10-2013

OCTOBER 2013

WORLD BLUES

featuring

TAJ MAHALTRIO

WITH VUSI MAHLASELA& FREDERICKS BROWN

8

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

features

O C T O B E R 2 0 1 3

8 Q&A: Khaled HosseiniThe bestselling author of The Kite Runner and A Thousand Splendid Suns talks about his new book, the writing life, and the uncertain future of AfghanistanInterview by Nancy C. Hermann

10 World BluesThe PAC Trust presents American blues icon Taj Mahal (pictured), South African folk musician Vusi Mahlasela, and the rock band Fredericks Brownby Matt Cauthron

14 Love vs. LustMozart’s comic opera The Marriage of Figaro pits love against lust with undertones of class warfare by Kelsey Gulliver

17 A Few Good WritersIn the comedy Seminar, an arrogant author gives four young writers the truth about themselves and their career prospects. Can they handle it?by Nancy Bizjack

18 DeathtrapTulsa Project Theatre stages a mystery thriller that will have you laughing out loud — when you’re not gasping at the startling plot twistsby Missy Kruse

Cover photo of Taj Mahal by Jay Blakesberg

in the gallery

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Kite Traces: Words and ImagesOctober 3-25

This exhibition of typographic art by students at the University of Tulsa School of Art was inspired by the writings of this month’s Tulsa Town Hall guest, Khaled Hosseini, author of The Kite Runner and two other bestselling novels. The exhibition was created in collaboration with the Oklahoma Center for Poets and Writers OSU-Tulsa.

departments5 DirectionsWhat’s up? by John Scott

7 BravoBrahmsLove, Loss, and What I WoreAriel Quartet with Menahem Pressler

19 SpotlightA Midsummer Night’s DreamSimon Estes, Deborah Voigt

and Tulsa Oratorio ChorusFrogzThe Importance of Being EarnestDan RatherFantasiaIvory&GoldIrving Berlin’s White ChristmasAn Evening in ViennaVienna Piano TrioJim Brickman

22 November Events

for you, a thousand times over

for you, a thousand times over

October 2013 INTERMISSION 3

2012 & 2013

4 October 2013 INTERMISSION

ONE ANSWER to the often-asked question above is “kites.” Yes, I said kites. What might appear on the PAC calendar as an isolated event will actually be a community-wide celebration involving several organizations and events over three months. I’m speaking of the Tulsa Town Hall lecture by renowned author Khaled Hosseini on Friday, October 4. And, of course, the kite reference is related to his best-selling book The Kite Runner.

Associated events began in September with a kite-building workshop at WaterWorks Arts Center. Other events and participating organizations include month-long exhibits in the PAC Gallery and at Living Arts; a kite/poster contest at Family and Children’s Services; a Tulsa Library Novel Talk program at the Arts & Humanities Hardesty Arts Center; a showing of the film adaptation of The Kite Runner at Circle Cinema, where an exhibit of kites created by members of Tulsa Girls Art School will be featured; kite displays and kite-flying instruction on the Guthrie Green; and an appearance by the author at the Greenwood Cultural Center, sponsored by the Oklahoma Center for Poets and Writers OSU-Tulsa. The celebration culminates in Hosseini’s Town Hall lecture at the PAC. Talk about community involvement!

October gets off to a fast start with the PAC Trust’s presentation of Stuart Little for the young ones and Tulsa Symphony’s all-Brahms concert. Later in the month, Theatre Pops produces two different shows, Love, Loss, and What I Wore and Seminar; Tulsa Opera opens its 2013-14 season with Mozart’s The Marriage of Figaro; and Chamber Music Tulsa brings in the Ariel Quartet with legendary pianist Menahem Pressler. Continuing a busy month for them, the PAC Trust presents its annual Brain Storms with plays written by Tulsa’s youth, the fall edition of the Brown Bag It noon recital series, and an event you won’t want to miss, “World Blues” with folk-blues icon Taj Mahal. The month ends with Tulsa Project Theatre’s production of the comedic thriller Deathtrap.

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

WHAT’S UP?

John E. ScottDirector, Tulsa Performing Arts Center

director’s page

John Scott

INTERMISSIONis the official magazine of the Tulsa Performing Arts Center.

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TRUSTEESBillie Barnett

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TUL S A S Y MPHONY

BRAHMSAWARD-WINNING pianist William Wolfram makes his Tulsa Symphony debut as guest artist in an eve-ning of Brahms.

After graduating from Juilliard, Wolfram worked with numerous orchestras and per-formed under internationally recognized con-ductors. He has made a reputation as a concerto soloist who is equally versatile and adept as a recitalist, accompanist and chamber musician.

The performance of Piano Concerto No. 1 and Symphony No. 2 will complete the Brahms cycle of symphonies that Tulsa Symphony has done over the years. The concerto was one of Brahms’ earlier pieces, but it showcases ma-turity and technical difficulty that reflect the music’s symphonic origins and ambitions. Symphony No. 2 frames a slow second move-ment with fast-paced and lively classical ar-rangements.

Steven Smith is guest conductor.

October 5 at 7:30 p.m.C H A P M A N M U S I C H A L LTickets are $25-$70.

William Wolfram

THE ATRE P OP S

LOVE, LOSS, AND WHAT I WORENORA and DELIA Ephron’s intimate collection of stories is back by popular demand!

Adapted from the best-selling book by Ilene Beckerman, along with recollections of the Ephron sisters’ friends, the off-Broadway production of Love, Loss, and What I Wore won the 2010 Drama Desk Award for Unique Theatrical Experience. 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, often poignant, stories.

