The City Sentinel » Arts & Entertainment

Reed and Laurel, in tribute to Jon and Don: They’re still crazy, after all these years.

Patrick B. McGuigan — Tue, 21 May 2013 15:29:23 +0000

From left, Jonathan Beck Reed and Don Jordan portray a couple of cowpokes from the bustling (fictitious) town of Tuna, Texas. For the 42nd time in five decades, the two longtime friends are collaborating in a theatrical production. This one comes to the Freede Little Theatre at the Civic Center Music Hall in downtown Oklahoma City, May 31-June 16. For information or tickets, telephone 405-297-2264 or 848-3761, or visit www.cityrep.com

by Patrick B. McGuigan
Associate Publisher

Two icons of the Oklahoma City theater scene will mark a notable benchmark in the next few weeks. For the 42nd time in theatrical careers spanning five decades each, Jonathan Beck Reed and Donald L. Jordan are working together.

Their collaborations began in the late 1970s in “My Three Angels” while both were students at Oklahoma City University. The following spring both were cast in “Winnie-the-Pooh.” Jordan played the title character, while Reed was the classic curmudgeon, Eyore.

Jordan explains, “This was the first of many performances echoing real life – in which I am the cuddly and loveable teddy bear, while Jon is the ornery old guy everyone else is trying to cheer up.”

As if to make the point, Reed remembered immediately that another early play in which they both appeared was Archibald MacLeish’s “J.B.”, the modern retelling of the story of the Old Testament prophet: “I played the devil, while Don was God.”

After graduation, they followed separate tracks but wound up working together frequently. Don went to the Dallas Theatre Center, then to local Lyric productions, while Jon from 1983-1995 had a New York City address. Broadway became his base for a variety of roles, including a couple of turns as the title character in Edmond Rostand’s “Cyranno de Bergerac.”

Like many long-time friends – or, for that matter, an old married couple – the pair of performers often finish each other’s sentences, or quickly point out something the other has forgotten.

Reed told The City Sentinel his favorite roles of all time included Tevye in “Fiddler on the Roof,” multiple parts in “Little Me,” the lead in “Music Man,” last year’s “The Normal Heart,” and more than one time as Professor Higgins in “My Fair Lady.”

Don reflected on his favorite parts, listing the “Tuna” roles, “Laughter on the 23rd Floor,” “The Brighton Beach Memoirs,” and parts in “Cotton Patch Gospel.” The latter is a blue grass musical version of the Gospel of Matthew, and the last work Harry Chapin composed before his death. He told The City Sentinel, “I’m the son of a minister. In some ways, I guess the seed didn’t fall too far from the tree.”

Each fellow took more time to think things over, when asked to list their personal favorite among the other’s acting ventures.

After a bit, Reed said, “I think one of Don’s best roles was in ‘My Three Angels,’ when we met back in college. I was absolutely delighted to meet him and work with him, and we’ve been friends ever since.” He also said Jordan was effective as “The KATT” – a radio mascot who performed at Oklahoma City 89ers baseball games, “back in the day.”

Don said Jon’s best part over the years has been his interpretations of Tevye, “both for his technical virtuousity and on the merits of the interpretation.” That sparked Reed to comment that he loves the Tevye role so much, throwing himself into the part each time, because the character is so different from his own personality.

Naturally, the pair of professional actors – both members of the Actors Equity Association, nationally celebrating its 100th anniversary this year – have had their share of on-stage screwups or technical challenges across the years. There was the time Jordan, dressed as Pooh Bear, was in at the wheel, driving the entire cast, including Reed as Eyore, to an elementary school performance of “Eyore’s Birthday,” a sequel story in the “Pooh” series. Don – remember, dressed as the bear – fell asleep at the wheel. The vehicle began to leave the road – but happily, no one was the worse for wear before Jordan woke up.

Reed once was responsible for pulling Jordan into an unexpected part in the traveling troupe for “42nd Street,” after a performer, furious with a director, quit the show just days before opening night. Jordan got the part and did fine.

A mutual favored memory was in a play when they worked with … a live rooster on stage. The creature was a fine performer, Jordan insists, but alas, his part required him to be prepared (offstage) for a fine feast, which the performers consumed in front of the audience.

Things took an interesting turn, requiring multiple ad libs, when the actual rooster, ensconsed just off-stage in its case, began to crow repeatedly, as if it were the break of dawn – rather than early in the second act after his on-stage demise.

