03-2013

MARCH 2013

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INTERMISSION March 2013 5

I N T E R M I S S I O N M A G A Z I N E

M A R C H 2 0 1 3

10 features departments7 DirectionsOur Own Stars by John Scott

9 Bravo!24-Hour Play FestivalQuartetto di CremonaDual Pianos Ragtime

23 SpotlightAn Evening With Margaret AtwoodLove, Loss and What I WoreJames B. StewartTulsa Symphony: OrangeMOMIX “Botanica”Gatha Odissi and KrishnaAngelina BallerinaGryphon TrioForbidden Broadway

26 April Events

10 Q&A: Robin SutherlandThe guest pianist for Tulsa Symphony’s “Violet” concert talks about his 40-year career with the San Francisco Symphony and explains why Mozart is sometimes called “God’s stenographer”Interview by Nancy Bizjack

13 Step It Up!Washington, D.C.’s Step Afrika! fuses a dance form created by African-American fraternities and sororities with South African gumboot dance by Matt Cauthron

16 Hooked on Peter PanBroadway veteran Brent Barrett does double duty as Captain Hook and Mr. Darling in Peter Pan, the high-flying, action-packed musical starring Cathy Rigby by Missy Kruse

18 Of Mice, Men, and AmericaTwo talented actors from the cast of American Theatre Company’s award-winning production of Twelve Angry Men star in the company’s staging of a Steinbeck classicby Barry Friedman

21 Oliver!Fifty-eight actors of almost every age and background bring Lionel Bart’s Tony Award-winning score and Dickens’ beloved classic to life in this Theatre Tulsa productionby Natalie O’Neal

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in the gallery

Artists Karin Cermak and Cindy Parsons come together for a colorful exhibit with women as the subject of several pieces. Cermak, active in the Muskogee and Tulsa art communities for many years, has moved away from a strictly traditional, realistic style to soft contemporary painting. Parsons received a master's degree in art from the University of Tulsa. She enjoys experimenting with a variety of media, subjects and styles, and describes her work as contemporary and eclectic. Her prize-winning work has been shown at Philbrook, Gilcrease, the Mayfest Invitational Gallery and other venues.

Bright PaletteMarch 1-28

Karin CermakLa Femme Mystique

14"x 18" Acrylic

John

Car

lson

6 March 2013 INTERMISSION

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I LOVE IT when I can brag about PAC staff. And our ticket office personnel have taken things to new heights in that regard!

Late last month, the International Ticketing Association (INTIX) singled out the PAC’s ticket office operation by naming it Outstanding Box Office for 2013. Ticket Office Manager Terri McGilbra was on hand at the INTIX conference in Florida and accepted the award on behalf of Assistant Ticket Office Manager Zach Wheeler, Ticket Office Coordinator Jeff Newsome, and their staff of seven part-time employees. INTIX is a nonprofit organization representing more than 1,000 venues and ticketing operations worldwide. The award is given annually to an organization that demonstrates a high standard for customer service, excellent leadership and teamwork among its personnel, and a high level of accounting accuracy.

Even before the advent of MyTicketOffice.com, our ticket office handled an average of $4 million in gross sales per year. Since we launched MyTicketOffice.com in 2006, total gross sales system-wide for our regional ticketing business (encompassing 11 different facilities and 22 different constituent organizations in two states) has been as high as $21 million in a given year. Considering the PAC alone has hosted more than 500 performances per year for the last eight years, I couldn’t be more proud of our ticket office, and I’m delighted their work has been recognized with this prestigious award. From helping ticket-buying customers to serving our regional ticketing partners, the dedication to their job they demonstrate every day is exemplary. I also commend PAC Assistant Director Steven J. Fendt, who directly supervises the ticket office operation.

Speaking of being busy, our March calendar shows 39 performances. From opera to musicals to drama to orchestral and chamber music, the PAC will be hopping. My “sleeper” event of the month is Step Africa!, presented by the PAC Trust on March 23. And if you call or come to our ticket office to purchase tickets, congratulate whichever staffer helps you. They all deserve it!

Thanks for all your support. I’ll see you in the lobby.

director’s page

OUR OWN STARS

JOHN E. SCOTTDirector, Tulsa Performing Arts Center

INTERMISSIONis the official magazine of the Tulsa Performing Arts Center.

TULSA PERFORMING ARTS CENTER TRUST

CHAIR Ken Busby

VICE-CHAIR Glenda Silvey

TREASURER Michael P. Kier

SECRETARY Robyn Ewing

ASST. SECRETARY John E. Scott

TRUSTEESMayor Dewey F. Bartlett

Kristin BenderStanton Doyle

William G. von Glahn Jenny Helmerich

Robert J. LaFortuneRodger RandleJayne L. ReedKitty RobertsM. Teresa Valero

PAC TRUST PROGRAM DIRECTOR Shirley Elliott

PAC TRUST MARKETING & PR Chad Oliverson

OFFICE ADMINISTRATOR Carol Willis

DIRECTOR John E. Scott

ASSISTANT DIRECTOR Steven J. Fendt

TECHNICAL DIRECTOR Pat Sharp

MARKETING DIRECTOR Nancy C. Hermann

TICKET OFFICE MANAGER Terri McGilbra

110 E. Second St., Tulsa, OK 74103918-596-7122 • TulsaPAC.com

A department of the City of Tulsa

PUBLISHER Jim Langdon

EDITOR-IN-CHIEF Nancy Bizjack, PAC

CONSULTING EDITOR Nancy C. Hermann, PAC

CREATIVE DIRECTOR Amanda Watkins

GRAPHIC DESIGNER Brooke Lawson

ADVERTISING SALES Jim Langdon, Rita Kirk

INTERN KariAnn Sexton

INTERMISSION is published monthly by

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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, [email protected].

