intermission 11-2012

NOVEMBER 2012

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INTERMISSION November 2012 5

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

N O V E M B E R 2 0 1 2

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features departments7 DirectionsRemembering, Recognizing by John Scott

8 Bravo!Zodiac TrioGreenWomen on FireBrown Bag ItA Christmas Story

24 Spotlight Tulsa Symphony: YellowSide by SideThe Eight: Reindeer MonologuesA Christmas CarolA Song of WinterThe NutcrackerMannheim Steamroller Christmas

26 December Events

11 Q&A: Andrew Weil, M.D.The popular promoter of integrated medicine talks about fasting, obesity, drugs and how diet and exercise may help you overcome your genetic destinyInterview by Nancy Bizjack

16 Step in Time!OU graduate Con O’Shea-Creal stars as the tap-dancing jack-of-all-trades Bert in the Tony Award-winning Broadway musical Mary Poppinsby Natalie O’Neal

18 The 39 StepsBroadway’s longest-running comedy thriller is a spoofy recreation of a 1935 Alfred Hitchcock film, with more than 150 characters played by four quick-change actorsby Missy Kruse

21 Playing PoliticsDavid Mamet has created a president that Republicans AND Democrats can hate — and laugh at — in November, staged by Theatre Popsby Barry Friedman

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

in the gallerySteve TomlinNovember 1-27

C.S. (Steve) Tomlin has worked in Tulsa for the past 32 years as a fine arts contemporary artist and award-winning visual arts educator at Grissom Elementary School. In 1999 Tomlin’s work was selected for the Tulsa International Mayfest’s promotional poster, and he became the spotlighted artist for Philbrook Art Museum’s Festival of Trees. His two-dimensional work has been shown at the Tulsa Artists’ Coalition, Oklahoma Visual Artists Coalition and Individual Artists of Oklahoma, as well as in several galleries both in Tulsa and nationally.

Tomlin works within a structured format, building up layers that play on contrasting colors and shapes. He often works on three to four paintings at a time in his home studio. His exceptional contemporary pieces are collected nationwide.

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Cover photo by Jeremy Daniel

Kyl

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Life’s Infinite Possibilities

I’D LIKE TO BEGIN this month by recognizing and thanking all the veterans who have given their time and, in some cases, their lives in the service of our country. The United States is a stronger union for the efforts of all its veterans. Happy Veteran’s Day to all who have served, and let’s also remember those who are currently serving.

Fall is normally the time of year we think of orange, red and yellow as the leaves change, but this month I’m thinking green. Not only because of Tulsa Symphony’s “Green” concert on Nov. 3, but green as in preserving our environment. A major player in keeping the PAC green is one of our house managers, Scott Gaffen. Some time ago, Scott assumed the responsibility of chief recycling officer. In the months when we have a heavy performance schedule, we may order as many as 30,000 Intermission magazines. With the help of our janitorial service that cleans the theaters after shows, Scott collects and stores all the magazines left behind. Once all seven recycle carts are filled, Scott calls the recycling company, moves the carts to the Third Street lobby, and meets the company’s truck for the pickup. That process is repeated as often as the carts fill up. Scott figures in the six years he’s been the PAC’s Mr. Green, we have recycled somewhere in the neighborhood of 130 tons of Intermission magazines. Bravo, Scott!

The Performing Arts Center’s regional ticketing initiative, MyTicketOffice.com, continues to serve its 14 partner facilities and 23 different constituents therein. During the most recently completed fiscal year, MyTicketOffice.com sold 336,000 tickets having a whopping gross sales value of $21.7 million. This ticketing company operates within the PAC using current staff, none of whom have received pay raises, in spite of the huge increase in job responsibilities. Ticket Office Manager Terri McGilbra, Assistant Ticket Office Manager Zach Wheeler, Ticket Office Coordinator Jeff Newsome, Marketing Director Nancy Hermann, Marketing Assistant Nancy Bizjack, and PAC Assistant Director Steven Fendt are the “principals” of the company, and I want to recognize them for all their dedicated work related to MTOC. Our company’s clients are happy and successful, thanks to the conscientious efforts of our team.

Enjoy November’s activities at your Performing Arts Center. Thanks for all your support and I’ll see you in the lobby.

director’s page

REMEMBERING, RECOGNIZING

JOHN E. SCOTTDirector, Tulsa Performing Arts Center

John Scott

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 BenderConnie Cronley

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 Amy Frost

ADVERTISING SALES Jim Langdon, Rita Kirk

DESIGN INTERNS Brooke Lawson

INTERMISSION is published monthly by

1603 S. Boulder, Tulsa, OK 74119

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

8 November 2012 INTERMISSION

ENTERTAINMENT TO APPLAUD

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

TULS A SY MPHONY

GREENTULSA SYMPHONY goes green with a nature-themed program that includes Alan Hovhaness’ Mysterious Mountain, Tobias Picker’s Old and Lost Rivers, and Respighi’s Pines of Rome. The orchestra will also perform Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini, featuring Crescendo Award-winning pianist Steven Lin.

