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9

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

features

M A Y 2 0 1 3

9 Q&A: Rex ZiakThis self-taught photographer/historian is an example of how an ordinary person equipped with passion and persistence can do extraordinary things Interview by Nancy Bizjack

13 A Grand Night for SingingFrom “Oh, What a Beautiful Morning!” to “Some Enchanted Evening,” American Theatre Company celebrates the indelible music of Rodgers and Hammersteinby Matt Cauthron

14 West Side StoryBased on the critically acclaimed 2009 Broadway revival, this production of the Bernstein/Sondheim classic is grittier and more realistic than the original — and the movieby Charles D. Beard

18 LOOK! More Broadway Musicals in JuneLOOK Musical Theatre engages local, regional and national talent to produce original stagings of Hello Dolly!, The Drowsy Chaperone and Side by Side by Sondheimby Eric Gibson

21 Layover TroubleAn American in Paris tries to juggle three airline-hostess fiancées in Theatre Tulsa’s sexy ’60s farce, Boeing-Boeing. by Natalie O’Neal

in the gallery

14

21

18

Reclaim This! GalleryApril 30 –May 24

Through a partnership with Tulsa Children’s Museum and volunteers from WPX Energy, Mayfest hosted an Earth Day event at Hawthorne Elementary where children created the artwork now on display in the PAC Gallery.

Tulsa Children’s Museum’s Reclaim This! Old Stuff, New Art program is based on the premise that by removing an object from its context, children can exercise their natural curiosity and creativity and give the object a new life as art. By doing so, kids develop an awareness of the three R’s: reduce, reuse and recycle. They also learn how, why and what to recycle and become familiar with ways to reuse materials that cannot be recycled.

departments7 DirectionsI Miss You, Larry by John Scott

23 SpotlightDual Pianos RagtimeDisney’s The Lion KingOld Red on the HeadJesus for the DefenseThe Cheril Vendetti ExperienceWhy Cyn Sings JazzCleofis Comes HomeSteve Lancaster’s Family Magic ShowTwo of a Kind: Crosby and CainThe Boys Next DoorWrong Way Broadway 2Freud’s Last Session84 Charing Cross Road

30 June Events


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HOW MANY TIMES have we all heard someone preface their comments about an individual by saying, “Well, he had his detractors, but…”? As it concerns my late friend and colleague Larry Payton, I can honestly say I’ve never heard anyone begin an opinion of him that way. Larry only had admirers.

When Larry and I first met, we were just business associates. He was a promoter. Building managers and promoters often have an adversarial relationship. Celebrity Attractions, the company he founded and of which he was president, wanted to present its Broadway series in the PAC. That meant Larry and I had to negotiate and haggle about rental rates and other charges year after year. Somehow it never felt adversarial to either of us. He was the consummate professional.

Happily it didn’t take long for Larry and me to become friends, too. He was the epitome of a good friend. To say that Larry was kindhearted doesn’t give the man nearly his due. Soon after meeting, we discovered a shared passion for golf, and Larry would often invite me to join his scramble teams for the many charitable events he supported. As much as I will miss playing golf with him, working with him, and trading stories and jokes at the Third Street entrance in between greeting patrons on Broadway show nights, the thing I will absolutely miss the most is hearing my office phone ring, picking it up and, without preamble but always with a smile in his voice, Larry asking, “What hole are you on?” Geez, I miss you, man.

On a brighter note, congratulations to the PAC’s Shirley Elliott, who this month will receive the prestigious Newsmakers Award from the Tulsa Chapter of the Association for Women in Communications. The award recognizes Shirley for, among other things, her years of service as program director for the PAC Trust and for her leadership in the collaboration between the Trust and the George Kaiser Family Foundation. That alliance led to the Trust’s presentation of August: Osage County at the PAC in 2010, establishment of the Tulsa Awards for Theatre Excellence (TATE) in 2009, and programming for the Guthrie Green through a recent grant from the National Endowment for the Arts.

Enjoy May’s events and thanks for your support. I’ll see you in the lobby.

I MISS YOU, LARRY

John E. ScottDirector, Tulsa Performing Arts Center

INTERMISSIONis the official magazine of the Tulsa Performing Arts Center.