Showcasing the female wardrobe as a time capsule of a woman’s life, tales about unfortunate prom dresses, traumatic lighting in fitting rooms, high heels, short skirts and the existential state of having nothing to wear emerge. Accessorizing these vignettes

— which are mostly comic but often sad or sentimental too — are the mothers who disapprove, the men who disappear, and the sisters who’ve got your back.

October 10-12 at 8 p.m. October 13 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.Ladies’ night (half price) is Oct. 10.

CHAMBER MUSIC TUL S A

ARIEL QUARTET WITH MENAHEM PRESSLER

FORMED IN ISRAEL, and quartet-in-residence at the University of Cincinnati’s College-Conservatory of Music, the Ariel Quartet is characterized by its youth, brilliant playing, and soulful interpretations that quickly earned it a glowing international reputation.

In this concert, the ensemble will perform Beethoven’s Quartet in G Major, Op. 18, No. 2 and Britten’s Quartet No. 2 in C Major, Op. 36.

Legendary pianist Menahem Pressler will join the quartet for

Dvořák’s Quintet in A Major for Piano and Strings, Op. 81.

Pressler has established himself among the world’s most distinguished and honored musicians, with a career that spans six decades. He has received honorary doctorates in music, six Grammy nominations, and lifetime achievement awards from Gramophone magazine and the International Classical Music Awards.

October 27 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.


Interview by Nancy C. HermannQ+A

In preparation for your Tulsa appear-ances, numerous groups and individuals are creating kites. Did you have a cher-ished kite? We went through so many! [laughing] We used to build them out of everything. Tissue paper was best. There is kind of a special tissue paper. It was fragile, but if built correctly it was fairly durable. I used to build kites out of newspapers, out of plastic, out of anything.

You were a budding writer, a storyteller, as a child, but to what extent has writing been a way for you to sort out your own feelings about heritage, allegiances and family? I don’t consciously write in order to explore those issues. I write to create stories and characters. But inevitably when I’m two-thirds or halfway through the draft, I begin to see that some of those issues have made their way into the story. We all kind of go back to those things that matter to us; those things that are an important part of who we are. For me, the idea of family, heri-

tage, tradition, and a link between people within generations in a family — all that I identify with and is important to me — always kind of seeps into my prose.

You’ve said that And the Mountains Echoed is, at heart, a love story. How so? I think it is love story between a brother and a sister, a love story in an untra-ditional sense. It’s a story about people who find some kind of salvation in a love that is found in the most unexpected ways. One of the stories is narrated by a chauffeur who spends almost 60 years working for an un-happily married couple. That story becomes a kind of unusual and unexpected love story. In some ways, all three of my books have been stories about love, but I don’t seem to find much interest in writing about straightforward, romantic love.

In And the Mountains Echoed, one of the characters comes to a book signing of a young Afghan woman that he had, years

before, promised to help, but had disap-pointed. What emotion did you want to elicit with that scene? I’m never trying to elicit a certain emotion from a reader. I just try to write the scene as truthfully as possible and have the characters experi-ence something that, to me, is genuine and meaningful and reveals who they are and how they have been transformed in the course of the story. That scene is about this man being faced with the physical conse-quence of his choices, and being handed a mirror into which he has to gaze, and he recoils at what he sees. We are all aware of our own flaws and our own shortcomings and the ways we fall short of an ideal. We all find a way to live with that. And he has to do the same.

Your And the Mountains Echoed is about family relationships through generations. What did you learn from your father that you have passed on to your children? The idea of loyalty to your family. The idea

Khaled HosseiniKhaled Hosseini began his writing life as a child in Kabul, Afghanistan, where he lived a com-fortable life — the son of a diplomat and an educator. In 1970, when Hosseini was age five, his father took a three-year post at the Afghan Embassy in Iran, and in 1976, a position with Afghanistan’s Foreign Ministry in Paris. While living in France, political upheaval in Kabul and the subsequent Soviet invasion made it dangerous for the Hosseinis to return home. After securing a visa in 1980, the family settled in San Jose, California.

Assimilation was difficult for the 15-year-old Khaled, who spoke no English and was unaccustomed to American high school culture. He put aside his love for storytelling to pursue a more certain future as a doctor. Following medical school at U.C. San Diego, he eventu-ally resettled in the San Francisco Bay Area and found

his way back to writing. Stories he had crafted as a child morphed into a larger framework, and soon he was getting up at 4 a.m. before his rounds as an inter-nist to work on a spiraling tale about family relationships and a disintegrating Afghanistan.

The book had difficulty finding a publisher until Elaine Koster, who had brought novels by Stephen King and Erica Jong to the forefront, read Hosseini’s manuscript and knew it had potential. The Kite Runner (2003) and Hosseini’s second novel, A Thousand Splendid Suns (2007), have sold more

than 38 million copies worldwide. And the Mountains Echoed was published in May 2013.

In 2006 Hosseini became a Goodwill Envoy to the United Nations Refugee Agency and established The Khaled Hosseini Foundation. The author lives in northern California with his wife, Roya, and two sons.

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that these allegiances matter. The idea that people within your family are people who are going to be the ones who are there for you. That these are lasting, meaningful, very important bonds. That you have ties to people that last a lifetime. One of the things he taught my brothers, my sister and me early on is the importance of honesty. That is something I have tried to pass on to my children — the idea of always being honest with each other: No matter how painful the truth is, to always be forthcoming with it. There is nothing my father loathed more than a liar. If you were caught in a lie, his disappointment was so profound. A bit of respect for you chipped away, fell off, and that was not pleasant.