John H. Williams

John Scott, Kelly Tomlinson, Shelle Wilson, Jeff Newsome, Nicklaus Faith, Terri McGilbra, David Rickel, Zach Wheeler, Mike McUsic, Charles Smith and Steven Fendt. Not pictured: Josie Cawley


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The Cascia Community congratulates senior Sam Austin on his perfect ACT score!

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ENTERTAINMENT TO APPLAUD

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

NO, IT’S NOT an all-day play; it’s an all-day — and night — page-to-the-stage process! Writers, actors and directors collaborate in small teams to produce and perform a 10-minute play in 24 hours. They begin writing on Friday night and frantically start rehearsals Saturday morn-ing for a performance that night!

The Festival is accepting participants until March 4. If you are interested in tak-ing part in this event, e-mail Christopher Martin at [email protected].

March 9 at 7:30 p.m.L I D D Y D O E N G E S T H E A T R ETickets are $15; $12 for students and seniors, $5 for children.

ARTISTS-IN-RESIDENCE at the Società del Quartetto in Milan and at the Academy Santa Cecilia in Rome, Quartetto di Cremona enjoys an international reputation for artistic and thoughtful interpretations of repertoire from classical to contemporary.

For their first U.S. tour, this exciting quartet performs rarely heard gems from great Italian composers: Boccherini’s String Quartet in C Major, Op. 32, No. 4; Verdi’s String Quartet in E minor; Puccini’s “Chrysanthemums” Elegy for

String Quartet; and Cherubini’s String Quartet in D minor.

The quartet was formed in 2000 in Cremona, Italy, a famous music center since the 16th century and the home of some of the earliest and most renowned luthiers, such as Guarneri, Stradivari and several members of the Amati family.

March 17 at 3 p.m. J O H N H . W I L L I A M S T H E A T R ETickets are $25; $5 for students

R A G T IME F OR T UL S A

DUAL PIANOS RAGTIMEGRAMMY NOMINEES Brian Holland and Paul Asaro are among the finest ragtime and early jazz pianists on the planet. Asaro is a fulltime musician in the Chicago area and periodically goes on tour as an accompanist with Leon Redbone. Holland won the World Championship Old-time Piano Playing Contest three times (1997-1999) and has been invited back several times as a judge.

Holland and Asaro are regular performers at the four-day Scott Joplin Ragtime Festival in Sedalia, Missouri, and the West Coast Ragtime Festival in Sacramento. Holland was recently a headliner at the International Stride Piano Summit in Zurich, Switzerland, and played with fellow ragtime pianist Jeff Barnhart in Rwanda. When Holland and Asaro last appeared in Tulsa in 2006, they received two standing ovations.

March 19 at 7 p.m. J O H N H . W I L L I A M S T H E A T R ETickets are $25; $5 for students.

Paul Asaro

C H A MBE R MU S IC T UL S A

QUARTETTO DI CREMONA

PL AYHOUSE TUL S A

24-HOUR PLAY FESTIVAL


Interview by Nancy BizjackQ+A

Lots of children take piano lessons when they’re young, but many don’t stick with it long enough to become very proficient, much less make a career out of it. Why did you? With me it was a case of my interest never waver-ing. I think if you have a predisposition toward playing the piano, it will show it-self early. I began lessons the week before my fourth birthday. It was the only thing I liked and it was the only thing I was good at. I’m hugely tall — 6'5" — and people say, “How was the basketball?” But I’m just not very sports-inclined. That doesn’t mean I don’t like sports, but I was never very good at them, the last kid to get chosen, you know, that whole thing. But I saw when I was teach-ing more than I am now, there’s a little hump that usually comes around 10, 11 or 12 in boys, and that’s where you lose

them. That’s where the sports and the other things sort of come out on top. Not always. I mean, this is just a general rule. But I will also say that people come up to me now, and the number one story that I get is, “Oh, how I wish I hadn’t stopped taking piano!”

So do you think parents should make their kids stick with it? I’m not sure. I would strongly urge a child not to aban-don it, especially if you can tell there’s promise being shown. If it’s just some-thing clearly workaday, then what’s the use of sticking with a thing if you don’t get anywhere with it?

What effect did your instructor at The Juilliard, Rosina Lhevinne, have on your musical expression and technique? I was very young when I came to Ma-dame Lhevinne. I was 17 and she was 89. I sort of hopped on the caboose of that

train, but boy, it was a good thing I did. She was the most famous piano teacher in the world at that time. Her own train-ing was in the tradition of the great Rus-sian conservatories at the end of the 19th century, the great Romantic traditions, and she was a stickler for old-fashioned technique. Piano technique is something that must be gotten through. It has to be assumed into your musical character. I never enjoyed it, but I’m the last person to say that it’s unimportant.

Seiji Ozawa made you principal pianist of the San Francisco Symphony when you were still an undergraduate. Yes, he did. Bless him!

How did that come about? When Ma-dame Lhevinne fell ill and we could see that she was not going to pull out of this one, I left Juilliard because she was the only reason I was there, and I ended up

Robin SutherlandHaving talent at your fingertips is abig plus, but being in the right place at the right time — and being willing to look “like a complete doofus” — also played a role in Robin Sutherland becoming principal pianist of the San Francisco Symphony (see below). He jokes that when he joined the SFS as a young college student, he felt like he was entering a rest home, but 40 years after the famous conductor Seiji Ozawa appointed him, Sutherland is still with the SFS (now directed by Michael Tilson Thomas) and loving every minute of it.