“Mountains are symbols, like pyramids, of man’s attempts to know God,” Hovhaness wrote in a descriptive note that accompanied his hymn-like, lyrical composition.

Picker, who composed his piece as a tribute to Houston, Texas, was inspired by a sign on Interstate 10 that crosses the Old River and Lost River bayous. The Kansas City Star called it “a sublimely beautiful piece: a hushed, hazy tone poem whose hints at Copland-esque modality tug at the heartstrings.”

Each movement of Respighi’s symphonic poem depicts pine trees in different locations in Rome at various times of day.

Thirty-year-old composer/conductor Aaron Collins (pictured) will lead the musicians in this fresh program of 20th-century works.

November 3 at 7:30 p.m.C H A P M A N M U S I C H A L LTickets are $15-$70.

CHAMBER MUSIC TUL S A

ZODIAC TRIOTRAINED IN NEW YORK and Paris, the talented and passionate young musicians of the Zodiac Trio perform to great acclaim on three continents. Employing the rare combination of clarinet, violin and piano, the trio’s engaging programs feature music from classical to contemporary masters.

The Zodiac Trio was formed in 2006 at the Manhattan School of Music under the guidance of renowned clarinetist David Krakauer and violinist Isodore Cohen of the Beaux Arts Trio.

The ensemble has been critically praised for its “impeccable technique” (Ouest), “remarkable musicality of rare intensity” (La Tribune), “seemingly effortless ease” (San Angelo Standard Times) and “truly exceptional and sublime talent” (Nice Matin).

November 17 at 7 p.m. (Mozart, Bruch, Khachaturian)K A T H L E E N P. W E S T B Y P AV I L I O NTickets sold by subscription only; call 918-587-3802.

Irin

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edni

ck

Riko Higuma, Kliment Krylovskiy and Vanessa Mollard

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


PAC TRUST

BROWN BAG ITTHIS SERIES OF FREE lunchtime concerts contin-ues with pianist Rick Fortner and Friends on Nov. 7, Meray Boustani with Trio Aleszky on Nov. 14, and Tulsa Festival Ringers on Dec. 5.

Fortner has been a featured performer at the Greenwood Jazz Festival. He has also performed for the Tulsa Jazz Society Annual Keyboard Concert, Ragtime for Tulsa, and the Oklahoma Jazz Hall of Fame Concert Series.

Trio Aleszky consists of Allyson Eskitch, piano; Paulo Eskitch, violin; and Lou Lynch, cello. With soprano Meray Boustani, the ensemble will perform a variety of music from Bach and Beethoven to Gwyneth Walker.

Tulsa Festival Ringers, the city’s only auditioned handbell choir, will perform a program of holiday mu-sic on the Victorian London set of American Theatre Company’s A Christmas Carol.

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

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

IRENE O’GARDEN’s Women on Fire offers glimpses into the lives of a dozen different women — all intriguing, each with her own story, passion, emotions and secrets. Each woman represents a pit stop on a spiritual journey, suggesting that although fire can destroy, it can also create, and like the mythi-cal phoenix, one can rise out of the ashes with a renewed sense of hope, love and personal strength. Young or old, rich or poor, content or unfulfilled, these women have existed at some point in time.

Actresses in this production include Harriett Chenault, Ione Blocker, Sloopy McCoy, Sidney Treat, Mellissa Harris, Billie Sue Thompson, Noel Fairbrothers, Priscilla Mayfield, Ayn Grubb and Cathy Cox. Thompson is also the director.Unlike most ACT shows, this one is not suitable for children.

November 18 at 2 p.m. and 7:30 p.m. L I D D Y D O E N G E S T H E A T R ETickets are $15.

ENCORE! THE ATRE AR TS

A CHRISTMAS STORYGET INTO THE CHRISTMAS spirit early with this holiday classic for the whole family!

Humorist Jean Shepherd’s memoir of growing up in the Midwest in the 1940s follows nine-year-old Ralphie Parker in his quest to get a genuine Red Ryder BB gun under the tree for Christmas. Ralphie pleads his case before his mother, teacher, and even Santa Claus himself at Goldblatt’s Department Store. The consistent response: “You’ll shoot your eye out.”