Was there an event that served as a turning point, something that echoed through your life and was crucial to you becoming a writer? Wanting to write and being drawn to writing is a compulsion that I believe I was born with. I can’t recall a time in my life that I wasn’t drawn to creat-ing stories. The whole creative process to me was so immensely appealing. People are really born to write, and they can’t be en-couraged into becoming writers. The other side of it, actually becoming a paid writer with published books, that’s different. I owe that to Elaine Koster, who was my agent and sadly passed away in 2010. She, of the 30 or so agencies I sent my first novel to, was the only one who had great passion for it and agreed to represent me. I will always be grateful for her, and I am so glad that we got to work together.

Can you describe your perfect reader? I should preface this by saying it is a fatal mistake to think about readers when you are writing. You really should write a book for yourself — a book that you are desperate to read, a book that you really want to find out what happens. It’s a book that you have no choice but to read. A great reader is some-one who is open-minded and who is will-ing to read about something that is out of their element. They are willing to enter into worlds that are vastly different from their own, and are willing to experience some-thing alien and unfamiliar. I really don’t be-gin to think about readers until the book is already done, and then I am wondering how

people will react to it. But during the writ-ing process, I kind of sink into this mental bunker, close the doors and write. I’m able to shut all background voices down.

If you come out with a book that is not about Afghanistan, will your readers have trouble accepting that? I will write whatever really speaks to me. If I find an incredibly compelling story that is set in Afghanistan, I won’t shy away from it be-cause I have already written three books that are set there. Alternatively, if I find a re-ally compelling story that is set somewhere else, I’m not going to say that I’m not going to write that book because people want me to write Afghan stories. Whether readers will accept or not accept, that’s something to be found out. I feel that all three of my books are quite different. I have approached Afghanistan from different perspectives and used different methods and different themes. With each book, I feel at least a sense of growth and a broadening of ambi-tion. That said, you have to be open to writ-ing about whatever is important, whatever feels good to you.

The epigraph for And the Mountains Echoed is a poem by the great Afghan poet Rumi. Are there poets among the authors you read regularly? I read poetry in Farsi, my native language. It tends to be some modern poetry, written in the last 40 or 50 years. But I really like the classical po-etry — Hafez and Rumi, Omar Khayyám. I grew up with them. I don’t know any by heart, but I used to, when I was a boy. I knew maybe hundreds of verses by heart. That is something you did in Afghanstan. Certainly both my parents had tremendous reservoirs of memorized poems. My mother still does. That was something that was per-vasive in our household.

What do you think will happen with Afghanistan when the United States pulls out completely? The number one job of any state is to protect its people. Whether the Afghan state, such as it is now, is pre-pared and capable of doing that is kind of a question. The doomsday scenario for many Afghans is a slide back into the ethnic civil wars that we saw in the 1990s, which would cause mass population displacement. The

parties involved in those conflicts, which are still around and have been folded into political parties, could revert back to mili-tias. Hopefully they have learned something from the catastrophe — those wars — that really enabled the Taliban to come in and take over the country. The jury’s out. The election next year will be very important, and it will be important for Afghanistan to be politically stable for it to have fairly cred-ible, legitimate elections. If the elections are viewed to be fraudulent, that could lead to political instability and divisiveness, which could lead to violence, which nobody wants.

It is such a lovely experience to step back in time and see Kabul as it once was through your writing. What do you most want people to take to heart about Afghanistan and its people? I want people to know that Afghan people are not that much different from people in America. The vast majority of Afghans have the same hopes and aspira-tions of anybody else world in the world: a sense of security, a sense of predictability in their lives and a reasonable expectation of happiness. By and large, Afghanistan is a nation of very young people. Sixty percent of the country is under the age of 25. These are people who are connected to the outside world through technology, and are people who through the use of technology will help transform the country. They are in-terested in engaging in issues pertaining to education, women’s rights, job creation and technology by way of the political process. They want to build a civil society. In the immediate future, the picture is far more cloudy. We will have to navigate the treach-erous next decade, or so.

KHALED HOSSEINI“AFGHANISTAN THROUGH

THE DECADES: AN ÉMIGRÉ’S PERSPECTIVE”

Presented by Tulsa Town Hall in collaboration with the Oklahoma Center

for Poets and Writers, OSU-TulsaOctober 4 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.


Perhaps no other American art form has achieved such a profound global impact as the simple yet

sophisticated musical style known as the blues. Born in the rural black communities of the Deep South around the turn of the 20th century, blues music has had a massive, undeniable influence on every style and genre of popular music that has sprung forth in its wake — from jazz and rock ‘n’ roll to hip-hop and country and everything in between.

Classic blues consists of a specific and repetitive progression of chords, and often features narrative lyrics about personal or communal hardship. On paper, it seems so simple as to be devoid of the potential for transcendent creativity. But in practice, the blues can evoke a powerfully visceral response from the beholder. The form’s greatest practitioners have been instrumental virtuosos who bend and stretch its simplistic conventions to elicit a deeply emotional, almost primal, response from the listener.

An icon in the vaunted history of the blues tradition, and one of the genre’s greatest ambassadors around the world, composer and multi-instrumentalist Taj Mahal anchors a celebration of the music’s global reach with “World Blues” — featuring the Taj Mahal Trio, South African folk musician Vusi Mahlasela, and Fredericks Brown, a pop-soul trio based in New York by way of New Zealand, which features Mahal’s daughter Deva Mahal on vocals.

Taj Mahal, born Henry Saint Clair Fredericks in Harlem, New York, was raised in Springfield, Massachusetts, in a home that embraced music wholeheartedly. His mother sang in a gospel choir and his father, of West Indian descent, was a jazz composer and pianist. From a young age, Mahal’s home was

often filled with musicians of varying backgrounds and cultures.

