. What’s your opinion about that? Such a statement is completely off base. Our health care system is overly expensive, focuses on disease treatment over disease prevention, does not keep us well, and offers little motivation for people to take good care of themselves. I believe 12

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that integrative medicine is the only practical way to transform our health care system and bring lower-cost, health-enhancing treatments into the mainstream for all to benefit from. In my book Why Our Health Matters: A Vision of Medicine That Can Transform Our Future, I list a number of actions each of us can take to promote the change we need in our health care system.

What are your thoughts on the Patient Protection and Affordable Care Act, also known as “Obamacare”? It’s a step in the right direction — much needed — but will not solve our health care crisis. We need to shift the whole enterprise toward prevention and health promotion — and figure out how to make those pay — and we need to break our dependence on expensive, high-tech treatments — including pharmaceutical drugs — to manage common health conditions. Changing priorities of reimbursement is a high priority. I see integrative medicine as the way of the future.

What are some things a person can do to override a genetic disposition toward cancer or Alzheimer’s disease? Most people equate family history and genetics with their personal health destiny. In reality, research shows that dietary and lifestyle measures have an almost three-fold greater impact on long-term health and the way we age than our genes, so even a person with a family history of Alzheimer’s disease may be able to reduce their risk. Consider that Alzheimer’s disease is believed to have a significant inflammatory component; thus, following an anti-inflammatory diet and exercising daily may help lessen the risk of developing Alzheimer’s disease and other agerelated diseases. Participating in mentally stimulating activities such as reading, playing cards or learning a new language may be especially beneficial, and prelimi-

nary data suggest that daily meditation and eating foods made with the Indian spice turmeric may offer added protection against Alzheimer’s disease.

Your mother lived to be 93. What do you think was her secret to living a longerthan-average life? She was physically active, ate well, and had many friends and an excellent sense of humor. She said that a sense of humor is essential for living long and well.

Before you were a best-selling author, you were an editor of the Harvard Lampoon and a contributor to High Times magazine. What effect did those experiences have on you and/ or your writing? My writing was mostly influenced by my work as an editor of The Crimson, the Harvard undergraduate newspaper. Having to meet deadlines, having my pieces edited, and editing the writing of others developed my skills. When I was in medical school, I taught a Harvard undergraduate course in scientific expository writing. When I finished my medical training, I made a living for a time as a freelance journalist, writing for a variety of magazines. I’m a good writer and editor, the result of a lot of practice.

What do you like to do when you’re not thinking, writing or talking about health and wellness? I like to garden, cook, swim, and spend time with my dogs and with friends.

Do you always follow your own advice? Yes.

ANDREW WEIL, M.D.

“Optimum Health: Maximizing the Body’s Own Healing Systems” Presented by Tulsa Town Hall November 16 at 10:30 a.m.

CHAPMAN MUSIC HALL Tickets are sold by subscription; call 918-749-5965.

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drinks the theater EnjoyEnjoy youryour drinks in theintheater our souvenir withwith our souvenir cups.cups.

Reusable at all Reusable at all PAC events. Two PAC events. Two sizes available at the sizes available at the concession stand. concession stand. Reusable at all PAC events. Two sizes available at the concession stand.

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October 27, 2012 – February 3, 2013 Nevada Cowboy Brian Morris, 1970, William Albert Allard/National Geographic Stock, ID # 131130

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Open Tues. – sun. n 10 a.m. TO 5 p.m. n 918-596-2700 n Gilcrease.uTulsa.edu 1400 n. Gilcrease museum rOad n Tulsa, OK n Tu is an eeO/aa insTiTuTiOn.

This exhibition was organized by the National Museum of Wildlife Art in Jackson Hole, Wyoming, in collaboration with the National Geographic Society and Museums West, presented by The Mays Family Foundation.