TULSA PERFORMING ARTS CENTER TRUST

CHAIR Ken Busby

VICE-CHAIR Glenda Silvey

TREASURER Michael P. Kier

SECRETARY Robyn Ewing

ASST. SECRETARY John E. Scott

TRUSTEESBillie Barnett

Mayor Dewey F. BartlettKristin BenderStanton Doyle

William G. von Glahn Jenny Helmerich

Robert J. LaFortuneRodger RandleJayne L. ReedKitty RobertsM. Teresa ValeroJohn H. Williams

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

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EDITOR-IN-CHIEF Nancy Bizjack, PAC

CONSULTING EDITOR Nancy C. Hermann, PAC

CREATIVE DIRECTOR Amanda Watkins

GRAPHIC DESIGNER Brooke Lawson

ADVERTISING SALES Jim Langdon, Rita Kirk

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INTERMISSION is published monthly by

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For advertising information, Tel. 918-585-9924, ext. 217, Fax 918-585-9926.

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director’s page

John Scott and Larry Payton



Interview by Nancy BizjackQ+A

Continued on p. 10

Most people picture a historian as a PhD who works at a university or museum, poring over dusty books and archives. That’s not you, is it? No, it’s not. I guess that’s what most people think but, on the other hand, I was just at an observatory and one of the PhDs there said that most people think of astronomers as being guys with PhDs, but in fact a lot of the interesting discoveries of comets have been done by farmers and apple orchard owners who are sitting out with their amateur

telescopes at night, and they see things that we look right past. If you’re looking for black holes and dark matter, sometimes you don’t see the comets. I think it’s kind of that same situation.

Why is it important for everyone to know that Lewis and Clark first saw the Pacific Ocean on the north side of the Columbia River and not the south side? Well, in the first place, President Thomas Jefferson gave Lewis and Clark specific instructions to document everything,

write everything down, and they did. And they went to great pains to be as accurate as possible. That is what Mr. Jefferson wanted. He sent them out with vocabulary lists of, like, 454 words to document. How do the different Indian tribes refer to the color yellow? The color red? What do they call the sun? How many miles is it to here? What is the width of the river there? Where do these two rivers join? They wanted this precise information for drawing an accurate picture of the

Rex Ziak

In 1993, Rex Ziak had a big decision to make. Should he take his shiny new Emmy Award to the East Coast and build on a promising career as a documentary cinematographer? Or should he stay in the Pacific Northwest and continue his quest to determine what really happened along the Columbia River in November of 1805? Ziak took the road less traveled — in more ways than one.

For six years, he researched the movements of the Lewis and Clark Expedition as they neared the Pacific Ocean by carefully reading the explorers’ handwritten journals, studying their maps,

and retracing sections of their route on foot. His surprising discovery — that a crucial segment of the journey had been misinterpreted for almost 200 years — was initially met with skepticism by Corps of Discovery scholars. But state historical societies and elected officials became convinced that this newly uncovered history deserved recognition. In 2004, the federal government purchased the sites Ziak had identified and created the Lewis and Clark National Historic Park.

Before becoming an “accidental historian,” Ziak was a self-taught photographer who hitchhiked to Mexico and roamed Central and South America for several years after high school. His images, including a photo essay in Life magazine, appeared in publications around the world. He has also published three books. Ziak’s innovative — and successful — effort to save an ancient rainforest in Washington is featured in NBC journalist Bob Dotson’s new book, American Story, a Lifetime Search for Ordinary People Doing Extraordinary Things.


Continued from p. 9

Q+Acontinent and its people, plants and animals. Lewis and Clark wrote 800,000 words in their journals — more words than are in the King James Version of the Bible, I’m told. And they’re doing this with a pen they have to dip in ink! Now consider the fact that this was the summit of their expedition. If they had been mountain climbers, the Pacific Ocean would have been their peak. Thomas Jefferson had so much pride in this expedition — America’s first, really — and Lewis and Clark went through so much pain and discomfort, it almost became like a civic duty on my behalf to tell this history in a way that if the people who experienced it came back to life, they would agree, “Yes, yes, that’s what we did!”

With all that documentation, how did historians get it wrong for so many years? Eastern men were writing this history down years ago, and they kind of explained it this way and that way, and that area of confusion got mixed with a sort of pride among the local community in Portland, Oregon. Everybody wanted to own this history, so they kind of told it in their favor, for tourism or whatever, and over the last 200 years it was overlooked and misunderstood.