“From the time I was a kid, I don’t never remember not hearing music from them and their friends,” Mahal told PBS in a February 2013 interview. “They used to come over and they were rolling back the rug in the house, moving everything. Everybody would come over with food and their records in crates, and they would just party. The kids would get to dancing.”

The Caribbean and African musical influences from those childhood dance parties led Mahal to take a serious interest in world music, which would have a profound influence on his sound in later years. Though Mahal studied classical piano, clarinet, trombone and harmonica

as a child, it was his proficiency with stringed instruments — most notably the guitar, but also the banjo and ukulele — that would propel him to blues stardom.

After coining his stage name (which he says came to him in dreams about Ghandi, India, and social tolerance), Mahal headed west to California in the late ’60s and got a record deal playing in a band with the legendary Ry Cooder. Though that band was short-lived, Mahal had made a name for himself as a composer and guitarist. He went on to record 25 albums over the next 40 years, developing a wholly unique style of blues that incorporated the African and Caribbean influences of his youth, and eschewed the woe-is-me lyrics often associated with the genre.

WORLD BLUESby Matt Cauthron

Taj Mahal

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“You can listen to my music from front to back, and you don’t ever hear me moaning and crying about how bad you done treated me,” Mahal once told the Milwaukee Journal Sentinel.

Mahal’s reshaping of the definition and scope of the blues will be on full display at World Blues, as he and Vusi Mahlasela will explore the intersection between American and African musical forms.

Mahlasela, a folk singer and guitarist

often called “the voice of South Africa,” was an inspirational figure in the nation’s anti-apartheid movement, incorporating in his songs themes of reconciliation, forgiveness and the struggle for freedom.

After witnessing the massacre of nearly 200 South African students during a protest in 1976 known as the Soweto Uprising, Mahlasela responded to the devastation through music and poetry, writing about freedom, justice, revolution and peace. This newfound activism made him a target of police harassment in an oppressive government regime, and he was held in solitary confinement for a time, while many of his friends and fellow artists fled the country.

After the fall of apartheid, Mahlasela was finally able to record his first album, which was a collection of the songs he’d been writing his entire life. His songs of peace and altruism quickly became beloved anthems among the people of South Africa, and Mahlasela was asked to perform at the presidential inauguration of Nelson Mandela in 1994.

Mahlasela has recorded several albums since then, eventually signing

to fellow South Africa native Dave Matthews’ record label. His performance at the opening ceremonies at the 2010 World Cup in Soweto, site of the massacre he had witnessed decades earlier, brought his journey as a musician and activist full circle.

To complement Mahal and Mahlasela’s explorations of the storied musical traditions of two cultures, and to bring a dose of rock ’n’ roll fun to the proceedings, pop-rock trio Fredericks Brown will infuse the show with a burst of bright, young energy.

A collaboration between vocalist Deva Mahal, keyboardist Steph Brown, and guitarist Michael Taylor, Fredericks Brown is renowned for its rich harmonies, energetic stage presence and soulful, narrative songwriting. The three met originally in New Zealand, but formed years later in Brooklyn after discovering a shared love of musical storytelling. The band has collaborated with such modern musical icons as Kanye West and Common, and has performed in theaters and clubs around the world.

World Blues brings this collection of top-notch musicians of wildly varying backgrounds to Tulsa, offering a one-night-only opportunity to witness a unique melting pot of musical styles, genres and heritages. For any fan of the great Taj Mahal, any fan of the blues, any fan of music and the many ways it can move people, heal people, speak to the human condition in ways simple words cannot — this is a night for you.

World Blues featuring

Taj Mahal Trio,Vusi Mahlasela and Fredericks Brown

Presented by the PAC TrustOctober 23 at 7:30 p.m.

C H A P M A N M U S I C H A L LTickets are $25-$60; discounts for seniors,

groups and students.

Fredericks Brown

Vusi Mahlasela

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The New FroNTierOrganized by the Palazzo Pitti

and Gilcrease Museum.

Through November 3, 2013

After being viewed by more

than 307,000 visitors at the

Palazzo Pitti in 2012, the acclaimed

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Enjoy your drinks in the theater with our souvenir cups.

Reusable at all PAC events. Two

sizes available at the concession stand.

Your logo on our cup?

Call 918.596.2368


Tickets available at

myticketoffi ce.comtulsachorus.com

MORTALITY SET TO MUSICOctober 26, 2013 • 7:30PM

at First Presbyterian Church

HANDEL’S MESSIAHDecember 19, 2013 • 7:30PM

at Lorton Performance Center, University of Tulsa

IMMORTALITY SET TO MUSICApril 5, 2014 • 7:30PM

at Holy Family Cathedral

2013–2014 S E A S O N

With the assistance of the Oklahoma

Arts Council

The Fellers Snider Law Firm is a contributing sponsor

A letter to Lindsay Hurley Fick, Saint Simeon’s President and CEO

Cottage Living Assisted Living Memory Center Healthcare918-425-3583 | www.saintsimeons.orgSaint Simeon’s is a mission of the Episcopal Diocese of Oklahoma

When my mom moved from North Carolina to Tulsa in February, we found Saint Simeon’s to be a perfect fit for her. Here, she was welcomed by a warm, caring staff and fellow Residents.When Mom first came to Saint Simeon’s, she could barely walk a few feet without assistance. She has made so much progress, especially through her regular exercise in the warm‑water therapy pool. It’s no wonder Saint Simeon’s has such an excellent reputation!Sincerely,Rex

Saint Simeon’s Resident Jere with daughter-in-law Jan, granddaughter Paige, grandson David, and son Rex.