IN TERMISSION Novem be r 2012

by Natalie O’Neal

Anthony Drewe have created a toetapping and heart-warming stage show. Of course, it wouldn’t be Mary Poppins without the Academy Award-winning music and lyrics of Richard and Robert Sherman. “Spoonful

Kyle Froman

n east wind is blowing and you know what that means. Everyone’s favorite nanny is dropping in via umbrella, and she’s bringing the whole gang with her! The Broadway production of Mary Poppins, a show that, like its namesake, is “practically perfect in every way,” is coming to Tulsa! Incorporating P.L. Travers’ whimsical books and the classic 1964 Walt Disney film, Academy Awardwinning screenwriter Julian Fellowes (creator of TV’s Downton Abbey) and the Olivier Award-winning musical team of George Stiles and

of Sugar,” “Supercalifragilisticexpialidocious,” “Chim Chim Cher-ee,” and other beloved songs are present and zinging with life. While also set in early 1900s London, the show is a little more personal than the movie. “It’s more about the family and what they go through,” says Con OU graduate Con O’Shea-Creal O’Shea-Creal, who plays Bert, Mary Poppins’ jack-of-alltrades sidekick. Temporarily nanny-less due to their naughtiness, Jane and Michael Banks are in danger of losing their imagination and growing up without proper role models. Their parents, George and Winifred, are too busy with their own lives and goals to really pay attention to them. When a new nanny is needed to rule with a firm hand and practicality, Mary Poppins mysteriously blows in to 17 Cherry Tree Lane. There’s nothing that stirs the imagination like a little magic and some good friends. With her bot-

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Apple. It worked! He got a part in Irving Berlin’s White Christmas. In February 2012, he was cast as Bert’s understudy in the national tour of Mary Poppins and was soon asked to play the main role of the high-energy tap-dancing Londoner. One of the show’s heartthumping numbers, the beloved “Step In Time,” shows off O’Shea-Creal’s masterful tapping and technical ability on the city’s roof tops. When asked how the show makes up for the animated and fantastical scenes found in the movie and books, O’Shea-Creal explains, “What’s cool about our set it that it does come to life.” The set is constantly being moved and moving. “For the Jolly Holiday, Bert snaps his fingers, and you see the park in a way you’ve never seen it before. It’s the most colorful set you have probably ever seen, and, even though it’s humanly driven, it still tells the story — catches the essence of what animation brought to the film and what the words brought to the book. Look beyond what you see; use your imagination!” The show isn’t just for kids. “There are elements of this show for anybody at any age. You can bring a date to this show; there is so much good in terms of the messages. Everyone can enjoy the magic,” says O’Shea-Creal. He offers a challenge to audience members: “Come see the show … and really listen to the words that are spoken. Look at this family and see where they start and where they end up. What can we learn from their journey?”

Presented by Celebrity Attractions November 13-18 CHAPMAN MUSIC HALL Tickets are $20-$62. MyTicketOffice.com and 918-596-7111

Jeremy Daniel

tomless carpetbag, queer phrases, and stern-yet-loving persona, Mary Poppins wins over the children and helps set the family right with the help of Bert. Before playing Bert, O’Shea-Creal was drawn to the show’s message and technical elements. “I remember seeing the show in New York and thinking it has a great story to it,” he recalls. What struck him most were the issues raised that are pertinent today. People still need to be reminded of what’s most important in life, he says. “The nanny shows up and helps them see that. There’s an ethereal and mysterious quality about it; you don’t know where Mary and Bert come from. You have to have faith, regardless of not really knowing everything about them, that they can help this family. “It’s really about Jane and Michael Banks, and getting their family to work again, finding the love that’s missing, and trying to get them back to the basic fundamentals,” O’Shea-Creal continues. But just because she’s magic, that doesn’t mean that Mary Poppins can snap her fingers and — voila! — a perfect family appears. “Her job is not to solve the problems; rather it’s to provide the tough love that pushes the children and parents toward what they should be doing, communicating with each other.” A Nebraska native, O’Shea-Creal earned his B.F.A. at the University of Oklahoma. “I started tap dancing when I was six, and from there it was just a natural progression. The arts were always present in our house, and, gradually, I started to go see shows and do them in high school,” he says. But it wasn’t until OU came to an annual festival in Lincoln and showed him what he could do with a fine arts education, that O’Shea-Creal started thinking about a future in tap and musicals. “I absolutely love Oklahoma and make a point to come back once or twice a year,” he says. On his visits, he teaches classes and master classes at the university. Like any aspiring Broadway actor, O’Shea-Creal started saving up for New York during college. The summer after graduation, he worked at Lyric Theatre of Oklahoma City and had just enough money to make it a month in the Big