Inevitably, both have become not only proficient on-stage, but also knowledgable players in the business side of theater. Jordan runs CityRep (The City Reperatory Theatre), and Reed plays many formal and informal roles in live performance ventures.

Much like journalists in the age of “convergence” (a time wherein scribes and reporters have become photographers, page designers and videographers, among other things), Jordan said his career has made him “a jack of all trades, and perhaps master of none” – what was long ago deemed “integration of ability” among actors.

On the same issue, Reed reflected he learned early, as a child performer for the old Mummers group, “to really act, not just be cheesy. Learn the script and learn your lines, be focused on telling a story to the audience.” Reed said he learned the business through observation, beginning with that childhood work between the ages of 8 and 13.

As for “Greater Tuna” – an acclaimed comedy in which the two men will play all the roles, both male and female – Jordan says, “This play is considered a comedy elsewhere, but in Texas and Oklahoma we all understand that it’s really more like a documentary.” Jordan has spent his life in the neighboring states – Sooner and Lone Star. He is a proud “Texihoman” who ardently advocates for each, “save for one Saturday each fall, when I am scrupulously neutral.”

Reed loves the “Tuna” plays, among other reasons, for the audience: “Each time we perform it, there are always a large number of people who tell me they never, ever go to the theater, except for the ‘Tuna’ plays.” Then, after a recent performance, Reed recalls, “Tuna” co-author Jaston Williams told him, “I am amazed at how relevant it is, and how much fun, after all these years.”

This Jordan-Reed, or Reed-Jordan, joint effort will be a lively and entertaining moment in Oklahoma City theatre history – not to mention quite a bit of fun. The story is an uproarious, sometimes ribald, and ultimately affectionate send-up of life in small town Texas, or maybe that’s western Texihoma.

“Greater Tuna,” by Jaston Williams, Joe Sears and Ed Howard, runs May 31-June 16 at the Freede Little Theatre, Civic Center Music Hall in downtown Oklahoma City, May 31-June 16. For information or tickets, telephone 405-297-2264 or 848-3761, or visit www.cityrep.com.

Yep, the boys are back in town. They never really left, for which we are grateful.

Oklahoma City University Presents ‘Into the Woods’

Staff Report — Tue, 23 Apr 2013 11:23:23 +0000

Jillian Gottlieb is the Witch and Keslie Ward is Little Red Ridinghood in Stephen
Sondheim’s fractured fairytale “Into the Woods,” the April 26-28 grand finale of
Oklahoma City University’s Opera and Music Theater Company.

Staff Report

Stephen Sondheim’s Tony-winning musical “Into the Woods” will make its Oklahoma City University debut April 26 through 28. Performances are 8 p.m. Friday and Saturday, with a 3 p.m. Sunday matinee on the historic Kirkpatrick stage of OCU’s Bass School of Music. Tickets ($12-25) are available from www.okcu.edu/tickets or (405) 208-5227. There will be a free pre-show talk 45 minutes before curtain at each performance.

The irreverent comedy is a Brothers Grimm mash-up featuring an ambivalent Cinderella, a blood-thirsty Little Red Riding Hood, a Prince Charming with a wandering eye and a cursed baker and his wife.

Director Karen Coe Miller calls her production “funny and moving…a modern fairy tale that examines the way we construct the stories of our lives and pass those stories on to our children, often with unforeseen consequences.”

Matthew Mailman, musical director of the 27-piece orchestra and cast of 19 said, “While many musicals focus on one or two main characters, ‘Into the Woods’ is a true ensemble piece and a great vehicle to display the enormous scope of our student talent on the stage and in the orchestra pit.” He cited the “genius writing of Stephen Sondheim and the expert orchestrations of our newest alumnus, Dr. Jonathan Tunick.” The Tony-, Grammy-, Emmy- and Oscar-winning orchestrator, Tunick, received an honorary degree Tuesday from Oklahoma City University.

“Into the Woods” premiered on Broadway in 1987 and in London’s West End in 1990, and has since been revived and featured abroad and in national tours. A film adaption is in the works featuring Meryl Streep as the witch. It will be directed by Gary Marshall.

For more information on upcoming OCU performances, visit www.okcu.edu/music or www.facebook.com/bassschoolofmusic.

Historic Film Row to debut new monthly Final Friday Art Walk

Pam Paul — Tue, 23 Apr 2013 11:01:58 +0000

The new Final Friday Film Row Art Walk will debut on April 26, from 6 to 9 p.m., in downtown Oklahoma City’s Historic Film Row District, located two blocks west of Devon Tower. Photo by Bradley Wynn; Historian.