Before he was discovered at the San Francisco Conservatory, Sutherland was one of the last students of legendary Juilliard piano pedagogue Rosina Lhevinne, whose impressive list of former pupils includes world-famous pianist Van Cliburn, Metropolitan Opera Music Director James Levine and award-winning composer John Williams. Many composers have dedicated works to Sutherland, and he has participated in numerous world premieres.

Sutherland was born and raised “next door to Oklahoma” in Colorado. He participated in OK Mozart for many years, is proud to be an honorary citizen of Bartlesville, and says he is very much looking forward to performing with the Tulsa Symphony on March 16.


Q+Aat the San Francisco Conservatory. Some piano player who was engaged by the San Francisco Symphony to perform a piece fell ill, and the Symphony, in a panic, called the Conservatory. Conservatories are sort of like hatcheries for symphonies [laughs]. Anyway, the call went to the president’s office. At that moment, I was leaning against the wall outside his office reading a letter from home. He opens his door and looks up and down the hall, and I was the only pianist there. He said, “Robin, the Symphony is in a bind. Do you feel like going down to the opera house and helping them out, sitting in for this sick pianist?” I said, “What are they doing?” and he said, “They’re doing Hindemith’s Kammermusik No. 1.” As it happened, we had just been studying that. I hadn’t ever performed it, but it was fresh in my mind. So I said, “Geez, dude, I don’t know, but yeah, sure.”

So how did it go? The engagement was a success. I looked like an idiot because the Symphony, you know, we wear formal tuxes and stuff, it’s all black and white, and I didn’t even have a black suit. So I had a sort of brown suit — it was the best I could do; this was very short notice. I looked like a complete doofus sitting there, but maybe it made me stand out. Anyway, the Symphony liked what it heard and so the phone began to ring more often and the phone calls would come directly to me, not through the school anymore. This was in November of 1972. By the following May, I was in the door solidly enough. They had a huge six-week tour of Europe and what was then the Soviet Union. They said, “Do you want to go?” and I said, “Of course.” I was very young then, and I had never been out of the United States before. That was a magical tour and it was very difficult for me. Little did I know that Seiji was watch-ing me the whole time. We have a formal audition process, but I never went through that. That tour was my audition.

And you’re still with the SFS, right? I am. I’m celebrating my 40th season with the San Francisco Symphony. I thought I would try it out for a few years, but it wasn’t long before I went, “Whoa, dude. This is it. You have found your life’s work. Not only that, but it found you.” The idea of a solo career never ap-pealed to me. You’re on the road con-stantly. Some people thrive on that kind of life, but not me.

Anyway, it’s been a remarkable career and I’ve enjoyed every minute of it. It’s enabled me to meet virtually everyone in the business, because the SFS is one of the hot bands in the world right now. I get to meet all these people who come through town and play with us and tour with us. We just got back from a month in Asia in November. It’s a very exciting life. I met some people through the orchestra that one day turned into the OK Mozart festi-val, which I was in on the absolute ground floor of, and which I participated in for two decades at least — possibly more. I don’t go anymore because of scheduling difficulties, but in the meantime, I’m an honorary citizen of Bartlesville. All kinds of interesting things have happened to me, and I owe it all to my work.

Unlike most musicians, who bring their instruments with them, pianists often have to perform on unfamiliar pianos when they do guest appearances. How do you make yourself comfortable with a strange piano? Well, you just make the best of it. Now with most symphonies and orchestras of the first rank, and I include Tulsa in that, I don’t know what I’m going to see when I get there, but it will be good. Whatever I end up with will be perfectly adequate, but it is the X factor, it is the question mark.

What about different conductors? Do they take some getting used to? Oh, yes. I do not know your guest conductor, Dan-iel Hege. So this is wonderfully exciting for me. I get a piano I’ve never seen, I get a con-ductor I don’t know, but I get an orchestra that’s very, very high quality, I do know.

Tell us about the piece you’re playing with Tulsa Symphony. Mozart wrote 27 piano concertos. The one I am bringing to Tulsa is No. 21, and it’s one of the most beloved of all the concertos. Its slow movement is very well known to a certain generation because a filmmaker took its theme and put it into a movie, Elvira Ma-digan. It’s a ravishingly beautiful theme. Even today, the concerto is known as the “Elvira Madigan.” It’s a three-movement work, and every movement is absolutely of the first order. It’s one of the finest composers at work at the most productive period of his life, turning out stuff like a shower of comets in the sky.

Somebody referred to Mozart as “God’s stenographer,” which is a phrase that I find interesting. If you look at old manuscripts in Europe or in New York City at the Pierpont Morgan Library where you can actually see a Mozart manuscript, and then look at one of Beethoven’s, you will see two very different creative processes at work. Beethoven’s scores are incredibly sloppy — he’ll ink out a bar completely or erase it so violently that there will be holes in the paper. His was a very tortured, uncontrolled way of composing. Mozart’s scores, on the other hand, are absolutely pristine. Each piece was fully formed in his mind; his only limitation was that he couldn’t write fast enough. But the music is very neat; once it’s down on paper, that’s exactly what it’s supposed to be. It’s like newly fallen snow on a meadow; you wake up and see it the next day and there it is. If you think about it too much, it’s kind of unsettling to think that a human being is capable of that.

VIOLETPresented by Tulsa Symphony

Featuring Guest Artist Robin SutherlandMarch 16 at 7:30 p.m.

C H A P M A N M U S I C H A L LTickets are $25-$70.

MyTicketOffice.com and 918-596-7111


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A ttempting to describe the Washington, D.C.,-based performance troupe Step

Afrika! is a bit like pondering the old head-scratcher about the chicken and the egg.

“The dancers are also musicians, in that their dancing is actually what’s creating the music they’re dancing to,” says Step Afrika! founder and executive director C. Brian Williams.