All the elements from the beloved motion picture are here, including the family’s temperamental furnace; Scut Farkas, the school bully; Ralphie’s father winning a lamp shaped like a woman’s leg in a net stocking; Ralphie’s fantasy scenarios; and the boys’ experiment with a wet tongue on a cold lamppost!

November 28-30 at 7:30 p.m.December 1 at 2 p.m. and 7:30 p.m. L I D D Y D O E N G E S T H E A T R ETickets are $16; $13 for students and seniors, $11 for children and groups.


ACTOR ’S & CHILDREN’S THE ATRE

WOMEN ON FIRE


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Interview by Nancy BizjackQ+AAndrew Weil, M.D., is the founder and director of the Arizona Center for Integrative Medicine at the University of Arizona Health Sciences Center. Integrative medicine is a healing-oriented approach that takes account of the whole person — body, mind and spirit — including all aspects of diet and lifestyle. It neither rejects conventional medicine nor accepts alternative therapies uncritically, thereby giving the practitioner the freedom to use the best available treatments to benefit a given individual.

Weil earned his medical degree as well as his undergraduate degree in biology at Harvard University. He has appeared on the cover of Time magazine twice — in 1997 and again in 2005 — and is the author of 11 books, including the international bestsellers Spontaneous Healing, Eight Weeks to Optimum Health, and Healthy Aging.

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

We hear a lot these days about people going on fasts and doing cleanses to rid their bodies of toxins. Do those kinds of things actually do any good? Can they do harm? I’m not opposed to cleansing regimens in general — they can make you feel good, and they give you a chance to consider anew what you are putting into your body. Restricting food intake in the short-term frees up energy that your digestive organs would other-wise consume; as a result, many people experience a clearer mental state and in-creased energy. … It’s best to consult with your health care provider first; definitely do not fast if you’re diabetic, pregnant, or nursing. In addition, only fast during times when you know your activity will not be as strenuous as usual.

Keep in mind that fasting is not an effective weight loss strategy — it alters your metabolism in a way that may actu-ally make it harder for you to lose weight or easier to regain the weight once you go back to the way you normally eat.

More than a third of U.S. adults and approximately 17% of those under age 19 are obese. What, realistically, can be done to bring down those percentages? As a society we need to demand that the basic facts about nutri-tion, lifestyle habits and good health be taught during the elementary school years and beyond, and that following guide-lines for optimal health be encouraged at every turn throughout a person’s life. In addition, our government and corpora-tions have to work harder to make healthy lifestyle choices affordable and easy. For example, the federal government shouldn’t be telling people to eat more fruits and vegetables while at the same time making unhealthy foods cheap and healthy foods expensive through its patterns of crop subsidies.

What is the worst thing we eat? Highly processed, manufactured foods.

Andrew Weil, M.D.

Continued on p. 12


Q+A Andrew Weil, M.D.Continued from p. 9

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

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

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

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

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

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

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

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

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

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

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

Do you always follow your own advice? Yes.

ANDREW WEIL, M.D.“Optimum Health: Maximizing the

Body’s Own Healing Systems”Presented by Tulsa Town HallNovember 16 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.


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

Nevada Cowboy Brian Morris, 1970, William Albert Allard/National Geographic Stock, ID # 131130

Open Tues. – sun. n 10 a.m. TO 5 p.m. n 918-596-2700 n Gilcrease.uTulsa.edu1400 n. Gilcrease museum rOad n Tulsa, OK n Tu is an eeO/aa insTiTuTiOn.

October 27, 2012 – February 3, 2013Reusable at all PAC events. Two sizes available at the

concession stand.

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

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

An east wind is blowing and you know what that means. Everyone’s favorite

nanny is dropping in via umbrella, and she’s bringing the whole gang with her! The Broadway production of Mary Pop-pins, a show that, like its namesake, is “practically perfect in every way,” is com-ing to Tulsa!

Incorporating P.L. Travers’ whimsical books and the classic 1964 Walt Disney film, Academy Award-winning screenwriter Julian

Fellowes (creator of TV’s Downton Abbey) and the Olivier Award-winning musical team of George Stiles and

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

of Sugar,” “Supercalifragilisticexpialido-cious,” “Chim Chim Cher-ee,” and other beloved songs are present and zinging with life.

While also set in early 1900s London, the show is a little more personal than the movie. “It’s more about the fam-ily and what they go through,” says Con O’Shea-Creal, who plays Bert, Mary Poppins’ jack-of-all-trades sidekick.