By Darla Shelden
Contributing Writer

Downtown Film Row entrepreneurs will welcome the public from 6 – 9 p.m., on Friday, April 26 for the premier of Oklahoma City’s new Final Friday event. Beginning in April, on the Final Friday of each month, the Historic Film Row District will host an art walk.

The newly restored area, located between Dewey and Shartel on West Sheridan Ave., will feature a variety of musicians, visual artists, dancers and performers.

Kendall Brown, Individual Artists of Oklahoma (IAO) Executive Director and Final Friday organizer said, “Final Friday on Film Row is going to be a really exciting event because Film Row has not only a great history, but also a great collection of businesses and organizations.”

The inaugural Final Friday event will feature 12 participating locations: Critical Mass Productions, Dunlap Codding, OKC Pride, The Exchange, KOSU, McKenzie & Co., The Paramount OKC, Oddfab Design Lab, Joey’s Pizzeria, Carpenter Square Theatre, the 404 and the IAO Gallery.

Critical Mass is a full-service video production and post-production company started by Darby Ralls and Don Stephens, offering the RED Epic camera for 5K digital filming.

Founded by Jerry Dunlap and Charles “Skip” Codding in 1957, Dunlap Codding is Oklahoma’s largest intellectual property law firm.

OKC Pride provides leadership to the LGBT community in Oklahoma City through health and educational services. The 2013 Pride Festival will be held for the second year on Film Row on Saturday May 18 from 11 a.m. – 8 p.m.

Located on the second floor of the historic Film Exchange building, The Exchange offers loft space for events, office suites and conference rooms.
Scheduled for completion in July, National Public Radio affiliate KOSU Radio will soon be home to a new studio in Film Row’s Hart building. It will feature a 4,000 square foot studio that includes a space for musical performances and other events.

Kelly Burley, KOSU Director said, “The Final Friday Art Walk is a great next step in the evolution of Film Row as a destination for the arts, and KOSU is thrilled to be part of this unique community. We are looking forward to opening our new studios in the Hart building this summer to create community through content and content through the community.”

Founded by artist Jeff McKenzie, McKenzie & Company has been in the screen printing business producing a variety of t-shirts and apparel for over 36 years.
The Paramount OKC is Oklahoma City’s original Paramount Theater on Film Row. It features a screening room seating up to 75 with an adjacent cafe that is open for breakfast, lunch and dinner every day except Sunday.

Melodie Garneau, Paramount OKC co-owner said, “That evening we are having an Open Mic from 7 – 8 p.m., then The Oak City Improv Group will perform until 10 p.m.,” said. We will also be having a wine tasting in the cafe at the same time.

“We are really excited about Final Friday and are looking forward to acquainting people with Film Row and the history of the film business,” Garneau added.

Oddfab Design Lab is an artist led design and fabrication studio specializing in public art projects, architectural signage, and construction projects requiring specialized services.

Joey’s Pizzeria, open for lunch and dinner, offers salads, pasta, subs, appetizers, desserts and pizza, for dine in, take out or delivery.

Carpenter Square Theater’s performance venue, located at 800 W. Main (S.W. corner of Main & Shartel) is considered a sister location to Film Row.
The 404 is a co-working facility that offers a professional work environment available on a flextime share basis.

The IAO Gallery, founded in 1979, promotes emerging and established artists in all media who create provocative or experimental subject matter or technique.

Brown said, “We’re bringing in artists and performers from all over the state for the first Final Friday, along with great food and drinks. It’s going to be an event people won’t want to miss.”

The Art Walk will also feature a scavenger hunt. Guests visiting all 12 locations on Final Friday and receiving a stamp to verify they were there will be eligible to win a gift basket valued at more than $200. Items include tickets to IAO and Carpenter Square Theatre events.

Admission to all locations is free and open to the public.

For more information, contact Kendall Brown at 405-232-6060 or kbrown@iaogallery.org.

OCU to Host Free El Sistema Music Ed Symposium

Staff Report — Tue, 09 Apr 2013 12:15:51 +0000

Dean Mark Parker (left) and Jose Luis Hernandez-Estrada announce plans for El Sistema Oklahoma at the Bass School of Music at Oklahoma City University.