IN TERMISSION Novem b e r 2012

by Missy Kruse

ombine a couple of steamer trunks, a few chairs, two doors, a table, a window frame and four actors portraying more than 150 unique characters and what do you have? An award-winning quickchange recreation of Alfred Hitchcockâ&#x20AC;&#x2122;s suspenseful 1935 movie The 39 Steps. Hitchcock fans, mystery lovers and regular theatergoers are almost guaranteed to have a laughing good time at this spoofy stage show. In it, a bored ex-pat named Richard Hannay suddenly finds himself having more adventure than he could ever anticipate. After a fracas at a London theater, he meets a frightened

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young woman who tells him she is a spy being chased by assassins because she has uncovered a plot to steal vital British military secrets. A skeptical Hannay lets her spend the night at his apartment. Later that night she stumbles, fatally stabbed, into the room where he is sleeping and warns him to escape. Soon Hannay is off and running across the countryside from England to Scotland, alternately trying to escape his pursuers and discover the meaning behind the mysterious words his houseguest let slip: “The 39 Steps.” Are they a who, a what, a where? That’s all part of the fun. Alfred Hitchcock’s The 39 Steps is Broadway’s longest-running comedy thriller. The winner of Tony Awards and Drama Desk Awards (two each in 2008) and London’s 2007 Olivier Award for Best New Comedy, the only thing it copies from Hitchcock’s film is the script, which is pretty much word for word. While the movie is expansive and epic in nature with car chases, 100-people-music-hall scenes, and political-speech sequences, not to mention airplanes and chases through the Scottish Highland, the stage play relies on very minimal props and settings to create the entire story, says Daniel Fenaughty, who plays Hannay. Fenaughty considers himself fortunate. The other three players must portray multiple characters and the occasional inanimate object. The female cast member covers Hannay’s various romantic interests throughout, while the other two actors take on everyone else through a series of “quick but small costume changes,” Fenaughty explains. “Throughout the show, they put on eyeglasses, a new tie, an overcoat or a hat. Everything is quick-rigged, fast as lightning and seamless. It’s really, really impressive, not only to watch from the audience, but to be on stage with. They change characters right on stage, and I have to react differently to them as each individual character.” Although all this change might seem confusing, the real challenge, he says, is getting the accents right. “I am very fortunate because I only play one part,

but the other three say they find the most challenging part to be the accents. You can train yourself to do the physical comedy and choreography for the show, but accent requires a subtle ear and if you don’t have it, you don’t have it. And luckily our three other performers are wonderful at it.” Although most people think of Hitchcock in relation to The 39 Steps, even his version wasn’t original. John Buchan, who used the Richard Hannay character as the protagonist for four subsequent novels, wrote the 1915 novel The ThirtyNine Steps while recuperating from an illness at a nursing home. He got the idea from his six-year-old daughter who was counting the stairs that led to the home’s beach. She proudly told her father, “There are 39 steps.” Even with this intriguing title, Hitchcock apparently had his own ideas for the plot, which little resembles the original author’s. At least three other movies were made — theatrical releases in 1959 and 1978, and a BBC television movie in 2008. The 1978 version is generally regarded as closest to the book. Several radio productions have been done as well, starring variously Orson Welles, Glenn Ford and Herbert Marshall as Hannay. And every version seems to have its own twists and subplots — including the meaning of “The 39 Steps.”