While that may sound like a convoluted riddle, it’s actually the product of a long tradition of performance known as “stepping,” which originated on the campuses of predominately black colleges in the northeastern U.S. and has been taken worldwide by Williams and his troupe over the last two decades.

“Stepping is a professional dance form originally created by African-American fraternities and sororities,” Williams explains. “In stepping we

use our hands, our feet, our voices and our bodies to make music. It’s a really unique performance experi-ence.”

Williams became involved with stepping while a student and frater-nity member at Howard University in Washington. During a student ex-change program in South Africa in the mid-’90s, Williams and his step-ping brethren melded the concept of stepping with the traditional South African gumboot dance, another form that heavily employs self-made percussive rhythms.

“Putting together those art forms led to the performance we tour with to this day,” Williams says.

The revelation in South Africa led Williams to form Step Afrika!, which has toured the world ever since, promoting stepping as an American art form and using the dance tradition as a way to educate and inspire young people.

“We love using the arts as a platform for teaching values like dis-cipline, teamwork and commitment, as well as for cross-cultural exchange and mutual understanding,” Wil-liams says. “We really feel that if we can step together, we can work together, we can live together.”

Its altruistic and educational endeavors aside, Step Afrika! is an entertainment powerhouse, draw-ing gushing praise from critics and audiences around the world. The Chicago Tribune called the troupe an “ensemble of fast, smooth stylists and musicians who take a fun-filled pastime and turn it into art.”

Williams says Tulsa audiences can expect an evening of powerful mu-sic, graceful theatrics, lively humor and organic audience participation.

“For our show in Tulsa, we’ll exhibit different styles of stepping, from the classic to the contempo-rary,” Williams says. “We’ll take people back to the origins of stepping and show them where it’s going in the future.”

Tulsans would be wise to take advantage of this rare opportunity to witness the roots and evolution of a uniquely American art tradition.

Just don’t get hung up wonder-ing which came first, the dancing or the music. Some riddles are best left unsolved.

STEP AFRIKA!Presented by the PAC Trust

March 23 at 7:30 p.m.J O H N H . W I L L I A M S T H E A T R E

Tickets are $28; $12 for students and seniors.


by Matt Cauthron



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by Missy Kruse

very good adventure story needs at least one villain — sometimes more. In the classic musical

Peter Pan, that means double the role and double the fun for whoever plays Neverland pirate Captain Hook and Mr. Darling, the father of the three children who travel to the magical place “second star to the right.”

Seasoned Broadway performer Brent Barrett, who fills these roles in the national touring company, obviously loves doing them. “It’s always fun playing the bad guy,” he says. “There is a lot of humor in it. Hook is very full of himself. In the way that Peter Pan doesn’t grow up, Captain Hook is kind of a petulant child as well. It’s a battle between two kids.”

How true. Hook is a fellow who revels in calling himself “the greatest villain

of all time,” but shivers at the sound of a clock, one that signals the arrival of a dreaded crocodile — the one who ate his hand and now wants another taste. In “real life,” he’s seen as the flustered, blustery Mr. Darling, always asking for “a little less noise there” from his children, Wendy, Michael and John, but showing his true heart… well, you just have to see the show.

Why is it a dual role? “Partly it’s the idea that it’s the children’s fantasy,” Barrett explains. “They see the father figure as the strict one. They transfer that into the fantasy of Neverland.” The show has had other dual roles. In this version, the fam-ily maid becomes Tiger Lily, the Indian maiden who leads a band of sometimes scaredy-cat warriors; Mrs. Darling is also a mermaid, “which you have to be care-

ful of, because they will seduce you into the water and drown you,” Barrett says. (Of course, sometimes the double roles are simply to keep down the number of people in the cast, he says, particularly for a touring company.)

“As children play out their fantasies, even in real life, they put certain authority figures in the role of the bad guy,” Barrett continues. “As an adult, you realize Mr. Darling is just trying to make a living and keep his family together and keep a roof over their heads. For the kids, they don’t know the realities of life and trying to support a family. Their life revolves around the nursery.” They can’t relate to their father’s concerns, Barrett says.

Although he had a chance more than two decades ago to be Captain Hook, this is Barrett’s first time as the slimy,

Brent Barrett and the Pirates in Peter Pan

Isaa

c Ja

mes


devious pirate. Former Olym-pic gymnast and medal winner Cathy Rigby plays the title role of Peter Pan, which she also has recreated on Broadway and tele-vision. Barrett and Rigby met when he played Frank Butler to Rigby’s Annie Oakley in Irving Berlin’s Annie Get Your Gun in 1993. When that production ended, Rigby and her husband, Tom McCoy (of McCoy Rigby Entertainment), were taking Peter Pan on the road and asked Barrett to join them, he recalls. “But I had been traveling a lot… and decided to stay home for awhile.” But when the call came for this tour, “I had the feeling this would be the last time Cathy was going to do this, so I jumped at the chance to do it and I am happy I did.”

Even though he declined the first tour, Barrett hasn’t been idle. He’s starred on Broadway as Billy Flynn in Chicago, with Reba McEntire in an Annie Get Your Gun revival, and in Dance a Little Closer, Grand Hotel, Candide and Brigadoon. His first big break was in the 1980 Broadway revival of West Side Story. He also starred with Oklahoman Kris-tin Chenoweth in On a Clear Day You Can See Forever for the New York City Center Encore! series. Barrett has three solo albums, has appeared with many prestigious symphonies, and has numer-ous film and television credits. Although

he is labeled a baritone, he founded The Broadway Tenors, which includes a stable of 17 singers who perform as trios.