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T here is no doubt that Mozart’s The Marriage of Figaro can be classified as an opera buffa, or

comic opera. Since its premiere in Vienna on May 1, 1786, this classic tale of love versus lust has evoked many a chuckle and grin with its cat-and-mouse antics and cases of mistaken identity. Modern audiences laugh just as easily at the opera’s timeless humor, securing its continued popularity.

However, like countless other great comedic compositions, The Marriage of Figaro comprises not only quick and ready wit and seemingly harmless barbs, but also a completely contrary and serious undercurrent.

Written almost a decade before the opera, the original The Marriage of Figaro, a play, stood as the centerpiece of Pierre-Augustin Caron de Beaumarchais’ Figaro

trilogy, which included The Barber of Seville and The Guilty Mother.

Beaumarchais, a Frenchman, led an eclectic and adventurous life that re-sembled that of former Tulsan Frank Abagnale, upon which the movie Catch Me If You Can was based. Beaumarchais dabbled in everything from watchmaking and inventing to diplomacy and finance, from music and theater to arms-dealing and espionage.

While Beaumarchais at times enjoyed the privileges of court life under Louis XV — and a certain renown — his influence, especially his writings, contributed to the nurturing of the early stages of the French Revolution. Even Napoleon Bonaparte recognized his works as a catalyst for the forthcoming upheaval.

During the time of Enlightenment, when a renewed interest in logic and equal-ity challenged the authority of the nobility and the church, the plot of The Marriage of Figaro came to represent the rise of the middle class. The Count is not only characterized as greedy and lecherous, but is furthermore outwitted by his wife and

three servants. Ultimately, the nobleman is forced to eat humble pie while those of inferior status are hailed as champions of morality and justice.

At the climax of Beaumarchais’ play, Figaro delivers a biting monologue that epitomizes such Egalitarian themes:

“No, my lord Count, you shan’t have her, you shan’t! Just because you are a great nobleman, you think you are a great genius. Nobility, fortune, rank, position — how proud they make a man feel! What have you done to deserve such advantages? Put yourself to the trouble of being born — nothing more. For the rest — a very ordinary man! Whereas I, lost among the obscure crowd, have had to deploy more knowledge, more calculation and skill merely to survive than has sufficed to rule all the provinces of Spain for a century!”

Figaro’s impassioned speech may seem honorable in its defense of his love for Susanna, the Countess’ maid, but at the time it would have been considered outra-geously improper. Rank and social standing were far more important than morality or, heaven forbid, intelligence.

by Kelsey GulliverLove vs. Lust


Notably, these incendiary words were omitted from Mozart’s opera. With the help of librettist and court poet Lorenzo Da Ponte, Mozart transformed Beaumarchais’ satirical lines into a seemingly lighthearted folly, replacing the speech berating nobility with an aria admonishing unfaithful wives. In an effort to pass the test of censorship and help ensure approval from Emperor Joseph II, the most obvious class-related barbs were toned down or erased altogether.

Yet a dark shadow still lingers in the background of the plot. Often at moments when audiences are laughing the hardest, such as when Count Almaviva unlocks his wife’s closet door only to find Susanna, there remains a fragment of the original work’s venom. At the core of a carefree scene, the Count is still made out to be a fool, and is belittled by those who are supposedly of lower status. The comedic moments of The Marriage of Figaro only temporarily divert the audience’s suspicions; the concept of social revolution is never far off.

The Countess herself is not a comedic character. The audience can only feel sym-pathy for a wife whose husband spends

four acts chasing after a younger woman. But as a vivid portrayal of the resilience and innate goodness of the human condi-tion, she gracefully forgives the Count’s immoral ways, ensuring the happy ending that a comedy requires — a happy ending in which not only the upper class, but all classes equally find peace and joy.

Throughout the ups and downs of the plot, Mozart’s natural musical genius looms large. As frantic figurations from the string section open the opera’s famous overture, the audience is whisked straight into the whirlwind of a crazy day. The composer’s ability to tell riveting stories and advance complex plot schemes through superb musi-cal architecture is unparalleled. Combine that with Da Ponte’s careful translation of the text into an inspiring Italian composi-tion, and acclaim for the opera over the past few centuries should come as no surprise.

This is Tulsa Opera’s sixth production of The Marriage of Figaro, and it fits well with the season’s theme of Love, Lust and Religion. Artistic Director Kostis Protopapas is excited to present an amaz-ingly talented and stunningly handsome

cast of debut and returning artists. Seth Carico, Ava Pine, Eleni Calenos, Marc Schapman and native Tulsan Lauren McNeese make their company debuts as Figaro, Susanna, the Countess Almaviva, Don Basilio and Cherubino. Former Studio Artist Alex Elliott returns as the hand-some but ill-behaved Count Almaviva, while Peter Strummer and Linda Roark-Strummer return as the hilariously venge-ful couple Bartolo and Marcellina.

Join Tulsa Opera this month to celebrate the wedding of Susanna and Figaro and enjoy an evening of laughter and social commentary in Mozart’s unforgettable masterpiece.

Alex Elliott

Ava PineLauren McNeese Marc Schapman

Eleni Calenos Seth Carico

The Marriage of Figaro

Presented by Tulsa OperaOctober 18 at 7:30 p.m. October 20 at 2:30 p.m.

C H A P M A N M U S I C H A L LTickets are $25-$98.

MyTicketOffice.com and 918-596-7111


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A Few Good Writers

Can you handle the truth?As anyone who works with, lives with or is acquainted

with a writer knows, they’re usually pretty sensitive souls. They feel deeply and are keenly attuned to the feelings of others — not to mention their own. It’s part of what makes them excel at their craft, but it also leaves them vulnerable, especially when they’re young, like Kate (Heather Sams), Douglas (Larry Ward), Izzy (Jennie Lynn) and Martin (Chris Williams), four of the five characters in the Theresa Rebeck play Seminar.