Temporarily nanny-less due to their naughtiness, Jane and Michael Banks are in danger of losing their imagination and growing up without proper role models. Their parents, George and Winifred, are too busy with their own lives and goals to really pay attention to them. When a new nanny is needed to rule with a firm hand and practicality, Mary Poppins mysteri-ously blows in to 17 Cherry Tree Lane.

There’s nothing that stirs the imagina-tion like a little magic and some good friends. With her bot-


by Natalie O’Neal

OU graduate Con O’Shea-Creal

Kyl

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tomless carpetbag, queer phrases, and stern-yet-loving persona, Mary Poppins wins over the children and helps set the family right with the help of Bert.

Before playing Bert, O’Shea-Creal was drawn to the show’s message and technical elements. “I remember seeing the show in New York and thinking it has a great story to it,” he recalls. What struck him most were the issues raised that are pertinent today. People still need to be reminded of what’s most important in life, he says. “The nanny shows up and helps them see that. There’s an ethereal and mysterious quality about it; you don’t know where Mary and Bert come from. You have to have faith, regardless of not really knowing everything about them, that they can help this family.

“It’s really about Jane and Michael Banks, and getting their family to work again, finding the love that’s missing, and trying to get them back to the basic funda-mentals,” O’Shea-Creal continues. But just because she’s magic, that doesn’t mean that Mary Poppins can snap her fingers and — voila! — a perfect family appears. “Her job is not to solve the problems; rather it’s to provide the tough love that pushes the chil-dren and parents toward what they should be doing, communicating with each other.”

A Nebraska native, O’Shea-Creal earned his B.F.A. at the University of Oklahoma. “I started tap dancing when I was six, and from there it was just a natural progression. The arts were always present in our house, and, gradually, I started to go see shows and do them in high school,” he says. But it wasn’t until OU came to an annual festival in Lincoln and showed him what he could do with a fine arts education, that O’Shea-Creal started thinking about a future in tap and musicals. “I absolutely love Oklahoma and make a point to come back once or twice a year,” he says. On his visits, he teaches classes and master classes at the university.

Like any aspiring Broadway actor, O’Shea-Creal started saving up for New York during college. The summer after graduation, he worked at Lyric Theatre of Oklahoma City and had just enough money to make it a month in the Big

Apple. It worked! He got a part in Irving Berlin’s White Christmas. In February 2012, he was cast as Bert’s understudy in the national tour of Mary Poppins and was soon asked to play the main role of the high-energy tap-danc-ing Londoner. One of the show’s heart-thumping numbers, the beloved “Step In Time,” shows off O’Shea-Creal’s masterful tapping and technical ability on the city’s roof tops.

When asked how the show makes up for the animated and fantastical scenes found in the movie and books, O’Shea-Creal ex-plains, “What’s cool about our set it that it does come to life.” The set is constant-ly being moved and moving. “For the Jolly Holiday, Bert snaps his fingers, and you see the park in a way you’ve never seen it before. It’s the most colorful set you have probably ever seen, and, even though it’s humanly driven, it still tells the story — catches the essence of what animation brought to the film and what the words brought to the book. Look beyond what you see; use your imagination!”

The show isn’t just for kids. “There are elements of this show for anybody at any age. You can bring a date to this show; there is so much good in terms of the mes-sages. Everyone can enjoy the magic,” says O’Shea-Creal.

He offers a challenge to audience mem-bers: “Come see the show … and really listen to the words that are spoken. Look at this family and see where they start and where they end up. What can we learn from their journey?”


Presented by Celebrity AttractionsNovember 13-18

C H A P M A N M U S I C H A L LTickets are $20-$62.

MyTicketOffice.com and 918-596-7111

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Combine a couple of steamer trunks, a few chairs, two doors, a table, a window frame and four actors por-

traying more than 150 unique characters and what do you have? An award-winning quick-change recreation of Alfred Hitchcock’s suspenseful 1935 movie The 39 Steps.

Hitchcock fans, mystery lovers and regular theatergoers are almost guaranteed to have a laughing good time at this spoofy stage show. In it, a bored ex-pat named Richard Hannay suddenly finds himself having more adven-ture than he could ever anticipate. After a fra-cas at a London theater, he meets a frightened

by Missy Kruse


young woman who tells him she is a spy being chased by assassins because she has uncovered a plot to steal vital British mili-tary secrets. A skeptical Hannay lets her spend the night at his apartment. Later that night she stumbles, fatally stabbed, into the room where he is sleeping and warns him to escape.

Soon Hannay is off and running across the countryside from England to Scotland, alternately trying to escape his pursuers and discover the meaning behind the mysterious words his houseguest let slip: “The 39 Steps.” Are they a who, a what, a where? That’s all part of the fun.