English actor, comedian and playwright Patrick Barlow wrote the stage adaptation, based on a concept by Simon Corble and Nobby Dimon. It was first produced in London and premiered in the United States in 2007. Windwood Theatricals holds the rights to the national touring company, which will perform The 39 Steps in Tulsa. Is the play a parody of the movie or was Hitchcock’s film actually meant as a spoof of spy thrillers? “Hitchcock always walked that fine line of dramatic tension, but he had a sense of humor about it,” says Fenaughty. And he adds that the film “has humor in it inherently. The true comedy [of the stage show] comes from the fact we are trying to put on this huge production with minimal set and things are going wrong. It’s a spoof in a sense, but essentially it’s four people trying to do the best they can and loving every minute of it.” What would “Hitch” think? “He had a great sense of humor,” Fenaughty says, “and we remind ourselves every night that we are telling the story of this man on the run. We can get very broad, slapsticky and shticky with the comedy in the show. But if we stay true to the story, the audience enjoys it more, it’s a more rewarding experience as an actor, and I think Hitchcock would prefer it that way. Let the story be told, go on that journey, and have a little fun on the way.”

Presented by the PAC Trust 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-$40; $12 for students and seniors. MyTicketOffice.com and 918-596-7111 IN TERMISSION Novem b e r 2012

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! R EXTRAS NOVEMBE ry: hoto Galle Video & P s from the Local heroe eneration” “Greatest G ist a poster art Video: Tuls

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Westby Pavilion on the PAC’s Promenade Rental information 918.596.7124

he said, “which is the flag of convenience under which it sailed. But my play, it turned out, was actually about politics.” And, like all of Mamet’s work, it came with a buncha good lines — biting, ferocious ones — divvied up evenly between sides. November centers, as mentioned, around a dysfunctional President Smith (Mike Pryor), who is trying to snag money from campaign contributors, and his lesbian socialist speechwriter (Lisa Cole), whom Mamet says was much like “my earlier self.” There are subplots about Indians’ claims on Nantucket, the pork industry, and sexual politics, but mostly this is about the bazaar and bizarre mentality in Washington, D.C., and, as Mamet concluded, having to “work it out.” “Mamet did something interesting,” says Whalen. “He created a president that Republicans AND Democrats can both hate.” As an example, at one point, trying to shake down a spokesperson for the National Association of Turkey and Turkey Products Manufacturers (David Virili) for more campaign cash, President Smith NOVEMBER asks, “I pardon your turkeys; what does Presented by Theatre Pops November 8-10 at 8 p.m. that imply? That the birds I haven’t parNovember 11 at 2 p.m. doned, the turkeys each American actually L I D D Y D O E N G E S T H E AT R E eats on Thanksgiving, are criminals?” Tickets are $15; $10 for students and seniors. Mamet’s dialogue is lyrical, albeit with a MyTicketOffice.com and 918-596-7111 Chicago accent and usually suffering from Tourette’s, so Whalen needed his actors to not just learn the lines, but to absorb the cadence. by Barry Friedman Additionally, since the shelf life of politics only lasts until the next news cycle, November has to be both timeless hen David Mamet wrote his rather D’Souza, so November, written during and timely. infamous piece in The Village that period, isn’t a copy of his political “I certainly hope Bush and Clinton Voice in 2008, “Why I Am No Longer a divorce decree. still resonate,” Whalen says about a play Brain-Dead Liberal,” many on the Left, Randy Whalen, who is directing the written prior to Barack Obama becombrain-dead and otherwise, felt betrayed play for Theatre Pops, says, “I think Mam- ing president and culled from the previous and flummoxed. et is too good a writer to let his personal two presidents. “I think they do.” The same guy who loves Our Town agenda get into the story.” But this isn’t just politics, anyway — it’s and yearns for the “idiom of poetry” in As Mamet explained in The Voice: “At comedy, it’s entertainment … it’s maddening. American theater was now simpatico with the same time, I was writing my play As Mamet said about the 2008 election Milton Friedman and Shelby Steele? about a president, corrupt, venal, cunning, (and could have said about 2012 as well): Mamet wrote, “ … a free-market and vengeful (as I assume all of them are), “The right is mooing about faith, the left understanding of the world meshes more and two turkeys.” is mooing about change, and many are perfectly with my experience than that But more about the turkeys in a minute. incensed about the fools on the other side idealistic vision I called liberalism.” First, the nature of metaphor. — but, at the end of the day, they are the Ouch. “Porgy and Bess is a buncha good songs same folks we meet at the watercooler. Luckily, he’s David Mamet, not Dinesh but has nothing to do with race relations,” “Happy election season.”