You spent so many years on this project: researching, writing, testifying before the U.S. Senate. How did you feel when the Lewis and Clark National Historical Park was dedicated in 2004? [chuckles] What I started to feel like at that point was somewhat foolish. I had had a career as a photographer and cinematographer, and in 1993 I won an Emmy Award for cinematography. Most people would use that as a launchpad to advance their career and their economic well-being. But I had already started this Lewis and Clark thing, so by the time it got to the Lewis and Clark bicentennial, I was rubbing two nickels together to make a living. I was living off of people paying me to come and talk a little bit here and there. I had invested probably 15 of the

most productive years of my life in the pursuit of this, and there is absolutely no reward for it. Not only is there no reward, economic or otherwise, but I had kind of operated under the illusion that the historic community, the professors and PhDs, would look at the dots I had connected that they had overlooked, and they would embrace me as an example of investigative creativity and historical research. In contrast to that was an almost complete shunning.

On the one hand, of course, it was great that the history was being revealed accurately and in a way that would make sense now if you followed the journals and really looked at everything. But on the other hand, I kind of felt like I had made a tragic mistake for my own personal life and my own economic security.

How did Sacagawea, a teenaged Native American who had just given birth, contribute to the Lewis and Clark Expedition? What Lewis notices in her is, of course, she was a captured slave from the Shoshones, and she could speak the Shoshone language, which was the Rocky Mountain language. Lewis learned from her and from talking with her husband, or the guy who bought her, Toussaint Charbonneau, that there were these mountains ahead of him and he knew he would need horses. Her real importance to the Lewis and Clark Expedition would be, in Lewis’ mind, when they got to the mountains, she would be a native speaker of the people who would have the horses. So she was really seen as a translator for them. Her knowledge of the area and some of the geography was at times valuable to them, but the part about her being a guide has kind of been exaggerated. She was a very young girl when she was captured, and they were mostly traveling through areas where she had never been before. But the unintended value of her was, as they entered some of these native lands, the Native American men looked at this group of strangers and one of their immediate reactions was alarm, but then they saw this woman with a baby and they knew that

no war party would travel with a woman with a baby. So instead of notching their arrows and getting ready for a conflict, they decided to see what these strangers wanted.

Another interesting character is Clark’s servant, York. Tell us about him. Bringing along a servant, I guess, was in Clark’s mind just as obvious of a thing as us taking our iPads or iPhones with us when we go traveling now. So here is York, and he is property and a slave, the lowest rung of society. And then he goes on this expedition and, as you can well imagine in a circumstance like that, the color of one’s skin suddenly becomes secondary to who can pull the hardest on the rope or who can carry this, who can do that, and as these men are pulling these boats up the river and lifting canoes and whatever, his power and strength all of a sudden elevates him in other people’s estimation because he was so physically capable.

Beyond increasing our knowledge of an important part of American history, what do you hope to impart to the audience here in Tulsa? Well, I know this is going to be a stretch for the people of Oklahoma, in the sense that your state is not on Lewis and Clark’s route, but then again, one of the largest fan bases of Lewis and Clark history is in Arizona! I will certainly try to make it as relevant to the people of Oklahoma as possible. And I think my story, even beyond Lewis and Clark’s story, is that through hard work and dedication, persistence, and just staying at something — whether you are writing or painting or looking at the stars or whatever — many things can be accomplished by ordinary people who exert above-average efforts. That’s my story.

REX ZIAK“IN FULL VIEW: THE TRUE STORY

OF LEWIS AND CLARK”Presented by Tulsa Town Hall

May 10 at 10:30 a.m.C H A P M A N M U S I C H A L L

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

Rex Ziak


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f you asked a stranger to name the greatest, most influential songwriting duo in

the history of popular music, many would automatically offer up the legendary team of John Lennon and Paul McCartney. Maybe a few would stray to mention Mick Jagger and Keith Richards, or perhaps Elton John and Bernie Taupin.

But while those invading Brits did leave an indelible mark on the history of popular music, it could be argued that none of them penned as many all-time classics — songs that transcend genre, era and even language to become embedded in the popular consciousness — as did musical theater’s beloved one-two punch of Rodgers and Hammerstein.

Any proud Oklahoman knows Richard Rodgers and Oscar Hammerstein II, first and foremost, as the composer and lyricist who immortalized our state in the delightfully upbeat sing-along “Oklahoma!” from the musical of the same name. But their collection of classics certainly doesn’t end there. From “Oh, What a Beautiful Morning” to “Some Enchanted Evening,” the songs of this legendary musical theater partnership are as engrained in American pop culture as a familiar Christmas carol or church hymn.

Anna Neal, Mitchell Neill, Seth Paden, Cathy Rose and Heather Richetto-Rumley will perform more than 30 of the pair’s classic compositions in A Grand Night for Singing, a Tony-nominated revue celebrating the breadth of Rodgers and Hammerstein’s songbook, from little-known gems to worldwide sensations.