Alfred Hitchcock’s The 39 Steps is Broad-way’s longest-running comedy thriller. The winner of Tony Awards and Drama Desk Awards (two each in 2008) and London’s 2007 Olivier Award for Best New Comedy, the only thing it copies from Hitchcock’s film is the script, which is pretty much word for word. While the movie is expansive and epic in nature with car chases, 100-people-music-hall scenes, and political-speech sequences, not to mention airplanes and chases through the Scottish Highland, the stage play relies on very minimal props and settings to create the entire story, says Daniel Fenaughty, who plays Hannay.

Fenaughty considers himself fortunate. The other three players must portray multiple characters and the occasional inanimate object. The female cast member covers Hannay’s various romantic interests throughout, while the other two actors take on everyone else through a series of “quick but small costume changes,” Fe-naughty explains. “Throughout the show, they put on eyeglasses, a new tie, an over-coat or a hat. Everything is quick-rigged, fast as lightning and seamless. It’s really, really impressive, not only to watch from the audience, but to be on stage with. They change characters right on stage, and I have to react differently to them as each individual character.”

Although all this change might seem confusing, the real challenge, he says, is getting the accents right. “I am very fortunate because I only play one part,

but the other three say they find the most challenging part to be the accents. You can train yourself to do the physical comedy and choreography for the show, but accent requires a subtle ear and if you don’t have it, you don’t have it. And luckily our three other performers are wonderful at it.”

Although most people think of Hitch-cock in relation to The 39 Steps, even his version wasn’t original. John Buchan, who used the Richard Hannay character as the protagonist for four subsequent novels, wrote the 1915 novel The Thirty-Nine Steps while recuperating from an illness at a nursing home. He got the idea from his six-year-old daughter who was counting the stairs that led to the home’s beach. She proudly told her father, “There are 39 steps.”

Even with this intriguing title, Hitch-cock apparently had his own ideas for the plot, which little resembles the original author’s. At least three other movies were made — theatrical releases in 1959 and 1978, and a BBC television movie in 2008. The 1978 version is generally regarded as closest to the book. Several radio productions have been done as well, starring variously Orson Welles, Glenn Ford and Herbert Marshall as Han-nay. And every version seems to have its own twists and subplots — including the meaning of “The 39 Steps.”

English actor, comedian and play-wright Patrick Barlow wrote the stage adaptation, based on a concept by Simon Corble and Nobby Dimon. It was first produced in London and premiered in the United States in 2007. Windwood Theatricals holds the rights to the national touring company, which will perform The 39 Steps in Tulsa.

Is the play a parody of the movie or was Hitchcock’s film actually meant as a spoof of spy thrillers?

“Hitchcock always walked that fine line of dramatic tension, but he had a sense of humor about it,” says Fenaughty. And he adds that the film “has humor in it inher-ently. The true comedy [of the stage show] comes from the fact we are trying to put on this huge production with minimal set and things are going wrong. It’s a spoof in a sense, but essentially it’s four people trying to do the best they can and loving every minute of it.”

What would “Hitch” think? “He had a great sense of humor,”

Fenaughty says, “and we remind ourselves every night that we are telling the story of this man on the run. We can get very broad, slapsticky and shticky with the comedy in the show. But if we stay true to the story, the audience enjoys it more, it’s a more rewarding experience as an actor, and I think Hitchcock would prefer it that way. Let the story be told, go on that journey, and have a little fun on the way.”

Presented by the PAC TrustNovember 2 at 7:30 p.m.

November 3 at 2 p.m. and 7:30 p.m.J O H N H . W I L L I A M S T H E A T R E

Tickets are $30-$40; $12 for students and seniors.



Westby Pavilion on the PAC’s PromenadeRental information 918.596.7124

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When David Mamet wrote his rather infamous piece in The Village

Voice in 2008, “Why I Am No Longer a Brain-Dead Liberal,” many on the Left, brain-dead and otherwise, felt betrayed and flummoxed.

The same guy who loves Our Town and yearns for the “idiom of poetry” in American theater was now simpatico with Milton Friedman and Shelby Steele?

Mamet wrote, “ … a free-market understanding of the world meshes more perfectly with my experience than that idealistic vision I called liberalism.”

Ouch.Luckily, he’s David Mamet, not Dinesh

D’Souza, so November, written during that period, isn’t a copy of his political divorce decree.

Randy Whalen, who is directing the play for Theatre Pops, says, “I think Mam-et is too good a writer to let his personal agenda get into the story.”

As Mamet explained in The Voice: “At the same time, I was writing my play about a president, corrupt, venal, cunning, and vengeful (as I assume all of them are), and two turkeys.”