PLAYING POLITICS

IN TERMISSION Novem be r 2012

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Tulsa Oratorio Chorus November 17, 2012 • 7:30 pm First Baptist Church Downtown 4th & Cincinnati Ralph Vaughn Williams Hodie and John Rutter Mass of the Children The Holland Hall and Tulsa Children’s Chorus join TOC for this festive program.

December 2, 2012 • 2:00 pm Tulsa Performing Arts Center 3rd & Cincinnati Side by Side concert with Tulsa Symphony Orchestra featuring some of Tulsa’s finest youth singers and musicians.

For tickets: www.tulsachorus.com • 918-596-7111

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Art at the Center, PART TWO by Nancy C. Hermann

e continue our in-depth tour of the PAC’s permanent art collection with a look at paintings displayed in the area above the Third Street’s main lobby known as the Dress Circle. Some of the Center’s finest art holdings can be viewed here. On the south wall near the elevators is a 47” x 60” black-and-red abstract (above) painted by one of Oklahoma’s most famous artists, Eugene Bavinger. He taught art at the University of Oklahoma from 1947 until his retirement in 1980. Eugene and his wife, Nancy, also an artist, lived in a house without interior walls that architect and friend Bruce Goff had designed for them, and O.U. student architects had built. Life magazine featured Bavinger House in 1955. It was the artists’ residence until Eugene’s death in 1997. When I interviewed Bavinger 20 years ago, he described his teaching career as “a supplement to surviving,” and his role in guiding young artists as “teaching students to fly.” About his own work, he commented, “My ideas start with realism — with ideas about nature; but it’s more about the energy and forces of nature than the external appearance.” It was not the detail of nature that intrigued him. Most unique about the PAC’s #603 Transflux #7 painting is Bavinger’s technique of applying layers in reverse order,

starting with the glaze that artists would most commonly use as a finish. Coats of acrylic gel are applied with a cement trowel, and each coat is sanded. The technique eliminates physical texture, creating a non-porous surface that achieves a heightened clarity of color. Also on the Dress Circle, to the right of the Orchestra Left doors, is Wolf Kahn’s luminous oil painting Evening Descends. Like Bavinger, Kahn is not interested in capturing the appearance of nature at a certain time. In this painting, he sought to create a dramatic passage of day when light and surface disintegrate into evening shadow, and the feeling elicited by that moment. Kahn believed his work “raised the ante in color.” He told famous art and culture author Dore Ashton, “I am always trying to get to a danger point in color, where color either becomes too sweet, or it becomes too harsh, it becomes too noisy or too quiet, and at that point I still want the picture to be strong, forceful and the carrier of everything that a painting has to have: contrast, drama, austerity.” Born in Stuttgart, Germany, in 1927, Kahn immigrated to the U.S. before the outbreak of WWII. After studying with the well-known abstract expressionist Hans Hoffman, he became a client of the prestigious 57th Street New York art dealer Grace Borgenicht. This is important in Tulsa PAC art history lore because

Grace was the sister of Tulsa oilman Benedict I. Lubell, who served on the PAC Trust for many years. Kahn was close with the Lubell family, and even painted Grace and Ben’s father’s portrait. It was through Grace that the PAC was able to acquire art from some of the leading contemporary artists of the era. These works are now appraised at far more than their 1970s purchase price, with Kahn’s work among the most valuable. Another piece in the PAC’s collection, even more closely associated with Grace, is Warren Brandt’s oil painting Still Life with Tulips and Melons, which hangs next to Kahn’s landscape. Brandt studied with Max Beckmann and Philip Guston at Washington University in St. Louis, but in our 1992 interview, he explained, “I think I learned as much studying Matisse as I learned from anybody.” His still life in the PAC collection is a combination of vibrant color, sumptuous line and poetic arrangement. Brandt married his “promoter and wonderful partner,” Grace Borgenicht, in 1960. She preceded him in death by a year in 2001. His paintings are in the collections of the Metropolitan, Hirshhorn and Carnegie museums, as well as the National Academy of Design. More of the PAC’s 76-piece art collection will be examined in the months ahead. For your own exploration, book a group tour. Call 918-596-7122. IN TERMISSION Novem be r 2012