Staff Report

Jamie Bernstein, a writer, arts advocate and daughter of composer Leonard Bernstein, will be the keynote speaker at Oklahoma City University’s “Music Transforms” symposium April 13 that will introduce the renowned Venezuelan music-education program El Sistema to Oklahoma.

Bernstein’s keynote speech begins at 10:30 a.m. in the atrium of the Bass School of Music at N.W. 25th Street and Blackwelder Avenue. Admission and lunch are free, but pre-registration is required by e-mailing jsgodinez@okcu.edu.

The half-day session is free to the public and is particularly geared toward community leaders, educators, musicians and parents who are interested in the program.

In addition to Bernstein, 20-minute presentations will be given by Christine Witkowski, director of the Los Angeles Philharmonic’s YOLA at HOLA, the acclaimed program of Gustavo Dudamel; Stanford Thomas, CEO of “Play on Philly!” and chairman of the U.S. National Alliance of El Sistema-inspired programs; and Jose Luis Hernandez-Estrada, executive director of the newly established El Sistema Oklahoma.

The symposium is co-sponsored by St. Luke’s United Methodist Church and Oklahoma City University. For additional information, contact Hernandez-Estrada at (405) 208-4921 or jhernandez@okcu.edu.

Brightmusic Society of Oklahoma – Concert 5 of 10th Anniversary Season – “Bright Virtuosi”

Staff Report — Tue, 09 Apr 2013 12:05:00 +0000

Staff Report

Oklahoma City’s own Brightmusic Chamber Ensemble will present two performances of the fifth concert of its 10th anniversary season, “Bright Tales,” April 22-23, organizers said.

The program features virtuoso works by the Hungarian composer Zoltán Kodály, the German composer Carl Maria von Weber, and the Russian composer Pyotr Ilyich Tchaikovsky.

The works on the program are: Zoltán Kodály’s Duo for Violin and Cello, op. 8; Carl Maria von Weber’s Clarinet Quintet in B-flat Major, op. 34 for two violins, viola, cello and clarinet; and Pyotr Ilyich Tchaikovsky’s String Sextet in D Minor, “Souvenir de Florence,” op. 70 for two violins, two violas and two cellos.

Seven Brightmusic musicians will appear at this concert: Gregory Lee and Hal Grossman (violin), Royce McLarry and Mark Neumann (viola), Jonathan Ruck and Tomasz Zieba (cello), and Chad Burrow (clarinet).

Violin: Dr. Gregory Lee, Associate Professor of Violin, University of Oklahoma; Concertmaster of the Oklahoma City Philharmonic Orchestra. Gregory regularly performs with the OU faculty ensembles Holmberg String Quartet and Oklahoma Chamber Players. BM, The Julliard School; MM and DMA, University of Michigan.

Violin: Hal Grossman, Assistant Professor of Violin at the University of Oklahoma; Concertmaster of the Illinois Philharmonic Orchestra (Chicago). Hal regularly performs with the OU faculty ensembles Holmberg String Quartet and Oklahoma Chamber Players. BM, University of Michigan; MM, Eastman School of Music.

Viola: Royce McLarry, Associate faculty member for violin and viola at Oklahoma Christian University; Principal Violist of the OKC Philharmonic and Lawton Philharmonic Orchestras. BM, Oklahoma City University; graduate studies, University of Wisconsin-Madison.

Viola: Dr. Mark Neumann, Associate Professor of Viola, University of Oklahoma; violist with the OKC Philharmonic Orchestra. Mark regularly performs with the OU faculty ensembles Holmberg String Quartet and Oklahoma Chamber Players. BM and MM, University of Victoria; Advanced Certificate and DMA, The Julliard School.

Cello: Dr. Jonathan Ruck, Assistant Professor of Cello, University of Oklahoma; Principal Cellist with the OKC Philharmonic Orchestra. Jon regularly performs with the OU faculty ensembles Holmberg String Quartet and Oklahoma Chamber Players. BM, MM and DMA, Indiana University.
Cello: Tomasz Zieba, Instructor of Cello at Oklahoma City University; Associate Principal Cellist of the OKC Philharmonic. BM, Texas Christian University; Artist Certificate and MM, Southern Methodist University.

Clarinet: Chad Burrow, Assistant Professor of Clarinet, University of Michigan; former Principal Clarinetist, OKC Philharmonic Orchestra. Chad is the clarinetist in the clarinet-piano ensemble Duo Clarion and the violin-clarinet-piano ensemble Trio Solari. BM, Northwestern University; MM, Yale University. Co-Artistic Director of Brightmusic.