The fifth character is Leonard, portrayed by Randy Whalen. Once a hot novelist, then a rock-star editor, the globetrotting 50-year-old is now a sought-after writing instructor. The four fledgling authors have each paid $5,000 for Leonard to critique their work during a 10-week seminar, thinking that the eminent literary figure will give them the constructive criticism and ego-boosting affirmations they need to launch their careers as the next great American novelists.

Better reimagine that plot line! It seems that Leonard is a narcissistic, misogynistic, lascivious, dismissive bully. But — he also may be just what these neophytes need.

“Leonard is honest, above anything else,” says Sterling McHan, director of this Theatre Pops production. “I think that’s what makes him an incredible teacher for these writers. Writing is such a personal art form…because if the writer is writing from the soul, he or she will be completely exposed with no ambiguity. So what Leonard does is to rip their skin off, figuratively of course, and expose their true selves and force them to look, to examine that. Certainly, it might seem nicer to stroke their egos and tell them how wonderful they all are…but is it honest or real? No. So Leonard will probably seem cruel to audiences. The truth often is. I think the play examines the possibility that we sometimes sacrifice personal growth in favor of self-esteem.”

OK, but isn’t Seminar supposed to be a comedy? After all, the New York Times’ Ben Brantley wrote this about the Broadway production: “BIG LAUGHS. An authentic rush of pleasure!”

“Really, it’s quite funny,” says McHan. And, he adds, you don’t have to be a writer to appreciate the various aspects of the play. “It’s really so much more about how people relate to one another, and the distortions that we all create because of our individual perspectives. The dialogue is beautifully written, very real.”

Rebeck, a Pulitzer-nominated playwright (Omnium Gatherum), TV writer (NYPD Blue, Smash) and screenwriter (Harriet the Spy), premiered Seminar in 2011. Whalen, who is also Theatre Pops’ artistic director, requested the rights to present Seminar immediately after it closed on Broadway, and the request was approved in short order. So if you’re looking for a fresh, funny and provocative play, do sign up for Seminar.

by Nancy Bizjack

SeminarPresented by Theatre Pops

October 24-26 at 8 p.m. and October 27 at 2 p.m. L I D D Y D O E N G E S T H E A T R E

Tickets are $15; $10 for students and seniors.Mature audiences only

Jenn

ie H

old

er

Randy Whalen and Heather Sams


It’s a dark and stormy night. The lights go out. A woman screams. Two men argue, weapons in hand. Not necessarily in that order, mind you, but they are all part of the comedic

clichés that make up Deathtrap, a mystery thriller that not only makes you laugh, but startles you with its plot twists.

Tulsa Project Theatre, the city’s only Actor’s Equity Association-affiliated group, presents the classic two-act Ira Levin play this month at the PAC. It will be the four-year-old company’s first play after focusing on musicals, says Executive Director Todd Cunningham. “We have learned how to do musicals pretty well,” he says. “We figured out a system where we can put a show up in a very short period of time and have it sound incredible and look great. Now…we are at the point where we can have a straight play and pull it off.”

Deathtrap, which requires only five actors, is a tale about theatre’s vicious side. Sidney Bruhl (Chad Oliverson) is a once-successful playwright whose last few stage mysteries have bombed. He sees his chance for a hit when he reads a play sent to him by a student from his summer workshop. Should he steal it or collaborate with the budding author? His ailing wife, Myra (Rebekah Peddy), isn’t so sure, but Bruhl invites the student, Clifford Anderson (Jonathan Gilland), to their home

in the Hamptons, ostensibly to discuss the younger man’s work. Thrown into the mix are a self-described Swedish psychic named Helga Ten Dorp (Liz Masters) and Bruhl’s attorney, Porter Milgrim (Derick Snow). What happens next? Over-the-top acting, sly dialogue (“I’ll tell you how good this play is. Even a gifted director couldn’t hurt it.”), and enough twists and turns to satisfy even the most hardened mystery lover. Some of the references are dated, but most audiences will get them.

Cunningham says you’ll see some top-flight acting. Becoming an Actor’s Equity affiliate last year meant following union rules, such as limits on rehearsal time, he explains, but it also meant increased efficiency. With at least 12 actors and stage managers now Equity members, “Everybody stepped up their game. It was like we were playing in the NFL instead of high school or college. Everyone claimed the mantle of being an Equity theater company.”

As to Deathtrap, “I hope people come away with not only having enjoyed the thriller part of it, but also the comedy,” he says, adding, “There’s no better way to set you up than to make you laugh and then freak you out. I think that’s the brilliance of this play.”

DeathtrapPresented by Tulsa Project TheatreOctober 25-26, 30-31 at 7:30 p.m.

November 1-2 at 7:30 p.m. October 27 and November 3 at 2 p.m.

C H A R L E S E . N O R M A N T H E A T R ETickets are $20; $15 for students and seniors.

Deathtrapby Missy Kruse

Derick SnowLiz MastersJonathan Gilland Chad Oliverson Rebekah Peddy


ON UPCOMING EVENTS

THE SIMON E STE S FOUNDATION

SIMON ESTES, DEBORAH VOIGT AND TULSA ORATORIO CHORUSDEBORAH VOIGT is increasingly recognized as one of the world’s most versatile singers and most endearing personalities, due to the singular power and beauty of her voice and her captivating stage presence. A leading dramatic soprano, internationally revered for her performances in the operas of Richard Wagner and Richard Strauss, Voigt has also portrayed some of the great heroines in Italian opera to great acclaim. In

addition, she is an active recitalist and performer of Broadway standards and popular songs.