But more about the turkeys in a minute.First, the nature of metaphor.“Porgy and Bess is a buncha good songs

but has nothing to do with race relations,”

he said, “which is the flag of convenience under which it sailed. But my play, it turned out, was actually about politics.”

And, like all of Mamet’s work, it came with a buncha good lines — biting, fero-cious ones — divvied up evenly between sides.

November centers, as mentioned, around a dysfunctional President Smith (Mike Pryor), who is trying to snag money from campaign contributors, and his lesbian socialist speechwriter (Lisa Cole), whom Mamet says was much like “my earlier self.” There are subplots about Indians’ claims on Nantucket, the pork industry, and sexual politics, but mostly this is about the bazaar and bizarre mentality in Washington, D.C., and, as Mamet concluded, having to “work it out.”

“Mamet did something interesting,” says Whalen. “He created a president that Re-publicans AND Democrats can both hate.”

As an example, at one point, trying to shake down a spokesperson for the Na-tional Association of Turkey and Turkey Products Manufacturers (David Virili) for more campaign cash, President Smith asks, “I pardon your turkeys; what does that imply? That the birds I haven’t par-doned, the turkeys each American actually eats on Thanksgiving, are criminals?”

Mamet’s dialogue is lyrical, albeit with a Chicago accent and usually suffering from Tourette’s, so Whalen needed his actors to not just learn the lines, but to absorb the cadence.

Additionally, since the shelf life of politics only lasts until the next news cycle, November has to be both timeless and timely.

“I certainly hope Bush and Clinton still resonate,” Whalen says about a play written prior to Barack Obama becom-ing president and culled from the previous two presidents. “I think they do.”

But this isn’t just politics, anyway — it’s comedy, it’s entertainment … it’s maddening.

As Mamet said about the 2008 election (and could have said about 2012 as well): “The right is mooing about faith, the left is mooing about change, and many are incensed about the fools on the other side — but, at the end of the day, they are the same folks we meet at the watercooler.

“Happy election season.”

PLAYING POLITICSby Barry Friedman

NOVEMBERPresented by Theatre Pops

November 8-10 at 8 p.m.November 11 at 2 p.m.

L I D D Y D O E N G E S T H E A T R ETickets are $15; $10 for students and seniors.



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Tulsa Oratorio Chorus

Ralph Vaughn Williams Hodie and John Rutter Mass of the Children

Side by Side concert with Tulsa Symphony Orchestra featuring some of Tulsa’s finest youth singers and musicians.

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

The Holland Hall and Tulsa Children’s Chorus join TOC for this festive program.

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Celebrating 20 Years!

November 17, 2012 • 7:30 pm First Baptist Church Downtown4th & Cincinnati

December 2, 2012 • 2:00 pm Tulsa Performing Arts Center3rd & Cincinnati


We continue our in-depth tour of the PAC’s perma-nent art collection with a look at paintings dis-

played in the area above the Third Street’s main lobby known as the Dress Circle. Some of the Center’s finest art holdings can be viewed here.

On the south wall near the elevators is a 47” x 60” black-and-red abstract (above)painted by one of Oklahoma’s most famous artists, Eugene Bavinger. He taught art at the University of Oklahoma from 1947 until his retirement in 1980. Eugene and his wife, Nancy, also an artist, lived in a house without interior walls that architect and friend Bruce Goff had designed for them, and O.U. student architects had built. Life magazine featured Bavinger House in 1955. It was the artists’ residence until Eugene’s death in 1997.

When I interviewed Bavinger 20 years ago, he described his teaching career as “a supplement to surviving,” and his role in guiding young artists as “teaching students to fly.” About his own work, he commented, “My ideas start with realism — with ideas about nature; but it’s more about the energy and forces of nature than the external appearance.” It was not the detail of nature that intrigued him.

Most unique about the PAC’s #603 Transflux #7 painting is Bavinger’s tech-nique of applying layers in reverse order,

starting with the glaze that artists would most commonly use as a finish. Coats of acrylic gel are applied with a cement trowel, and each coat is sanded. The tech-nique eliminates physical texture, creating a non-porous surface that achieves a heightened clarity of color.

Also on the Dress Circle, to the right of the Orchestra Left doors, is Wolf Kahn’s luminous oil painting Evening Descends. Like Bavinger, Kahn is not interested in capturing the appearance of nature at a certain time. In this painting, he sought to create a dramatic passage of day when light and surface disintegrate into evening shadow, and the feeling elicited by that moment.