The revue was originally conceived in the early 1990s by theater director Walter Bobbie, who wrote a story linking the songs together in new contexts, highlighting the romantic entanglements of the five performers.

For example, the revue turns “Shall We Dance” (from The King and I) into a

charming duet for a tall beauty agreeing to a dance with a comically undersized partner. For the classic “Maria” from The Sound of Music, instead of exasperated nuns bemoaning the antics of a naughty novitiate, the revue finds the question of “How do you solve a problem like Maria?” posed by a lovelorn young man pining after his ladylove.

The reinventions don’t stop at story context — some of the tunes have undergone a musical facelift as well. The jazzy reinterpretation of “Kansas City” from Oklahoma! and the swinging reimagining of “Honey Bun” from South Pacific illustrate just how universal, relatable and, yes, transcendent these songs have always been.

So whether you drive a surrey with the fringe on top or a slightly more contemporary vehicle, plan to attend this program celebrating two titans of musical theater. You know you “cain’t” say no.

A Grand Night for SingingPresented by American Theatre Company

May 3-4, 9-11 at 8 p.m.May 5 at 2 p.m.

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

$21-$27 for students and seniors.MyTicketOffice.com and 918-597-7111

by Matt Cauthron


Richard Rodgers and Oscar Hammerstein II


aryJoanna Grisso can’t decide what her favorite song is.

“It’s a tie between the balcony scene [‘Tonight’] and ‘A Boy Like That,’” she says. For her, these songs are both “emotionally driven pieces, very intense and very dramatic. I love them both.”

Grisso stars as Maria in West Side Story, the classic love story that recently enjoyed a hit revival on Broadway. Maria is the sister of Bernardo, the leader of the Puerto Rican “Sharks” gang. When she and Tony, a member of the Polish-American “Jets” gang, fall for each other, tensions rise on the Upper West Side of New York City.

Based on Romeo and Juliet, perhaps the most famous love story of all time, West Side Story was one of the first American musicals to focus on contemporary social and ethnic

conflicts. The prospect of interracial romance — even between whites and Hispanics — was taboo when this groundbreaking show premiered in 1957.

Leonard Bernstein’s music and Stephen Sondheim’s lyrics — the pair’s only collaboration — are considered some of Broadway’s finest. The legendary Jerome Robbins created the show’s balletic choreography and directed the original production.

The current tour of West Side Story is based on the critically acclaimed 2009-2011 Broadway revival, which ran longer and made more money than the original production! Reimagined and directed by Arthur Laurents, who wrote the book for the original production, the revival is a grittier, more realistic version. Laurents died in 2011 at age 93, but his influence continues to be felt on the tour. Before his passing, Laurents

oversaw the work of tour director David Saint, who was his associate director on Broadway.

If you think this production will be basically the same as the 1961 movie — probably the most famous iteration of the show — you’ll be mistaken.

“It’s so different from the movie,” Grisso emphasizes.

For one thing, the Sharks speak Spanish — which didn’t often happen on Broadway in 1957 or in American movies in 1961. About 10 percent of the show is in Spanish, including about half of the lyrics in the songs “I Feel Pretty” and “A Boy Like That.”

“It adds a lot of flavor, I think, to the show,” Grisso says. “More of an authentic feel.”

While Grisso doesn’t speak Spanish herself, it wasn’t much of a stretch to learn that aspect of the role.

by Charles D. Beard


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“I speak a little bit of Italian,” she says. “My mother and aunts and uncles all speak it fluently. So it wasn’t too far off to learn to sing in Spanish. Once I started just getting familiar with it, it came naturally to me.”

Not that everything has been easy about the tour. Grisso is based in New York, and she says she hasn’t been home in about three months. This can take its toll both personally and professionally.

“Physically taking care of yourself is a huge responsibility,” she notes. “We’ll go through different cities that have

different weather or different altitudes. All these things that you don’t think about can affect your voice and your job.”

But to be in a show like West Side Story, Grisso says, is worth it.

“I’ve been doing theatre since I was a kid. My mom is a music teacher, and we’ve always been a family that’s gone to see theatre.”

Grisso was raised and received her training in West Virginia, but she spent several years as a child in New York. “We would always go see Broadway shows,” she recalls. “I was just in love with it from the time I was a kid. I can’t remember not having music and theatre in my life.”

Interestingly, the West Virginia connection has made its way to the West Side Story tour. Theo Lencicki, who plays Riff, was in a production of High School Musical with Grisso when they were both teenagers. Grisso says they hadn’t seen each other in several years, but “it was pretty cool for us to be cast together.”