Voigt appears in concert with internationally heralded bass-baritone Simon Estes and the Tulsa Oratorio Chorus for a thrilling evening of entertainment.

November 5 at 8 p.m. C H A P M A N M U S I C H A L LTickets are $30-$85.

TUL S A BALLE T

A MIDSUMMER NIGHT’S DREAMDELIGHT in the humorous tale of four crisscrossed lovers in this enchanting reimagining of Shakespeare’s classic, complete with magical flying effects and nearly 30 local children in the roles of woodland sprites and fairies. Music by Felix Mendelssohn and choreography by Christopher Wheeldon bring the forest to life.

Tulsa Ballet first performed Wheeldon’s A Midsummer Night’s Dream in 2004. At that time, James D. Watts Jr. of the Tulsa World wrote, “Shakespeare’s lightest, most genial comedy has been translated winningly into pure movement and music. … Wheeldon’s choreography delineates the characters and their relationships so clearly that one hardly needs more than a basic synopsis to follow the action.”

November 1-2 at 8 p.m.November 3 at 3 p.m. C H A P M A N M U S I C H A L LTickets are $20-$99.

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

PAC TRUST

FROGZIT’S “one of the wildest, weirdest, wackiest shows ever to play NYC,” says the New York Daily News. The New York Times calls it “inspired fun! A mastery of mime, dance and acrobatics!”

The signature work of Portland (Oregon)-based Imago Theatre, Frogz is penguins playing musical chairs, a cat trapped in a giant paper bag, leaping frogs and more. It’s a madcap revue of illusion, comedy and fun that has inspired audiences worldwide.

An unforgettable experience for adults and children as young as age three, the show’s ingenious masks, mesmerizing movement, outlandish costumes, and original musical score create a carnival of the absurd, presenting universal themes with a light touch.

November 8 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-$30; $18 for students.

Julie

She

lton

Pet

er R

oss

Deborah Voigt


ON UPCOMING EVENTS

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

THE ATRE TUL S A

THE IMPORTANCE OF BEING EARNESTSUBTITLED A Trivial Comedy for Serious People, The Importance of Being Earnest is the funniest farce — and the most enduringly popular play — from one of the greatest wits of all time, Oscar Wilde.

Two friends pretend to be “Ernest” to charm their respective loves, but when both couples holiday at a country estate at the same time, the two men risk having their romantic hopes dashed.

Directed by L.A.-based Tulsa native Clayton B. Hodges, this production is set in a neo-futuristic world.

November 8-9, 14-16 at 8 p.m.November 10, 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 seniors, students and children.

TUL S A TOWN HALL

DAN RATHERTEXAS NATIVE Dan Rather is one of the most recognized and renowned reporters of our time. Best known as anchor of the CBS Evening News from 1981 to 2005, Rather was a bureau chief, White House correspondent and foreign correspondent for CBS before that, covering historic events like the Civil Rights Movement, the assassination of President Kennedy, the Vietnam War and Watergate.

Rather has received virtually every honor in broadcast journalism, including numerous Emmy and Peabody Awards and the 2012 Edward R. Murrow Award for Lifetime Achievement. His latest journalistic venture is the hard-edged news program Dan Rather Reports on AXS TV, where he continues to report on major issues facing our nation today.

November 8 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 at tulsatownhall.com and 918-749-5965.

TUL S A S Y MPHONY

DISNEY’S FANTASIARON SPIGELMAN, principal pops conductor of the Fort Worth Symphony, returns to lead Tulsa Symphony in another mix of live music and film.

Spigelman previously led the orchestra as it accompanied showings of The Wizard of Oz and Disney’s Pirates of the Caribbean: Curse of the Black Pearl. This time it’s Disney’s Fantasia, which will include the original Fantasia, along with some of the new segments created for Fantasia 2000.

The original Fantasia, which premiered in 1940, consists of eight animated segments set to the music of Bach, Tchaikovsky, Stravinsky, Beethoven and other classical composers.

November 9 at 7:30 p.m. C H A P M A N M U S I C H A L LTickets are $15-$70.

RAGTIME FOR TUL S A

IVORY&GOLD IVORY&GOLD, consisting of Jeff Barnhart on piano and vocals and Anne Barnhart on flute and vocals, will perform spirited ragtime music with a little bit of early jazz, boogie and blues sprinkled in.

This husband-and-wife duo performed over 300 concerts throughout the U.S. last year. They also made numerous appearances in Europe and on top-of-the-line cruise ships.

The Barnharts formed Ivory&Gold in 2001, and they continue to thrill audiences with their music, historical anecdotes and humor. The couple’s versatility and rapport create an incomparable listening experience for all ages!

November 10 at 7 p.m. J O H N H . W I L L I A M S T H E A T R ETickets are $25; $5 for students.


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

CELEBRIT Y AT TRACTIONS

JIM BRICKMAN: THE MAGIC OF CHRISTMASJIM BRICKMAN brings the spirit of the season to life once again with The Magic of Christmas — and you’re invited! Brickman, along with special guest performers, delivers the perfect blend of music and entertainment, making lasting memories for the whole family.

Brickman will perform holiday favorites along with the hits that have made him the best-selling solo pianist of our time. A 17-year tradition, The Magic of Christmas is the must-see concert of the holiday season.

November 23 at 8 p.m. C H A P M A N M U S I C H A L LTickets are $50-$65.