Kahn believed his work “raised the ante in color.” He told famous art and culture author Dore Ashton, “I am always trying to get to a danger point in color, where color either becomes too sweet, or it becomes too harsh, it becomes too noisy or too quiet, and at that point I still want the picture to be strong, forceful and the carrier of everything that a painting has to have: contrast, drama, austerity.”

Born in Stuttgart, Germany, in 1927, Kahn immigrated to the U.S. before the outbreak of WWII. After studying with the well-known abstract expressionist Hans Hoffman, he became a client of the prestigious 57th Street New York art dealer Grace Borgenicht. This is impor-tant in Tulsa PAC art history lore because

Grace was the sister of Tulsa oilman Benedict I. Lubell, who served on the PAC Trust for many years. Kahn was close with the Lubell family, and even painted Grace and Ben’s father’s portrait. It was through Grace that the PAC was able to acquire art from some of the leading con-temporary artists of the era. These works are now appraised at far more than their 1970s purchase price, with Kahn’s work among the most valuable.

Another piece in the PAC’s collection, even more closely associated with Grace, is Warren Brandt’s oil painting Still Life with Tulips and Melons, which hangs next to Kahn’s landscape. Brandt studied with Max Beckmann and Philip Guston at Washington University in St. Louis, but in our 1992 interview, he explained, “I think I learned as much studying Matisse as I learned from anybody.” His still life in the PAC collection is a combination of vibrant color, sumptuous line and poetic arrangement.

Brandt married his “promoter and wonderful partner,” Grace Borgenicht, in 1960. She preceded him in death by a year in 2001. His paintings are in the col-lections of the Metropolitan, Hirshhorn and Carnegie museums, as well as the National Academy of Design.

More of the PAC’s 76-piece art col-lection will be examined in the months ahead. For your own exploration, book a group tour. Call 918-596-7122.

Art at the Center, PART TWOby Nancy C. Hermann


ON UPCOMING EVENTS


TUL S A S Y MPHONY

YELLOWFOLLOW THE Yellow Brick Road to the Tulsa PAC for a unique experience as Tulsa Symphony provides live sym-phonic accompaniment to a screening of The Wizard of Oz.

In addition to performing the overture and underscore,

the Symphony will back up original vocals by Judy Garland, Ray Bolger and the rest of the cast as they perform “Over the Rainbow,” “We’re Off to See the Wizard” and more.

Popular guest conductor Ron Spigelman returns to lead this very special performance of the Academy Award-winning Best Original Score of 1939.

December 1 at 7:30 p.m. C H A P M A N M U S I C H A L LTickets are $15-$70.

TUL S A S Y MPHONY AND TUL S A ORATORIO CHORUS

SIDE BY SIDELOCAL HIGH SCHOOL musicians and singers will perform a concert of choral and instrumental Christmas music, side by side with Tulsa Symphony and Tulsa Oratorio Chorus on the PAC’s biggest stage.

This is the second time Tulsa Oratorio Chorus has partnered with the Tulsa Symphony for this highly acclaimed educational initiative. To help prepare for the event, Tulsa Symphony musi-cians provided a combination of over 60 coaching sessions, rehearsals and individual instruction for the students.

Conducted by Dr. Tim Sharp, this year’s performance, “The Colors of the Season,” will include such classical tradi-tions as the “Hallelujah Chorus” from Handel’s Messiah and the Vivaldi Gloria, as well as other choral music appropriate for the holiday season.

December 2 at 2 p.m.C H A P M A N M U S I C H A L LTickets are $20.

AMERIC AN THE ATRE COMPANY

A CHRISTMAS CAROLEBENEZER SCROOGE, Bob Cratchit, Tiny Tim and Charles Dickens’ other classic charac-ters, both human and spectral, return for ATC’s 35th annual production of A Christmas Carol.

Snow falls on Victorian London as three holiday ghosts, a deceased former partner, and one loving family expose Scrooge’s greed and help him discover the joy that comes with generosity and compassion. The large, multigenerational cast adorned in period costumes provides plenty of old-fashioned seasonal cheer.

December 6-8, 12-15, 19-22 at 7:30 p.m.December 9, 16, 23 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; $21 for students and seniors.

THE ATRE POPS

THE EIGHT: REINDEER MONOLOGUESIN THIS DARK, dark Christmas comedy by Jeff Goode, scandal erupts at the North Pole when one of Santa’s eight tiny reindeer accuses him of sexual harassment.

As mass media descend upon the event, the other members of the sleigh team demand to share their perspectives, and a horrific tale of corruption and perver-sion emerges, which seems to implicate everyone from the littlest elf to the tainted Saint himself.

With each deer’s confession, the truth behind the shocking allegations becomes clearer and clearer, and murkier and murkier.