What’s personally fulfilling for Grisso is being able to tell a story with universal value — not to mention excellent music by two of the most iconic composers in American history.

When asked what she would say to

entice someone who has never seen West Side Story, Grisso replies, “I would tell them that this is a timeless story that can really relate to anyone.”

For her, it’s a show about “love and how people have to get over racial and cultural barriers and differences.

“And a lot of good singing and dancing too,” she adds.

Presented by Celebrity AttractionsApril 30–May 5

C H A P M A N M U S I C H A L LTickets are $20-$60.

Recommended for ages 13 and olderMyTicketOffice.com and 918-596-7111


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Addison Reid Coe (Tony) and MaryJoanna Grisso (Maria)

Thomas Mothershed (Officer Krupke) Theo Lencicki (Riff)


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Hello, Dolly!by Jerry Herman

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W hat do you get when an Italian, a German, and an American walk into

a French apartment and realize they’re engaged to the same man? A lot of really loud accents!

Translated from Marc Camoletti’s popular French play, and with an American adaptation by Beverly Cross, Boeing-Boeing is a sexy, outrageous bedroom farce.

You may remember the 1965 film of the same name, starring Jerry Lewis and Tony Curtis. While not too impressed with the movie adaptation, local playwright and director Vern Stefanic perked up when the 2008 Broadway production won the Tony Award for Best Revival. “I was very excited when [Theatre Tulsa President] Sara Phoenix asked me about the possibility of directing Boeing-Boeing,” he says.

After directing dramas, a farce is a nice change of pace for Stefanic. “The challenge is making it entertaining and believable for the audience,” he says. Fortunately, Tulsa has some pretty fantastic talent when it comes to hilarity and acting. “The people who have been selected to be in it are absolutely perfect for their parts,” Stefanic says.

Bernard (Jarrod Kopp), an American living in Paris and the play’s lothario, has wooed three airline hostesses of

differing nationalities with the help of his naïve friend Robert (Cody McCoy). Poor Robert gets caught up in Bernard’s escapades and does his best to keep track of scheduling to ensure that the women don’t collide during their “layovers.” A comical and action-packed nail-biter ensues with lots of pushing, bumping, punching, and, of course, kissing, all while people are running in and out of doors in the nick of time.

The play offers an interesting peek at a time when characters like the ones on TV’s Mad Men ruled corporate offices in all their chauvinistic glory, and women, newly emboldened by Dr. Alfred Kinsey’s Sexual Behavior in the Human Female and Betty Friedan’s The Feminine Mystique, were empowered by second-wave feminism. Behind Boeing-Boeing’s humorous charades lies a very real shift away from the strict gender roles of the early 20th century.

“The women in Bernard’s life offer a wide spectrum of personality types and assets,” Stefanic explains. Gloria (Chelsea Shores), the American, is “a very modern woman (for 1965): adventuresome, loving, quirky and with a big interest in the Kinsey Reports.” Gabriella (Ione Blocker), the Italian, is “emotional, carefree, organized, logical and supportive,” while Gretchen (Leighanna Cumbie), the German, “is passion personified.” So you

can imagine the tornado of emotions that rips through the apartment when all three women find themselves in the same place with the same lover. Crash landing, Bernard.

The key to a good farce is exaggeration. It also helps to poke fun at the human condition. While a farce is “a great crowd pleaser,” Stefanic says, “to me, the show goes deeper thematically. It’s human folly to believe we’re the master of our own design. People create a world they think is absolutely paradise and then it all falls apart on them.

“We’re approaching characters very seriously, but putting them in outrageous situations,” he adds. “Don’t be afraid to enjoy yourself. In a farce, things are by definition very exaggerated. This show is an opportunity to see a part of our culture right at the point it was changing, and we get to see that change happen in a hilarious way.”

Vive la révolution sexuelle!

BOEING-BOEINGPresented by Theatre TulsaMay 10-11, 16-18 at 8 p.m.

May 12 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 $18; $14 for students and seniors. For mature audience only.

MyTicketOffice.com and 918-596-7111


by Natalie O’Neal

TROUBLELAYOVERS

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Chelsea Shores, Leighanna Cumbie and Ione Blocker


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ON UPCOMING EVENTS

RAGTIME FOR TUL S A

DUAL PIANOS RAGTIME FEATURING ADAM SWANSON AND MAX KEENLYSIDE

TWO OF RAGTIME’S youngest stars will tickle the ivories!

Twenty-one-year-old Adam Swanson is rapidly becoming known as one of the world’s foremost performers and historians of ragtime and early American popular music. Still a college student, he has been a featured performer and lecturer at ragtime and jazz festivals across the United States. He is the youngest three-time winner of the World Championship Old-Time Piano Playing Contest.