VIENNA PIANO TRIOSTEEPED IN THE GRAND Central European tradition, the Vienna Piano Trio delivers electrifying performances with elegance and polish. Currently the ensemble-in-

residence at Vienna’s Konzerthaus, the Trio has held prestigious appointments in London at Wigmore Hall and for the BBC’s series at St. Luke’s.

Bogdan Bozovic (violin), Stefan Mendl (piano) and Matthias Gredler (cello)

will perform Haydn’s Trio in E Minor Hob. XV/12; Beethoven’s Trio

in D Major, Op. 70, No. 1, “Ghost”; and Saint-Saëns’ Trio in E Minor, Op. 92.

November 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.

CELEBRIT Y AT TRACTIONS

IRVING BERLIN’S WHITE CHRISTMASDREAMING OF a fun holiday show for the whole family? Nominated for two 2009 Tony Awards — Best Choreography and Best Orchestrations — Irving Berlin’s White Christmas is an all-ages treat for the eyes and ears.

In this Broadway musical version of the classic holiday movie that starred Bing Crosby, Danny Kaye, Vera-Ellen and Rosemary Clooney, two showbiz buddies put on a show in a magical Vermont inn and, in the process, find their perfect mates. Brimming with Berlin hits such as “Blue Skies,” “Happy Holiday” and, of course, the unforgettable title song, this show promises to be a merry and bright theatrical experience!

November 12-17 C H A P M A N M U S I C H A L LTickets are $20-$65.


AN EVENING IN VIENNATHE VIENNA PIANO TRIO will perform a one-hour concert of music by composers from one of the greatest European music capitals. The concert will be followed by dessert and champagne in the Norman Theatre and an opportunity to mingle and greet the guest artists.

November 15 at 8 p.m.J O H N H . W I L L I A M S T H E A T R ETickets are $30; $15 for students.


TULSA PROJECT THEATREDEATHTRAPNov. 1-2 at 7:30 p.m.Nov. 3 at 2 p.m.Charles E. Norman Theatre

TULSA BALLETA MIDSUMMER NIGHT’S DREAMNov. 1-2 at 8 p.m.Nov. 3 at 3 p.m.Chapman Music Hall

SIMON ESTES FOUNDATIONSIMON ESTES, DEBORAH VOIGT AND TULSA ORATORIO CHORUSNov. 5 at 8 p.m.Chapman Music Hall

PAC TRUSTBROWN BAG IT:TAVIS MINNER & RICK FORTNERNov. 6 at 12:10 p.m.Kathleen P. Westby Pavilion

TULSA TOWN HALLDAN RATHERNov. 8 at 10:30 a.m.Chapman Music Hall

PAC TRUSTFROGZNov. 8 at 7 p.m.John H. Williams Theatre

THEATRE TULSATHE IMPORTANCE OF BEING EARNESTNov. 8-9, 14-16 at 8 p.m.Nov. 10, 17 at 2 p.m.Liddy Doenges Theatre

TULSA SYMPHONYDISNEY’S FANTASIANov. 9 at 7:30 p.m.Chapman Music Hall

RAGTIME FOR TULSAIVORY&GOLDNov. 10 at 7 p.m.John H. Williams Theatre

THEATRE TULSATHE CRITIC AS ARTISTNov. 10 at 7 p.m.Liddy Doenges Theatre

CELEBRITY ATTRACTIONSIRVING BERLIN’S WHITE CHRISTMASNov. 12-17Chapman Music Hall

PAC TRUSTBROWN BAG IT:VINTAGE WILDFLOWERS & EDISON HIGH SCHOOL ORCHESTRANov. 13 at 12:10 p.m.Kathleen P. Westby Pavilion

CHAMBER MUSIC TULSAAN EVENING IN VIENNANov. 15 at 8 p.m. John H. Williams Theatre

PAC TRUSTBRAIN STORMS: NEW WORKSBY YOUNG WRITERSNov. 16 at 7 p.m.Charles E. Norman Theatre

CHAMBER MUSIC TULSAVIENNA PIANO TRIONov. 17 at 3 p.m.John H. Williams Theatre

PAC TRUSTBROWN BAG IT: DONALD RYANNov. 20 at 12:10 p.m.Kathleen P. Westby Pavilion

CELEBRITY ATTRACTIONSJIM BRICKMAN: THE MAGIC OF CHRISTMASNov. 23 at 8 p.m.Chapman Music Hall

MILLS ENTERTAINMENTBUDDY VALASTRO: THE CAKE BOSSNov. 24 at 7 p.m.Chapman Music Hall

NOVEMBER

Buddy Valastro: The Cake Boss

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.

Ticket prices are subject to change.

ON UPCOMING EVENTS


The ArAbiAn horse CommuniTy inviTes you To Join us

For An evening WiTh The sTArs!

Enjoy an evening experiencing some of the most exquisite horses in the world. We invite you to be our guest to meet up close and personally some of the best Arabian horses in the world at the U.S. National Championship Arabian Horse Show. Come enjoy a festive evening at the Tulsa Fairgrounds in the Pavilion Wednesday evening, October 23rd at 7 p.m. and let us share the magic of this great breed!

Special thanks to the Tulsa Junior League for partnering with us to bring the Arabian horse to your community—watch for visits to some of your favorite charities from our horses and horsemen during the week of the show.

w w w . h o r s e m e n s d i s t r e s s f u n d . c o m

A 2012 visit by one of our Arabian Horses to The Little Light House.

* Promotional costs sponsored by Markel Insurance

.michael hairston, Se nior Vic e Pres ide nt & jim arens, E xec ut iv e Vic e Pres ide nt

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Learn about how we can help you at TrustOk.com, or call us at 918-744-0553 to discuss your specific needs.

10-2013

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