ON UPCOMING EVENTS TULS A SYMPHONY

TULS A SYMPHONY AND TULS A ORATORIO CHORUS

FOLLOW THE Yellow Brick Road to the Tulsa PAC for a unique experience as Tulsa Symphony provides live symphonic accompaniment to a screening of The Wizard of Oz. In addition to performing the overture and underscore, the Symphony will back up original vocals by Judy Garland, Ray Bolger and the rest of the cast as they perform “Over the Rainbow,” “We’re Off to See the Wizard” and more. Popular guest conductor Ron Spigelman returns to lead this very special performance of the Academy Award-winning Best Original Score of 1939.

LOCAL HIGH SCHOOL musicians and singers will perform a concert of choral and instrumental Christmas music, side by side with Tulsa Symphony and Tulsa Oratorio Chorus on the PAC’s biggest stage. This is the second time Tulsa Oratorio Chorus has partnered with the Tulsa Symphony for this highly acclaimed educational initiative. To help prepare for the event, Tulsa Symphony musicians provided a combination of over 60 coaching sessions, rehearsals and individual instruction for the students. Conducted by Dr. Tim Sharp, this year’s performance, “The Colors of the Season,” will include such classical traditions as the “Hallelujah Chorus” from Handel’s Messiah and the Vivaldi Gloria, as well as other choral music appropriate for the holiday season.

December 1 at 7:30 p.m.

December 2 at 2 p.m.

CHAPMAN MUSIC HALL Tickets are $15-$70.

CHAPMAN MUSIC HALL Tickets are $20.

YELLOW

SIDE BY SIDE

THE ATRE POPS

AMERIC AN THE ATRE COMPANY

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.

EBENEZER SCROOGE, Bob Cratchit, Tiny Tim and Charles Dickens’ other classic characters, both human and spectral, return for ATC’s 35th annual production of A Christmas Carol. Snow falls on Victorian London as three holiday ghosts, a deceased former partner, and one loving family expose Scrooge’s greed and help him discover the joy that comes with generosity and compassion. The large, multigenerational cast adorned in period costumes provides plenty of old-fashioned seasonal cheer.

December 3-15, 20-22 at 8 p.m. December 16, 23 at 2 p.m.

December 6-8, 12-15, 19-22 at 7:30 p.m. December 9, 16, 23 at 2 p.m.

THE EIGHT: REINDEER MONOLOGUES

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.

A CHRISTMAS CAROL

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.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM 24

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AMERICAN INDIAN THE ATRE COMPANY

CELEBRITY ATTRACTIONS

A SONG OF WINTER IT’S CHRISTMASTIME in Oklahoma… Christmastime in Indian Country! This funny, heart-warming story of Ebenezer Screech Owl’s redemption, echoing themes of Charles Dickens’ A Christmas Carol, is an opportunity for you and your out-of-town holiday guests to experience comedy and the Christmas season the Indian way. In addition to Christmas carols in Native language, you will experience the original composition “Ode to Commodity Cheese.” Presented in conjunction with Mahenwahdose Productions, A Song of Winter features Will Hill, who wrote

TULS A BALLET

THE NUTCRACKER WITH ITS BELOVED score by Tchaikovsky and sparkling choreography by Artistic Director Marcello Angelini, Tulsa Ballet’s The Nutcracker is brimming with holiday magic. A larger children’s cast, fresh

MANNHEIM STEAMROLLER CHRISTMAS

the play, along with Jehnean Washington and a talented ensemble cast of Oklahoma Native Americans. Join them as they gather around the fire and share the voices of their ancestors, their traditions and their songs. December 7-8 at 8 p.m.

new choreography, and the return of Mother Ginger make this year’s production even more spectacular! Young Marie’s fantasy of being swept off her feet by a handsome prince unfolds in a production that mixes the visuals of a Broadway show with the heartwarming story of a fairytale Christmas. Uniquely set in 1920s Paris, Tulsa Ballet’s Nutcracker evokes the Art Deco era, an important and glamorous time in Tulsa’s history. Local children and students join the professional company to help the Mouse King battle the Nutcracker Prince and his toy soldier brigade. Tulsa Symphony performs live at every performance.