A dazzling pianist and formidable composer, Max Keenlyside is gaining a reputation as a top young artist in his field. A favorite at jazz and ragtime events around the world, the 22-year-old has headlined at the Scott Joplin, West Coast Ragtime, and Blind Boone festivals. His “Northern Lights Rag” has become a fixture on the ragtime scene.

June 2 at 2 p.m.L I D D Y D O E N G E S T H E A T R ETickets are $25; $5 for students.

CELEBRITY ATTRACTIONS

DISNEY’S THE LION KING

THE ATRE POPS

OLD RED ON THE HEAD AND JESUS FOR THE DEFENSETHEATRE POPS PRESENTS two short plays by noted Tulsa attorney, professor and former member of the Carter and Clinton administrations, R. Dobie Langenkamp. There will be talkbacks after the Friday and Saturday night shows, with the playwright and cast

available to answer questions from the audience.

June 13-15 at 8 p.m.June 16 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.This show is part of SummerStage Tulsa.

EXPERIENCE the phenomenon of Disney’s The Lion King. Marvel at the breathtaking spectacle of animals brought to life by award-winning director Julie Taymor, whose visual images for this show you’ll remember forever. Thrill to the pulsating rhythms of the African Pridelands and an unforgettable score including Elton John and Tim Rice’s Oscar-winning song “Can You Feel The Love Tonight,” along with the duo’s other catchy songs carried over from the animated film, including “Circle of Life” and “Hakuna Matata.”

Disney’s The Lion King opened

on Broadway in 1997 and is still playing there, after more than 5,350 performances. It was last seen in Tulsa in 2006. Then and now, Disney had to make temporary renovations to Chapman Music Hall to accommodate this colossal production.

Let your imagination run wild at the Tony Award-winning Broadway sensation Newsweek calls “a landmark event in entertainment.”

June 4–July 7 C H A P M A N M U S I C H A L LTickets are $30-$90.VIP packages are $125-$145.

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

Adam Swanson Max Keenlyside

Joan

Mar

cus

If you like TulsaPeople Magazine, you are certain to

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best events in the Tulsa area in a variety of categories

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THE CHERIL VENDETTI EXPERIENCE is a fast-paced explosion of irreverent entertainment that will leave you either heading for the door or to the nearest bail bondsman!

Direct from television’s HBO, OWN and SPIKE networks and the famous Los Angeles Comedy Store, comes the outrageous Cheril Vendetti! The Boston-Italian comedienne, TV personality and comical cookbook author, and her band, The Pasta Fazools, generate more laughs than Tony Soprano could put a hit on. So grab your funny bone, leave

your political correctness at the door, and join the fun!

June 14 at 8 p.m.C H A R L E S E . N O R M A N T H E A T R ETickets are $10; $15 for table seating. Recommended for age 18 and older

SPINNING PL ATE S PRODUCTIONS

WHY CYN SINGS JAZZ IN HER FIRST cabaret performance, Oklahoma City native and Tulsa transplant Cynthia Simmons shares the circuitous musical journey that led her to being a devotee and deliverer of the Great American Songbook. Featuring music from such artists as Aretha Franklin, Patti Austin, Barbra Streisand and Whitney Houston, Simmons’ unique style and effervescent tone will delight audiences of all ages.

June 15 at 7 p.m.C H A R L E S E . N O R M A N T H E A T R ETickets are $18; $25 for table seating.


QUEEN CLEOFIS COMES HOMESIXTY-SOMETHING JAZZ songstress Queen Cleofis has spent the majority of her career tour-ing all places East, including Eastern Europe, the Middle East, the Far East and Estonia. In 1970, she had the distinction of winning a trifecta of Best New Jazz Artist awards in Hong Kong, Krakow and Tel Aviv. Spurned by her native country for her controversial interpretations of popular Top 40 songs, through hard work and twisted imagination she has attained cult status among her fans. American audi-ences will finally experience the magic that is Queen Cleofis as she performs stateside for the first time in 20 years, accompanied by only a piano and a dream.

This show features the music of Electric Light Orchestra, Kansas, The Eagles, The Commodores, Elton John, El DeBarge, Depeche Mode, Michael Jackson, Fountains of Wayne and many, many more!