Musical Works to Be Performed

Zoltán Kodály, Duo for Violin and Cello, op. 7: Kodály (1881-1967) was a Hungarian nationalist composer

He composed his Duo for Violin and Cello in 1914 at the beginning of World War I, but it was not publicly performed until 1924. This three-movement duo, in the traditional fast-slow-fast pattern, has become one of the most important works in the repertoire for violin and cello.

Carl Maria von Weber, Clarinet Quintet in B-flat Major, op. 34 (for clarinet, two violins, viola and cello): Weber (1786-1826) “was the first of the true Romantics and one of the greatest pianists and conductors of his era, He wrote his clarinet quintet in 1815.

Pyotr Ilyich Tchaikovsky, String Sextet in D Minor, “Souvenir de Florence,” op. 70 (for two violins, two violas and two cellos): Tchaikovsky (1840-1893) is probably the most popular, if not the greatest, Russian composer.
Two identical perfor

The importance of being funny – “Earnest” is more than trivial pursuits

Patrick B. McGuigan — Tue, 09 Apr 2013 12:00:31 +0000

By Patrick B. McGuigan
Associate Publisher

Theatre OCU, Oklahoma Shakespeare in the Park and CityRep have joined forces for a fine production of Oscar Wilde’s comedy, “The Importance of Being Earnest.” The story is a classic adaptation of Shakespearean follies of mistaken identity, costly mendacity and pretentious social climbing.

Director Lance Marsh pulls the best from a mixed cast of students, young performers and seasoned veterans.The production is beautifully staged in three acts at the Burg Theatre on the Oklahoma City University campus. Under Marsh’s leadership, stage managers Steve Emerson and Jessica McCoy make good use of the revolving stage to present, first, a London home, and then, a country garden terrace.

Andi Dema is perfect as John Worthing, born poor and a foundling, but raised by a generous man who left him a fortune. John goes under the pseudonym “Ernest” when in London, as a way to escape the responsibilities of his station in life.

As “Ernest,” Worthing courts the lovely and intelligent – but rarely challenged – Gwendolen, portrayed by Renee Lawrence. Gwendolen’s cousin is Algernon Moncrieff (Hunter Paul). In story full of the idle rich or near-rich, “Algie” takes the cake. And, in fact, he does take the cake – and any other food within reach in all three acts.

At that country estate, Worthing’s ward is Cecily, performed by Lauren Thompson.

She spends her days studying literature and language, learning nothing from either, and inventing romantic scenarios for her diary. Cecily idolizes “Uncle Jack” – and is enchanted with his tales about a dissolute and irresponsible brother – “Ernest” — whom he claims is wasting away in Paris. But there is no Ernest, or so we believe for most of the show.

The plot thickens, to put it mildly, when Algie steals away from London and shows up uninvited at Worthing’s country estate – pretending to be none other than Jacks’ brother, Ernest. Soon he is wooing the innocent Cecily, barely 18 but claiming to be 20.

After a good start, the young women have the equivalent of a Victorian catfight over a misunderstanding about the man they think they love. Then, Gwendolyn and Cecily bond as “sisters” when they discover they love a name – Ernest – but neither man they adore is the real Ernest.
Leavening the dough, as it were, is Kathryn McGill as Miss Prism, Cecily’s teacher and the personification of a repressed “old maid,” while Dwight Sandell is the celibate Canon Chausible, Anglican rector of the nearby parish. Dialogue between Chausible and Prism is fraught with both humor, literary allusion and sexual tension.

Presiding over the lunacy is Lady Bracknell, as portrayed by CityRep veteran Michael Jones. You have to see him as the domineering elder stateswoman and social arbiter to “get it.” His portrayal is both funny and impressive.

Ever the pro, Jones does not for a moment rely solely on the cross-dressing concept (originated some years ago in London and New York productions) to carry the comedy. No – he makes Bracknell believable. “She” is pretentious, yet in the end sympathetically rendered.
Worthy in supporting roles, as butlers and maids, were Merriman (James Tyler Kirk), Lane (Brett Garrett), and maids (Alexis Graves and Taylor Weinhold).

The play is witty, clever, magnificently written and seemingly trivial in content.
Yet is all its marked silliness really without meaning?

Like his personal story or not, Oscar Wilde was a ferociously observant writer, a closeted gay man seemingly bitter over the conventions of this day. Yet, the same man capable of composing this witty and often brutal satire crafted the tender allegory on charity and God’s love, “The Happy Prince.”