And he’s almost a local boy. Born in the tiny northwestern Kansas town of Quinter, “I didn’t know what Broadway was,” Barrett recalls. His musical training consisted of school choir and singing at the Methodist Church, “the only outlets you have in a small town.” He saw movie musicals and the television version of Peter Pan, “and that was my frame of reference.” When he was a junior in high school, he says, “we did Calamity Jane and I played Wild Bill Hickok.”

Barrett began college at Fort Hays State as a voice major intend-ing to teach. An instructor heard him in a production of You’re a Good Man, Charlie Brown, and told him to scrap that career path and to instead pursue singing. He transferred to Carnegie Mellon, where he was part of its first class of musical theater, and where he appeared in local productions. His final year, 1980, he was chosen for the West Side Story revival, which set him on his career track.

Right now, he is enjoying being Captain Hook. And he says Peter Pan and its characters still play well to 21st-century children. “I don’t think they are as innocent as we were when we were growing up, but I still think they are as trans-ported as they ever were,” particu-larly when they see Peter fly in that window for the first time.

It is one of only a few shows that relate to all ages, he says. “There is something in it for the four-year-old, but there are jokes that the adults get that the children aren’t are going to get. There’s a lot of slapstick and physical humor and a lot of fantastic dancing.

“There is very little down time in this production. It helps keeps the kids involved,” he says. In other words, you’ll be hooked.

Presented by Celebrity AttractionsMarch 5-10C H A P M A N M U S I C H A L L Tickets are $15-$65. MyTicketOffice.com and 918-596-7111

Cathy Rigby and The Lost Boys in Peter Pan

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Brent Barrett as Captain Hook in Peter Pan


Of Mice, Men, and America

by Barry Friedman

Set waist-deep in the Great Depression, John Steinbeck’s

Of Mice and Men reminds us of an America we’d rather not remember — a wounded, bruised, scabbed-over place.

High school is when most of us first read it.

It was probably not the best place, for it is a work filled with dreams not only deferred, as Langston Hughes once said, but obliterated.

The novel, written in a theatrical format, is the story of two migrant workers on their way to a ranch in California and their hopes of eventually owning their own farm. George Milton is described by Steinbeck as “a small, dark man with sharp, strong features,” and Lennie Small (a name that belies this giant of a man) is a lumbering, slow-wit-ted mass with a “shapeless face.” It is their pas de deux that is the engine and heartbreak of the narrative. Taking work at the Tyler Ranch, they meet Candy, the old ranch hand; Slim, the mule team driver; Curly, the boss’s son; Curly’s wife; and Crooks, a proud disabled black stablehand. They are all known; they are all strangers.

Nate Gavin, who plays Lennie, sees not only the pall that hangs over the play (that hung over the nation), but also the destruction and self-destruction of its characters.

“I see this as an exploration of man’s loneliness, and how he both

Brian Rattlingourd and Nate GavinJo

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seeks and destroys the cure to it. Every-one in the show is so lonely.”

Brian Rattlingourd, who plays George, says it is a depression not of degree, but of kind.

“I was having this conversation with a Russian theatre director recently. He was expressing how he didn’t care for Steinbeck and this particular work because it’s depressing. And I’m laugh-ing inside because this is coming from a Russian thespian!! Hello? Dostoevsky, Chekov, Gogol!”

Gavin believes George and Lennie have the “tools” to vanish much of this loneliness by banding together, “yet they can’t overcome the base nature to seek power over another man. They can’t get out of their own way.”

It’s not like they get much help.The workers at the Tyler Ranch each

have their own demons; there are no happy endings here.

George and Lennie’s relationship is, from the onset, symbiotic, doomed … metaphorical.

“I just can’t get out of my mind the scene of Candy and his dog [he shoots him unceremoniously],” says Gavin. “I see that as almost as sad, if not more so, than the ending of this play and Lennie’s demise.”

Published in 1937, (two years after Tortilla Flat and two years before The Grapes of Wrath) Of Mice and Men is about desperate Americans in a battle with a desperate America.

It made many uncomfortable; it still does.

According to Banned in the U.S.A. by Herbert N. Foerstel, Of Mice and Men ranks third as the most frequently banned book in America — first on the list: Impressions, edited by Jack Booth; the second (perhaps no surprise): J.D. Salinger’s The Catcher in the Rye.

“People don’t naturally like to have their own ugly nature thrown in their faces,” says Gavin. “We want fairy tales. We want to believe in the better angels of our nature. So when an author points out things aren’t as clean as we pretend,

I think we react in two ways: some look in the mirror and take note and strive to overcome; others reject and get angry and seek to squash such criticism. So, it’s NOT justified, but has to be expected from those who choose to live life never open to dealing with this dark nature we all have. Why was this book banned? Is a book that includes contro-versial issues and themes more threaten-ing than not talking about controversy?”

Not just issues, not just themes, but profanity, bigotry, euthanasia, sexism in the flesh. (Steinbeck doesn’t even give Curly’s wife a name.)

“I had never thought about her not having a name, but it makes sense,” Gavin says. “Though you see some villain in her when she deals with Crooks, she is a victim for the most part — just as lonely as the rest. She is the most isolated; there are no other women on the ranch. She’s been used by every man who has been in her life. I think Steinbeck does not name her because maybe she represents all of us.”

Rattlingourd believes in some ways she is “the strongest, most honest out of this bunch,” which leads her into that barn and the connection with Lennie.

“She does so with complete trust and love. It’s tragic,” says Rattlingourd, who says the work has “poetic precision.”

The dreams, the decisions for those at the ranch, for those in America during

the 1930s, are heartbreaking stories, the poetry notwithstanding.

Gavin echoes his co-star’s point.“Not only do people lose their lives,

but dreams are crushed. And people seem to take joy in crushing them.”

Both Gavin and Rattlingourd agree that even though the novel was writ-ten more than 70 years ago, it is still needed.