June 15 at 9 p.m.C H A R L E S E . N O R M A N T H E A T R ETickets are $18; $25 for table seating. For mature audiences only

CHERIL VENDE TTI/ONE HOT TOMATO MEDIA

THE CHERIL VENDETTI EXPERIENCE


SUMMERSTAGE TULSA

“Anyone who can make Judge Judy look tame deserves her own show.” — Newsweek “Brassy, Sassy and Hysterical!” — Preview Magazine, Los Angeles



TOP HAT MAGIC

STEVE LANCASTER’S FAMILY MAGIC SHOW

THE BOYS NEXT DOOR is a comedy-drama about four intellectually disabled men who live together in a small apartment. Playwright Tom Griffin introduces us to Norman, who works at a donut shop and has a thing for keys; Barry, who thinks he is a golf pro and doesn’t communicate well with his father; Arnold, who is into all things Russian and has a habit of spending money; and Lucien, who is devoted to Spider-Man and must testify before the state senate. Jack, their caring social worker, is on the verge of career burnout, but finds it hard to say goodbye to these guys he cares about. With just as many laughs as tears, this play is a reminder that all of us, regardless of mental or physical differences, crave the same things: love and acceptance.

June 21-22 at 8 p.m.L I D D Y D O E N G E S T H E A T R ETickets are $12.For mature audiences only

S AND SPRINGS COMMUNITY THE ATRE

THE BOYS NEXT DOOR

PAM VAN DYKE CROSBY & CINDY C AIN

TWO OF A KINDTHIS CROSS-GENERATIONAL duo will deliver a bit of Broadway and pop, along with heaping helpings of jazz and blues.

A native Oklahoman, Pam Van Dyke Crosby began her career singing jazz in New

York City with a band that included pianist Duke Jordan and bassist Keeter Betts. She also sang with the New York City-based Sammy Kaye Orchestra. Since returning to Oklahoma, Crosby has been a featured performer in numerous jazz festivals, benefits and revues.

Raised in Pryor, Cindy Cain honed her style during more than a decade of performances in the D.C. area, where a Washington Post writer called her “one of the best singers on Washington’s blues scene.” She moved to Tulsa in 2001 and quickly made her mark by being nominated three years running for Best Jazz Act in the Tulsa World’s annual Spotnik Music Awards.

June 21 at 8 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; $12 for students and seniors, $20 for table seating.


SUMMERSTAGE TULSA

Pam Van Dyke Crosby and Cindy Cain

SIT BACK and relax as Master Magician Steve Lancaster conjures up a fun and exciting afternoon with so many surprise endings, you will wonder how did it.

Lancaster adds his special touch to the classics, making them seem new all over again. See objects appear, vanish, float and transport! And if that’s not enough, Deputy Du-dah is joining Steve’s Family

Magic Show, and you never know what he will do. He is a wild, laugh-a-minute, crazy, funny entertainer, with magic, com-edy and rowdy, howdy du-dah fun!

June 16 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 age 14 and under. Table seats are $30; $25 for children.



After the show ...Complete your evening with a

nightcap at The Campbell Lounge or a night’s stay in one of our

unique theme rooms!

The Campbell Hotel2636 E. 11th St.

Tulsa, OK • 74104

(918) 744-5500 • www.thecampbellhotel.com

Westby Pavilion on the PAC’s PromenadeRental information 918.596.7124

Bending, Weaving, Dancing: The Art of Woody Crumbo

Woody Crumbo, Family Scene, watercolor and tempera on paper, (detail) GM 0227.309

Through May 19, 2013

1400 North Gilcrease MuseuM road 918-596-2700 Gilcrease.utulsa.edu tu is aN eeo/aa iNstitutioN.

Watch a TulsaPeople story come to life “on the air”

every Thursday morning at 6:20 a.m. on Channel 8's

“Good Morning Oklahoma”

On The Air


WHAT HAPPENS WHEN a naughty cabaret show turns its sights on Broadway again? Hilarity ensues as the cast of Wrong Way Broadway 2: Even Wronger takes the audience on a twisted, mangled journey down the Great White Way. Be prepared to laugh, cry, yell and sing along as the great songs from Broadway are twisted and rearranged for an exciting, topsy-turvy adventure!

June 22-23 at 2:30 p.m. and 7:30 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. Table seats are $25; $20 for students and seniors. Children under age 18 must be accompanied by a parent/guardian.


84 CHARING CROSS ROADADAPTED BY JAMES ROOSE-EVANS from Helene Hanff’s autobiographical work of the same name, 84 Charing Cross Road is a story about long-distance relationships.