December 3-15, 20-22 at 8 p.m.December 16, 23 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 $15; $10 for students and seniors.


CHRISTMAS ISN’T OVER until you say it is! Make those warm holiday feelings last a little longer with this special end-of-year live concert by the multi-platinum-selling recording group Mannheim Steamroller.

Known for its modern arrangements of traditional holiday music, Mannheim Steamroller is the creation of Chip Da-vis, a former ad agency jingle writer who first became famous by writing the music for “Convoy,” a hit song that popular-ized the CB radio fad of the late 1970s.

Davis subsequently founded Mannheim Steamroller and its record la-bel, American Gramophone. The group’s popularity exploded in 1984 with the re-lease of its first Christmas album, which was enthusiastically promoted by Rush Limbaugh on his radio show.

The group has toured every year at Christmastime for more than 25 years.

December 29 at 8 p.m.December 30 at 2 p.m.C H A P M A N M U S I C H A L LTickets are $25-$75.

IT’S CHRISTMASTIME in Oklahoma… Christmastime in Indian Country!

This funny, heart-warming story of Ebenezer Screech Owl’s redemption, echoing themes of Charles Dickens’ A Christmas Carol, is an opportunity for you and your out-of-town holiday guests to experience comedy and the Christmas season the Indian way.

In addition to Christmas carols in Native language, you will experience the original composition “Ode to Commodity Cheese.”

Presented in conjunction with Mahenwahdose Productions, A Song of Winter features Will Hill, who wrote

the play, along with Jehnean Wash-ington and a talented ensemble cast of Oklahoma Native Americans. Join them as they gather around the fire and share the voices of their ancestors, their tradi-tions and their songs.

December 7-8 at 8 p.m.C H A R L E S E . N O R M A N T H E A T R E

TUL S A BALLE T

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

new choreography, and the return of Mother Ginger make this year’s production even more spectacular!

Young Marie’s fantasy of being swept off her feet by a handsome prince unfolds in a production that mixes the visuals of a Broadway show with the heartwarming story of a fairytale Christmas. Uniquely set in 1920s Paris, Tulsa Ballet’s Nutcracker evokes the Art Deco era, an important and glamorous time in Tulsa’s history.

Local children and students join the professional company to help the Mouse King battle the Nutcracker Prince and his toy soldier brigade. Tulsa Symphony performs live at every perfor-mance.

December 8-9, 15-16, 22-23 at 2 p.m.December 15 and 22 at 7 p.m.C H A P M A N M U S I C H A L LTickets are $20-$76; discounts for children.

AMERIC AN INDIAN THE ATRE COMPANY

A SONG OF WINTER


CELEBRITY ATTRACTIONS

MANNHEIM STEAMROLLER CHRISTMAS


ENCORE! THEATRE ARTS A CHRISTMAS STORY Nov. 28-30 at 7:30 p.m. Dec. 1 at 2 p.m. and 7:30 p.m. Liddy Doenges Theatre

TULSA SYMPHONY YELLOW Dec. 1 at 7:30 p.m. Chapman Music Hall

PHILL COOPER ART EXHIBIT Dec. 1-30 PAC Gallery

TULSA SYMPHONY AND TULSA ORATORIO CHORUS SIDE BY SIDE Dec. 2 at 2 p.m. Chapman Music Hall

PAC TRUST BROWN BAG IT: TULSA FESTIVAL RINGERS Dec. 5 at 11:30 a.m. and 12:45 p.m. John H. Williams Theatre

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

AMERICAN INDIAN THEATRE COMPANY A SONG OF WINTER Dec. 7-8 at 8 p.m. Charles E. Norman Theatre

PLAYHOUSE TULSA A CHARLIE BROWN CHRISTMAS Dec. 7 at 7 p.m. Dec. 8 at 10 a.m. and 7 p.m. Dec. 9 at 2 p.m. Liddy Doenges Theatre

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

THEATRE POPS THE EIGHT: REINDEER MONOLOGUES Dec. 13-15, 20-22 at 8 p.m. Dec. 16, 23 at 2 p.m. Charles E. Norman Theatre

CELEBRITY ATTRACTIONS MANNHEIM STEAMROLLER CHRISTMAS Dec. 29 at 8 p.m. Dec. 30 at 2 p.m. Chapman 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 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

DECEMBER A Charlie Brown Christmas

Lights On at Utica Square. An annual holiday tradition!

Come join the magic as we kick off the holiday season with caroling and over

700,000 lights — Thanksgiving Day, Thursday, November 22 at 6:30 p.m.

To learn more, please visit us at www.UticaSquare.com.

Utica Square gift certificates available at Commerce Bank.

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