“It comments on our society and the danger of getting rid of things when they seem to no longer have any purpose,” says Gavin. “Maybe we have to fight against that part of our human nature that removes the humanity from people.”

Rattlingourd says the simple mes-sage of the play, though the one never realized, is this: “I got you... and you got me!”

Steinbeck, like many writers of the time, hated capitalism.

“There is a crime,” he said, “that goes beyond denunciation. There is a sorrow here that weeping cannot symbol-ize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And children dying of pel-lagra must die because a profit cannot be taken from an orange.”

But for all that, he didn’t hate America.

“I believe that out of the whole body of our past, out of our differences, our quarrels, our many interests and direc-tions, something has emerged that is itself unique in the world: America — complicated, paradoxical, bullheaded, shy, cruel, boisterous, unspeakably dear, and very beautiful.”

Just not at Tyler Ranch.

Of Mice and MenPresented by American Theatre Company

March 1-2, 7-9 at 8 p.m.March 3 at 2 p.m.

J O H N H . W I L L I A M S T H E A T R ETickets are $24-$30;

$21-$27 for students and seniors.MyTicketOffice.com and 918-596-7111

“I see this as an exploration of

man’s loneliness, and how he both

seeks and destroys the cure to it.”

— NATE GAVIN


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Saturday, March 30th, 9:30 a.m. to 11:00 a.m.

Easter Biscuit Hunt!


Not often do you find a musical with grin-

inducing songs, bone-chilling characters, and a plot that tugs as much as on the psyche as it does on the heartstrings. But when it’s based on one of the literary canon’s most complex and rich novels, written by the greatest novelist of the Victorian era, then, as the song says, “consider yourself well in.”

Oliver!, Lionel Bart’s beloved musical adaptation of Charles Dickens’ novel Oliver Twist, follows the journey of orphan Oliver (Grayson Warlick) as he fights for survival and a sense of belonging in 19th-century London. Oliver! premiered in London’s West End in 1960. When it came to Broadway two years later, the show won three Tony Awards, including Best Original Score. In 1968, Vernon Harris’ screen adaptation picked up six Academy Awards.

Sara Phoenix, Theatre Tulsa’s presi-dent and director of Oliver!, asserts that, though lighthearted in parts, much of the drama deals with the degeneration that plagued Dickens’ London in the mid-1800s. “A lot of people think that it’s fluffy because it has a lot of kids in it” — 28 to be exact — “but you forget that it’s based on one of the most famous pieces of English literature,” she says.

Though Dickens was a prolific writer and famous by age 24, his younger years were not so charmed. Using his own cheated childhood as a model, Dickens

created Oliver as an innocent looking to escape the drudgery and exploitation of child labor. When Dickens later became a court reporter, he began to examine the people who struggled to survive in the harsh back alleys of the city. Characters such as Fagin (John Orsulak), king of the pickpocketing band Oliver falls in with, and Nancy (Rebekah Peddy), the pickpockets’ mother-like figure, prompt thought-provoking questions about pov-erty’s complex relationship with moral-ity, as well as the blurred lines between loyalty and self-respect. “It’s about the human condition. Not everything in this play is happy … yet, through challenges, through down times, there’s always hope

and love,” Phoenix explains.With a background in

children’s and musical theater directing, Phoenix feels right at home with Oliver! “We wanted to do a musical that had a large cast, and my fa-vorite type of theater is doing something with a multigener-ational cast,” she says. The 58 actors of almost every age and background bring Bart’s musi-cal score and Dickens’ tale to life in the Liddy Doenges Theatre. Unlike the traditional proscenium stage, where the audience views the action straight on, the Doenges Theatre is a more intimate setting with its thrust stage that allows the audience to view the action from multiple angles. The focus will be more on the talent than elaborate set and production design, says Phoenix. “There’s so much energy and passion, and

when those four harmonies blend, there’s a wall of sound coming at you.” There’s a lot of heart in this musical, she says, both in the depth of Dickens’ tale and in the Tulsa actors’ passion as they sing and dance it to life.

OLIVER!Presented by Theatre Tulsa

March 15-16, 21-23 at 8 p.m.March 17 at 2 p.m.

L I D D Y D O E N G E S T H E A T R ETickets are $18; $14 for students and seniors.


Oliver!by Natalie O’Neal

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ixJett Armstrong as The Artful Dodger, John Orsulak as Fagin, Mitchell Neill as Bill Sykes, and Rebekah Peddy as Nancy

More than $1,500 in prizes will be awarded!

TulsaPeople is compiling the 2013 Readers’ Choice A-List

of Tulsa’s best businesses to be announced in our June issue.

Please Visit TULSAPEOPLE.COM March 1-31 to vote for your favorite

businesses and you could win one of our weekly prize packages!

Vote in all four categories and you’ll be registered for the GRAND PRIZE

– a $500 Moody’s Jewelry gift card and $500 Castleberry’s Ethan Allen gift card!

SERVICESWeek three prize:

$200 Ihloff Salon and Day Spa package

*Visit TulsaPeople.com for complete rules. Must be 18 or older to enter drawings; One different winner will be drawn each week. Only those who complete all four weekly ballots will be entered into the Grand Prize drawing.

Visit TulsaPeople.com to vote for the A-List March 1-31st!

FOOD Week One Prize:

$200 Dining Gift Card package

FUN Week Two Prize:

$200 Bowling, Baseball, Basketball and Dining package

SHOPWeek Four Prize:

Vote in each category to be eligible for $500 gift cards for Moody’s Jewelry

and Castleberry’s Ethan Allen

ATTENTION READERS:

Tell us who’s on your A-List of Tulsa’s best businesses!