Can a culture like ours — where children are killed over sneakers or their “colors,” and where many “reality” television shows sneer at the legacy that gave us a land of ordered liberty – really sneer at one where manners of speaking and styles of clothing were deemed more importance than nearly all else?

Don’t overthink it. Go see “Earnest.” Wilde meant for it to be fun, and it is.
Remain patient in Act I, where the relationships are set and the dialogue establishes the frivolity and seemingly mannered triumph of fashion over substance.

Relax over the dizzying plot twists and simply enjoy the comeuppance rendered unto virtually every character in Act II.
Honor the amusing final minutes of Act III, when Lady Bracknell, of all people, serves as a kind of “Deus Ex Machina,” resolving disputes in an implausible but laugh-out-loud finale.

As presented in this collaboration, “The Importance of Being Earnest” is great fun, and a fine way to spend just over two hours. There’s nothing trivial about that.

This weekend’s performances will be Fri., Apr. 12, 8 p.m.; Sat., Apr. 13, 2 p.m. Matinee; Sat., Apr. 13, 8 p.m. performance; Sun. Apr, 14, 2 p.m. Closing Matinee.

Tickets are $20, and $8 for Students (with ID) and may be purchased by calling the OCU Ticket Office at 405-208-5227. Tickets can be purchased online through the OCU Ticket Office website at www.okcu.edu/ticketoffice. “Earnest” will play in the Burg Theatre, Kirkpatrick Fine Arts Center, at NW 25th and Blackwelder on the campus of Oklahoma City University.

Joel Levine will conduct the beloved “Swan Lake,” in April – a first for Oklahoma City audiences

Staff Report — Thu, 28 Mar 2013 12:44:23 +0000

Staff Report

For the first time in its 41-year history, the Oklahoma City Ballet will present a full-length production of Swan Lake, widely believed the most technically and emotionally-challenging classical ballets of all time, according to Artistic Director Robert Mills.

There will be three performances: 8 p.m. on Friday, and Saturday April 20; and 2 p.m. on Sunday, April 21 at the Civic Center Music Hall, 201 N. Walker Ave.

The Oklahoma City Philharmonic will perform Tchaikovsky’s famous score live, conducted by Maestro Joel Levine.

“This is a milestone moment for the performing arts in Oklahoma City,” Levine said. “Swan Lake isn’t just a ballet, it is the ballet. The production is a ‘must see’ for OKC; it is a big step forward, and it’s very exciting.”

Mills said, “The story of Swan Lake is all about transformation. The Oklahoma City Ballet has transformed over the past five years into a company capable of honoring the high art and transcendent power of this important ballet.

“Everyone who loves the performing arts should see Swan Lake at least once in their lifetime. The time is now for ballet in Oklahoma City.”
The ballet will be performed in two acts rather than the more traditional four-act version, an adaptation – a trend among ballet companies because it makes the ballet more accessible to modern audiences. “Most all of the iconic moments and dances in the ballet will remain,” Mills said.

Preparations for the historic production began more than a year ago and evolved into a regional effort.

Oklahoma City Ballet dancers Miki Kawamura and Yui Sato will dance the lead roles of Odette/Odile and Prince Siegfried at the Friday evening opening night performance, and soloists from the Houston Ballet, Nao Kusuzaki and Christopher Coomer, will perform the lead roles in the Saturday evening and Sunday matinee performances.

The Oklahoma City Ballet company includes 26 dancers representing six countries and 10 states in the U.S. who will be accompanying three Oklahoma dancers.

The ballet will feature beautiful sets and costumes including Prince Siegfried’s palace interior and the moonlit lakeside
The palace scenes will be staged by Artistic Director Robert Mills and Ballet Master Jacob Sparso, inspired by the original choreography of Marius Petipa.

The “white acts” will be staged by guest repetiteur Lisa Moon, using the original choreography of Lev Ivanov.

Family Activities & Education
Pre-performance Saturday, at 7:15 p.m. Lecture on the historical significance of Swan Lake in the South Lobby.
Pre-performance at 1 pm Sunday. Hear the fable of Swan Lake while learning the art of pantomime (storytelling through movement).
Post-performance Sunday – There will be a “Meet and Greet” with the dancers directly following the Sunday matinee performance. Refreshments provided by Braum’s.