In 1949, Helene, in search of obscure classics and British literature titles she had been unable to find in New York City, notices an ad in the Saturday Review of Literature and contacts Marks & Co., a London bookseller located at 84 Charing Cross Road. Employee Frank Doel fulfills her requests, and a long-distance friendship evolves, not only between the two, but between Helene and other staff members as well. They exchange Christmas packages, birthday gifts, and food parcels to compensate for post-World War II food shortages in Britain. Their letters include discussions about topics as diverse as the sermons of John Donne, the Brooklyn Dodgers, the coronation of Elizabeth II, and how to make Yorkshire Pudding.

This production is directed by Rebecca Ungerman.

June 27-29 at 8 p.m.June 30 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; $20 for table seating.


FREUD’S LAST SESSIONFREUD’S LAST SESSION by Mark St. Germain centers on legendary psychoanalyst Dr. Sigmund Freud, who invites a young, little-known professor, C.S. Lewis, to his home in London. Lewis, expecting to be called on the carpet for satirizing Freud in a recent book, soon realizes Freud has a much more significant agenda. On the day England enters World War II, Freud and Lewis clash on the existence of God, love, sex and the meaning of life — only two weeks before Freud chooses to take his own.

Tulsa author and theatre expert Vern Stefanic directs this piece that was named Best New Play of 2011 by the Off Broadway Alliance.

June 27-29 at 8 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; $20 for table seating. Recommended for mature audiences only.


S AMUEL JEREM Y STE VENS

WRONG WAY BROADWAY 2: EVEN WRONGER

SUMMERSTAGE TULSA

RAGTIME FOR TULSADUAL PIANOS RAGTIME: ADAM SWANSON & MAX KEENLYSIDEJune 2 at 2 p.m.Liddy Doenges Theatre

CELEBRITY ATTRACTIONSDISNEY’S THE LION KINGJune 4–July 7Chapman Music Hall

THEATRE POPSOLD RED ON THE HEAD AND JESUS FOR THE DEFENSEJune 13-15 at 8 p.m.June 16 at 2 p.m.Liddy Doenges Theatre

CHERIL VENDETTI/ONE HOT TOMATO MEDIATHE CHERIL VENDETTI EXPERIENCEJune 14 at 8 p.m.Charles E. Norman Theatre

LOOK MUSICAL THEATREHELLO DOLLY!June 14-15, 22, 25, 27 at 8 p.m.June 23, 29 at 2 p.m.June 30 at 7 p.m.John H. Williams Theatre

SPINNING PLATES PRODUCTIONSWHY CYN SINGS JAZZJune 15 at 7 p.m.Charles E. Norman Theatre

SPINNING PLATES PRODUCTIONSQUEEN CLEOFIS COMES HOMEJune 15 at 9 p.m.Charles E. Norman Theatre

TOP HAT MAGICSTEVE LANCASTER’S FAMILY MAGIC SHOW & COMPANYJune 16 at 2 p.m.Charles E. Norman Theatre

LOOK MUSICAL THEATRESIDE BY SIDE BY SONDHEIMJune 16 at 2 p.m.June 23, 28 at 8 p.m.John H. Williams Theatre

PAM VAN DYKE CROSBY & CINDY CAINTWO OF A KINDJune 21 at 8 p.m.Charles E. Norman Theatre

SAND SPRINGS COMMUNITY THEATRETHE BOYS NEXT DOORJune 21-22 at 8 p.m.Liddy Doenges Theatre

LOOK MUSICAL THEATRETHE DROWSY CHAPERONEJune 21, 26, 29 at 8 p.m.June 22, 30 at 2 p.m.John H. Williams Theatre

SAMUEL JEREMY STEVENSWRONG WAY BROADWAY 2: EVEN WRONGERJune 22-23 at 2:30 p.m. and 7:30 p.m.Charles E. Norman Theatre

SPINNING PLATES PRODUCTIONSFREUD’S LAST SESSIONJune 27-29 at 8 p.m.Charles E. Norman Theatre

SPINNING PLATES PRODUCTIONS84 CHARING CROSS ROADJune 27-29 at 8 p.m.June 30 at 2 p.m.Liddy Doenges Theatre

JUNE

1964 The Tribute, July 19


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


S P R I N G I N F U L L B L O O M .

Join us Saturday, May 18, 2013 10 a.m. - 5 p.m: Enter to win prizes o Tour our

flower beds in full bloom o Purchase flowers for your own garden o Get gardening

advice from experts o Take part in a photography contest for a chance to win a

$1,000 Utica Square gift certificate compliments of Commerce Bank o Shop and

dine at your favorite locally owned and nationally recognized merchants

Visit UticaSquare.com for more details.

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