T U L S A P E O P L E

2 0 1 3 R E A D E R S ’ C H O I C E


ON UPCOMING EVENTS


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OKL AHOMA CENTER FOR POE TS AND WRITERS

AN EVENING WITH MARGARET ATWOODMARGARET ATWOOD, a poet and one of the most honored fic-tion authors in recent history, will talk about her groundbreaking novels and share personal insights into her writing life. She will also take questions from the audience and autograph books after her presentation.

The author of such classic works as The Handmaid’s Tale and The Blind Assassin, Atwood is the win-ner of the Arthur C. Clarke Award and Prince of Asturias Award for Literature. The Canadian has been shortlisted for the Booker Prize five times, winning once, and has been a finalist for the Governor General’s Award seven times, winning twice. While in Tulsa, Atwood will receive the OCPW’s Ambassador Award.

The New York Times has described her writing as “chillingly brilliant.”

April 3 at 7 p.m. J O H N H . W I L L I A M S T H E A T R ETickets are $15; $5 for students.

TUL S A TOWN HALL

JAMES B. STEWARTNEW YORK TIMES business columnist and bestselling author James B. Stewart combines the skills of an investigative reporter with the style and sensibility of a novelist. Throughout his career, he has explored the use and abuse of power at the highest levels of business and govern-ment, from his Pulitzer Prize-winning Wall Street Journal articles on the 1987 stock market crash to pieces about Enron and Tyco.

His New York Times bestseller Disney-War was named one of the best books of the year by Barron’s. Time magazine called Heart of a Soldier the best book about 9/11. Stewart’s other bestsellers include Blood Sport, Blind Eye and Den of Thieves, the definitive account of the 1980s insider trading scandals.

His latest book, Tangled Webs: How

False Statements Are Undermining America, is the topic of his Town Hall address.

April 5 at 10:30 a.m. C H A P M A N M U S I C H A L LTickets are sold by subscription; call 918-749-5965.

NORA AND DELIA EPHRON’s intimate collection of stories is based on the best-selling book by Ilene Beckerman, along with recollec-tions of the Ephron sisters’ friends. The play is organized as a series of monologues by female actors who use clothing and accessories and the memories they trigger to tell funny and often poignant stories that all women — and perhaps some men — can relate to.

The off-Broadway production of Love, Loss and What I Wore won the 2010 Drama Desk Award for Unique Theatrical Experience and is still going strong. Kelli McCloud Schingen directs this local

production starring Carla Ford, Paula Scheider, Lorie Lyons, Tiffany Tusia, Annette Rosenhecht, Jennie Lynn and Danielle Balletto.

April 4-6 at 8 p.m.April 7 at 2 p.m. L I D D Y D O E N G E S T H E A T R ETickets are $15; $10 for students and seniors.$7.50 “Ladies’ Night” tickets on April 4.

THE ATRE POPS

LOVE, LOSS AND WHAT I WORE

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WITH AN eclectic score ranging from birdsong to Vivaldi, “Botanica” is a dreamlike journey through the four seasons of the natural world. Costumes, projections, custom-made props and puppetry add an extra dose of fantasy to the elixir.

Known internationally for presenting work of exceptional inventiveness and physical beauty, MOMIX is a company of dancer-illusionists under the direc-tion of Moses Pendleton, a founding member of Pilobolus Dance Theater.

In addition to stage performances worldwide, MOMIX has worked in film and television and has appeared in national commercials for Hanes and

Target in recent years. With nothing more than light, shadow, props and the human body, MOMIX has astonished audiences on five continents for more than 30 years.

April 7 at 7 p.m. C H A P M A N M U S I C H A L LTickets are $15-$52.


ON UPCOMING EVENTS

SOUTH A SIAN PERFORMING AR TS FOUNDATION

GATHA ODISSI AND KRISHNA

TUL S A S Y MPHONY

ORANGEGUEST ARTIST Dylana Jenson was a child prodigy, taking up the violin before her third birthday and performing with the New York Philharmonic, among others, by age 13. Soon after winning a silver medal at the 1978 Tchaikovsky competition in Moscow at age 17, Jenson was lent a 1743 Guarneri del Gesu, which helped propel her to the top of the international music scene. But the precious violin was taken from her a few years later when she told her benefactor she was getting married. She eventually commissioned a similar violin and continued her career. Thirty years later, she is still married to David Lockington, guest conductor for this concert.

On the program are Samuel Barber’s playful and lively “School for Scandal,” Shostakovich’s Violin Concerto No. 1, and Beethoven’s Symphony No. 7.

April 6 at 7:30 p.m. C H A P M A N M U S I C H A L LTickets are $25-$70.

PAC TRUST

MOMIX “BOTANICA”

TWENTY DANCERS in two renowned troupes from India come together in one rich and colorful dance program.

The Orissa Dance Academy presents Gatha Odissi, performed in the Odissi style from eastern India and featur-ing principal dancer Aruna Mohanty. References to the Odissi style have been

found in historic caves dating back to the 2nd century B.C. Gatha Odissi traces the journey of the Odissi dance form from the temples to the stage.

Sharing the program is Parvathy Menon and Shijith Nambiar’s Krishna: A Divine Experience, performed in the Bharatanatyam style of classical Indian dance from southern India. The piece demonstrates the energy of Indian music and explores the divinity of the Hindu deity Krishna. The program has been staged in many prestigious dance festivals around the world.

April 7 at 4 p.m.J O H N H . W I L L I A M S T H E A T R ETickets are $15 and $25, with a $5 discount until March 15.

Dylana Jenson

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FROM Annie to Phantom to Wicked, this fall-down-funny satirical roast of over 30 Broadway hits features outrageous costumes, madcap impressions by a stellar cast, and silly spoofs of the songs you know by heart.