Individual ticket prices range from $33 to $55 depending on section. Tickets can be purchased online at okcballet.com, by phone at 405.848.TOES (8637) or the Civic Center Box Office at 405-297-2264.

Oklahoma City University’s Spring Show Celebrates Broadway, St. Patrick and Ralph Ellison

Staff Report — Mon, 11 Mar 2013 20:16:05 +0000

Staff Report

OKLAHOMA CITY — The American Spirit Dance Company, founded and directed by Professor Jo Rowan, will bring rapid-fire tap, jazz and musical theatre dance back to the Kirkpatrick Auditorium stage at Oklahoma City University March 14, 15 and 16.

The acclaimed company of dancers from Oklahoma City University’s Ann Lacy School of American Dance and Arts Management will celebrate an early Saint Patrick’s Day with Rowan’s emotionally compelling Irish Bitter Suite, a collection of six dances covering Irish immigration to America due to famine and political repression ending with an uplifting and hopeful performance of “God Bless America” as the Irish find freedom and opportunity as new Americans.

The American Spirit dancers will also celebrate the 100th anniversary of the birth of Oklahoma native and novelist Ralph Ellison with the Ellison Loves Ellington Suite, featuring dances to a trio of some of Duke Ellington’s most beloved music.
“This is the fast-paced show of the year,” said director Jo Rowan, noting that the audience will see dancers trained and skilled in multiple styles of American musical theatre dance, the foundation of all Broadway shows.

“The show presents dynamic entertainment that is perfect for the entire family, from grandpa to the grandkids,” Rowan stated. “There are high energy numbers and powerful tap numbers to keep the performers – and the audience – on their toes, along with beautiful and colorful costumes and computer controlled moving lights.”

The 140 member company, which has been a “seed bed” for professional performers all over the world, will take audience members to the beaches of Rio de Janeiro, flying around with a wacky pilot and beautiful stewardesses of the ‘60’s, and back to the “good ole days” of travel by train.
Show times are 8 p.m. March 14 and 15, and 2 p.m. and 8 p.m. March 16. Reserved seat tickets are $20 from the Oklahoma City University Performing Arts Ticket Office by calling (405) 208-5227 from noon to 4 p.m. Monday through Friday, or online at www.okcu.edu/ticketoffice.

Brightmusic to mark 10th anniversary with renowned guest artist Miles Hoffman

Staff Report — Thu, 07 Mar 2013 14:50:38 +0000

Guest artist Miles Hoffman

Staff Report

Oklahoma City’s own Brightmusic Chamber Ensemble will present two performances of the fourth concert of its 10^th anniversary season, “Bright Tales,” scheduled March 18-19, said David Johnson.

Guest artist for the concert will be violist Miles Hoffman, renowned Artistic Director of the American Chamber Players; Associate Professor of Viola at Converse College in Spartanburg, SC and and Music Commentator for National Public Radio’s “Morning Edition.”

The works on the program are: (1) Wolfgang Amadeus Mozart’s “Kegelstatt” Trio in E-flat Major, K.498 for viola, clarinet and piano; (2) Max Bruch’s Romance for Viola and Piano in F Major, op. 85; (3) Robert Schumann’s “Märchenerzählungen” (“Fairy Tales”), op. 132 for viola, clarinet and piano; and (4) Guillaume Lekeu’s Piano Quartet in B Minor for violin, viola, cello and piano.

Four Brightmusic musicians will appear with Mr. Hoffman on this concert: Gregory Lee (violin), Jonathan Ruck (cello), Chad Burrow (clarinet) and Amy I-Lin Cheng (piano).

The performances will take place on Monday, March 18th at 7:30 pm in northwest OKC at All Souls’ Episcopal Church, 6400 N. Pennsylvania Ave., followed by an identical presentation at Tuesday, March 19 at St. Paul’s Episcopal Cathedral, 127 NW 7th St.

Admission is $10 per adult; students and Season Members are free of charge. A reception with the musicians will follow each performance.

The shows are presented with the support of Chesapeake Corp., the Oklahoma Arts Council and the Ad Astra Foundation.