CHRISTMAS ISN’T OVER until you say it is! Make those warm holiday feelings last a little longer with this special end-of-year live concert by the multi-platinum-selling recording group Mannheim Steamroller. Known for its modern arrangements of traditional holiday music, Mannheim Steamroller is the creation of Chip Davis, a former ad agency jingle writer who first became famous by writing the music for “Convoy,” a hit song that popularized the CB radio fad of the late 1970s. Davis subsequently founded Mannheim Steamroller and its record label, American Gramophone. The group’s popularity exploded in 1984 with the release of its first Christmas album, which was enthusiastically promoted by Rush Limbaugh on his radio show. The group has toured every year at Christmastime for more than 25 years.

December 8-9, 15-16, 22-23 at 2 p.m. December 15 and 22 at 7 p.m.

December 29 at 8 p.m. December 30 at 2 p.m.

C H A R L E S E . N O R M A N T H E AT R E

CHAPMAN MUSIC HALL Tickets are $20-$76; discounts for children.

CHAPMAN MUSIC HALL Tickets are $25-$75.

TULSA PERFORMING ARTS CENTER • TULSAPAC.COM • BUY TICKETS AT 918-596-7111 AND MYTICKETOFFICE.COM IN TERMISSION Novem be r 2012

ON UPCOMING EVENTS DECEMBER

A Charlie Brown Christmas

ENCORE! THEATRE ARTS

A CHRISTMAS STORY

Nov. 28-30 at 7:30 p.m. Dec. 1 at 2 p.m. and 7:30 p.m. Liddy Doenges Theatre TULSA SYMPHONY

YELLOW

Dec. 1 at 7:30 p.m. Chapman Music Hall PHILL COOPER

ART EXHIBIT Dec. 1-30 PAC Gallery

TULSA SYMPHONY AND TULSA ORATORIO CHORUS

SIDE BY SIDE

Dec. 2 at 2 p.m. Chapman Music Hall PAC TRUST

BROWN BAG IT: TULSA FESTIVAL RINGERS

Dec. 5 at 11:30 a.m. and 12:45 p.m. John H. Williams Theatre AMERICAN THEATRE COMPANY

A CHRISTMAS CAROL

Dec. 6-8, 12-15, 19-22 at 7:30 p.m. Dec. 9, 16, 23 at 2 p.m. John H. Williams 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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AMERICAN INDIAN THEATRE COMPANY

A SONG OF WINTER

TULSA BALLET

THE NUTCRACKER

Dec. 7-8 at 8 p.m. Charles E. Norman Theatre

Dec. 8-9, 15-16, 22-23 at 2 p.m. Dec. 15 and 22 at 7 p.m. Chapman Music Hall

PLAYHOUSE TULSA

THEATRE POPS

Dec. 7 at 7 p.m. Dec. 8 at 10 a.m. and 7 p.m. Dec. 9 at 2 p.m. Liddy Doenges Theatre

Dec. 13-15, 20-22 at 8 p.m. Dec. 16, 23 at 2 p.m. Charles E. Norman Theatre

A CHARLIE BROWN CHRISTMAS

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.

CELEBRITY ATTRACTIONS

MANNHEIM STEAMROLLER CHRISTMAS Dec. 29 at 8 p.m. Dec. 30 at 2 p.m. Chapman Music Hall

THE EIGHT: REINDEER MONOLOGUES

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.

Lights On at Utica Square.

An annual holiday tradition!

Come join the magic as we kick off the holiday season with caroling and over 700,000 lights â&#x20AC;&#x201D; Thanksgiving Day, Thursday, November 22 at 6:30 p.m. To learn more, please visit us at www.UticaSquare.com. Utica Square gift certificates available at Commerce Bank.

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