Forbidden Broadway was first performed at Palsson’s Supper Club on New York’s Upper West Side in 1982. An unemployed actor, Gerard Alessandrini, wanted a showcase for his talents, so he assembled some of the musical parodies of Broadway shows he had written since childhood into a nightclub act. Critics and audiences were wowed, and Forbidden Broadway became New York’s longest-running musical comedy revue. The show has won Tony, Drama Desk, Obie and Outer Critics Circle Awards.

April 19-20 at 7:30 p.m. J O H N H . W I L L I A M S T H E A T R ETickets are $35; $12 for students and seniors.

IN Angelina Ballerina: The Musical, Angelina and her friends, Alice, Gracie, AZ and Viki, and their teacher, Ms. Mimi, are all aflutter because a special guest is coming to visit Camembert Academy! Angelina and her friends will perform all types of dance, including hip-hop, modern dance, the Irish jig and,

of course, ballet, and they are excited to show off their skills to their famous visitor. Angelina is the most excited of all, but will she get the starring moment she hopes for?

Based on the animated series Angelina Ballerina: The Next Steps on PBS, Angelina Ballerina: The Musical is a family-friendly show that will have the entire audience dancing in the aisles.

The show is appropriate for ages 3-12.

April 12 at 7 p.m.April 13 at 11 a.m. J O H N H . W I L L I A M S T H E A T R ETickets are $10.

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

PAC TRUST

ANGELINA BALLERINA: THE MUSICAL

CHAMBER MUSIC TUL S A

GRYPHON TRIOHAVING impressed international audiences and the press with their highly refined, dynamic performances, the Gryphon Trio has firmly established itself as one of the world’s preeminent piano trios. With a repertoire that ranges from the traditional to the contemporary and from European classicism to modern-day multimedia, the Gryphons are committed to redefining chamber music for the 21st century.

In this concert, the trio — cellist Roman Borys, pianist James Parker and violinist Annalee Patipatanakoon — will perform “Lonesome Roads,” composed in 2012 by prize-winning 30-year-old Dan Visconti and commissioned specifically for the Gryphon and two other piano trios. Also on the program are Haydn’s Trio in C Major, Hob. XV:27; Dvorák’s Piano Trio in E minor, “Dumky”; and Shostakovich’s Trio No. 2 in E minor, Op. 67.

April 14 at 3 p.m. J O H N H . W I L L I A M S T H E A T R ETickets are $25; $5 for students.

PAC TRUST

FORBIDDEN BROADWAY

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26 March 2013 INTERMISSION 26 March 2013 INTERMISSION

OKLAHOMA CENTER FOR POETS AND WRITERSAN EVENING WITH MARGARET ATWOODApr. 3 at 7 p.m.John H. Williams Theatre

PAC TRUSTBROWN BAG IT: PAT SURMAN & RON CHIOLDIApr. 3 at 12:10 p.m.Kathleen P. Westby Pavilion

TULSA ADVERTISING FEDERATIONART EXHIBITApr. 4-28PAC Gallery

THEATRE POPSLOVE, LOSS AND WHAT I WOREApr. 4-6 at 8 p.m.Apr. 7 at 2 p.m.Liddy Doenges Theatre

TULSA TOWN HALLJAMES B. STEWARTApr. 5 at 10:30 a.m.Chapman Music Hall

OKLAHOMA PERFORMING ARTSUNTO OTHERSApr. 6 at 7 p.m.John H. Williams Theatre

TULSA SYMPHONYORANGEApr. 6 at 7:30 p.m.Chapman Music Hall

PAC TRUSTMOMIX “BOTANICA”Apr. 7 at 7 p.m.Chapman Music Hall

SOUTH ASIAN PERFORMING ARTS FOUNDATIONGATHA ODISSI AND KRISHNAApr. 7 at 4 p.m.John H. Williams Theatre

PAC TRUSTBROWN BAG IT: TU CHAMBER CHOIRApr. 10 at 12:10 p.m.Kathleen P. Westby Pavilion

PAC TRUSTANGELINA BALLERINAApr. 12 at 7 p.m.Apr. 13 at 11 a.m.John H. Williams Theatre

CHAMBER MUSIC TULSAGRYPHON TRIOApr. 14 at 3 p.m.John H. Williams Theatre

PAC TRUSTBROWN BAG IT: LORELEI BARTON & FRIENDSApr. 17 at 12:10 p.m.Kathleen P. Westby Pavilion

PAC TRUSTFORBIDDEN BROADWAYApr. 19-20 at 7:30 p.m.John H. Williams Theatre

TULSA OPERAAÏDAApr. 20, 26 at 7:30 p.m.Apr. 28 at 2:30 p.m.Chapman Music Hall

CELEBRITY ATTRACTIONSWEST SIDE STORYApr. 30-May 5Chapman Music Hall

HOUSE NOTESTHE 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.

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, 918-596-7111, or from outside Tulsa call 1-800-364-7111. 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.

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 918-596-7109 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 and telecoil units for the Sennheiser infrared hearing assistance system in Chapman Music Hall may be picked up at the Coat Check in the Third Street Lobby for Chapman events, or from the House Manager on duty in the Williams Lobby for John H. Williams and Liddy Doenges Theatre events. The PAC’s TDD number is 918-596-7211.

PLEASE NOTE: Smoking is prohibited inside the PAC. Also, as a courtesy to the performers and audience, please turn off all audible message systems and cellular phones.

Cubic, A Creative Agency is the PAC’s exclusive Internet solutions provider. The PAC’s Internet ticketing is powered by Tickets.com.

ON UPCOMING EVENTS

APRIL Adrienne Danrich will star in Aïda

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