Guest Artist and Brightmusic Musicians Appearing

Guest Artist: Miles Hoffman is founder, violist and Artistic Director of the American Chamber Players, an outgrowth of his nine years’ service as the director of the Library of Congress Summer Chamber Festival, which he founded. He regularly tours the United States and Canada with the American Chamber Players and frequently appears as a viola soloist with orchestras throughout the country. Mr. Hoffman is also Associate Professor of Viola at Converse College in Spartanburg, South Carolina, where he served as the Dean of the Petrie School of Music from 2007-10. His musical commentary, “Coming to Terms, was heard weekly throughout the United States from 1989-2002 on National Public Radio’s Performance Today. Now, as music commentator for NPR’s flagship news program, Morning Edition, he is regularly heard by an audience of some 14 million people. He is the author of The NPR Classical Music Companion, now in its tenth printing. He received his BA degree from Yale University and his MM from The Julliard School.

Violin: Dr. Gregory Lee, Associate Professor of Violin, University of Oklahoma; Concertmaster of the Oklahoma City Philharmonic Orchestra. Gregory regularly performs with the OU faculty ensembles Holmberg String Quartet and Oklahoma Chamber Players. BM, The Julliard School; MM and DMA, University of Michigan.

Cello: Dr. Jonathan Ruck, Assistant Professor of Cello, University of Oklahoma; Principal Cellist with the OKC Philharmonic Orchestra. Jon regularly performs with the OU faculty ensembles Holmberg String Quartet and Oklahoma Chamber Players. BM, MM and DMA, Indiana University.

Clarinet: Chad Burrow, Assistant Professor of Clarinet, University of Michigan; former Principal Clarinetist, OKC Philharmonic Orchestra. Chad is the clarinetist in the clarinet-piano ensemble Duo Clarion and the violin-clarinet-piano ensemble Trio Solari. BM, Northwestern University; MM, Yale University. Co-Artistic Director of Brightmusic.

Piano: Dr. Amy I-Lin Cheng, concert pianist; Lecturer of Piano at the University of Michigan; faculty member at the Ann Arbor School for the Performing Arts. Amy is the pianist in the clarinet-piano ensemble Duo Clarion and the violin-clarinet-piano ensemble Trio Solari. BM, The Curtis Institute of Music; MM and Artist Diploma, Yale University; DMA, New England Conservatory. Co-Artistic Director of Brightmusic

100-Voice Chorus from Oklahoma City University to Present Free Lenten Concert March 10 at St. Eugene’s Catholic Church

Staff Report — Tue, 05 Mar 2013 00:46:00 +0000

staff report

Singers from Oklahoma City University will present the classic work “Stabat Mater” on Sunday during a choral concert for the Lenten season in the new sanctuary of St. Eugene’s Catholic Church, 2400 W. Hefner Road. Admission to the 3 p.m. March 10 concert is free and open to the public.

“The beautiful space, the Lenten theme and the timeless music will make for a memorable, contemplative concert,” said Randi Von Ellefson, director of choral activities at OCU’s Bass School of Music.

Oklahoma City University’s Laetare Sunday presentation, under the direction of Ellefson and Judith Willoughby, will feature the Bass School’s 70-voice Ad Astra women’s chorus and the 36 singers of the University Men’s Chorus.

“Stabat Mater,” to be performed by Ad Astra in the original Latin, is the best-known sacred work of the Italian composer Giovanni Battista Pergolesi. The music was completed shortly before he succumbed to tuberculosis in 1736, at the age of 26. The work, a tribute to Mary as she witnessed the crucifixion, was composed to be sung each Friday in Lent at the church of San Luigi di Palazzo in Naples.

The philosopher Jean-Jacques Rousseau declared: “The first movement of the Stabat Mater is the most perfect and most moving that has ever issued from the pen of any composer.”

Also on Sunday’s eclectic program: choral works including traditional psalms, spirituals and gospel-inspired works; “How lovely is Thy dwelling place,” from Johannes Brahms’ Requiem; “Cantique de Jean Racine” by Gabriel Fauré; the 21st century “The Tree of Peace” by Gwyneth Walker; and “God Protect Us From War,” a 20th century Finnish-language work for men’s chorus and gong. The 75-minute program will run without intermission.

John L. Edwards, organist at First Presbyterian, will perform on St. Eugene’s new 132-rank Walker organ for the opening and closing pieces.

On April 13, OCU’s choral and orchestral musicians will join forces with Canterbury Choral Society for a rare presentation of Leonard Bernstein’s MASS, commissioned by Jacqueline Kennedy Onassis for the grand opening of the Kennedy Center for the Performing Arts. For details and tickets, contact 405.232.SING.

For more information on upcoming events at the Bass School of Music at Oklahoma City University, visit www.okcu.edu/music or www.facebook/bassschoolofmusic.