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The people behind this year's spring arts events.
CAIN’S BALLROOM
This spring, Cain’s Ballroom will welcome some big acts to its stage, including two nights with rising country artist the Eli Young Band. Bass player Jon Jones says those attending the back-to-back performances should expect to hear some fan favorites mixed with new material from the group.
What can people expect when they come to see an Eli Young Band show? People can expect to see a concert full of our own songs with a little more energy than most expect from a country band. We try to put on a show that would be enjoyable for almost any age as long as they are looking to have a good time.
You’ve played the Cain’s before. What is it like to play at such a historic venue? Cain’s Ballroom is one of a handful of special rooms that we have had the honor of playing. Along with places like Gruene Hall and the Ryman Auditorium, there is a special energy in the room. I don’t know that there are ghosts running around having jam sessions after hours or anything like that, but it is as if you can feel the history all around.
You’ve had the chance to tour with some of the biggest names in music – Alan Jackson, Dave Matthews Band, Jason Aldean, Pat Green – and recently went on the road with Gary Allen. What have you taken away from those experiences? We have come away from each big tour with a greater idea of where we want to be in the future as well as huge respect for a bunch of great musicians and performers. We were amazed with how humble and down-to-earth both Dave Matthews and Alan Jackson were with us. We know we never want to lose who we are as people just because of what we get to do for a living.
On your Web site and Facebook page, fans can get to know you and your personalities through your video blogs. Why do you feel it is important to have those connections? There was a time when our concerts were on such a small scale that we really knew most of our fans who came to our shows. That is something that has always been special to us and is something that we never want to lose. I think people want to know who they are listening to. Hopefully it makes our music more genuine to the listener. Also, we are really just four goofy guys who started the band together and we don’t want people to think that we are anything more than that.
TULSA ARTISTS’ COALITION GALLERY
Janice McCormick, publicity chair and selections committee facilitator for the Tulsa Artists’ Coalition, talks about upcoming exhibits at the gallery. With a new artist and exhibit each month, the TAC Gallery is always a hotbed of emerging and established artistic talent.
What is the history of the Tulsa Artists’ Coalition and the gallery? The Tulsa Artists’ Coalition began in 1986. It is an artists-run organization with a 401(c)(3) not-for-profit status.
For a long time, we did not have a gallery, holding exhibits and performances in a wide variety of temporary spaces. Eventually, we ended up in what is now considered the Brady Arts District.
First we had a gallery and a performances space at the corner of Cameron and Cincinnati. We moved here at 9 E. Brady St. approximately 15 years ago. Although the space is small, each month a new exhibit is presented. Some are of the more traditional forms, but others transform the gallery space. The emphasis is on presenting works by emerging and established regional artists whose work would not likely find exposure in a commercial venue.
The first 2010 artist, Kristal Tomshany, is no stranger to the TAC Gallery. What can people expect with this exhibit? Kristal Tomshany’s “Form in Flux,” Jan. 8-30, is a series of paintings that peels away a layer of our limited human perceptions in order to expose the formless essence of an object as well as the constant interchange between the form and the space that surrounds it. It’s a difficult balancing act: creating a convincing illusion of form without obliterating the underlying flux.
What is the 5x5? The 5x5, TAC’s annual fund-raiser, features artworks that measure 5 inches by 5 inches and sell for $55. The doors open at 5:55 p.m. on the fifth of May. Admission is $5. We easily will have over 250 artworks created by local and regional artists. The range of the creative imagination of these artists is amazing. The opportunity to buy an original work of art at an affordable price as well as the sheer diversity of artistic styles from which to choose explain why the public eagerly lines up to buy these mini-masterpieces.
TULSA TOWN HALL
Within its 75-year history, Tulsa Town Hall has managed to bring some big names to Tulsa through its speaker series. Kathy Collins, executive director of Tulsa Town Hall, says the success of the series is due to its strong leadership, a committed governing council, generous community sponsors and loyal subscribers.
How are Tulsa Town Hall speakers determined? Tulsa Town Hall speakers cover a variety of topics to appeal to a wide group of subscribers. In the five lectures in one year, there may be a best-selling author (David McCullough) or a well-known journalist (Bob Schieffer) or a scientist in the news (Dr. Robert Ballard) or an entertainer (Beverly Sills) or a familiar humanitarian (Arun Gandhi). As proud as we are of the well-known speakers, many of the most popular speakers include the unknowns, such as holocaust survivor Gerda Klein and scholar/author Dr. Elliot Engel. The selection process is accomplished by the Tulsa Town Hall program committee. A small group works one year out to secure speakers. They spend a great deal of time doing research on speakers that will be timely and current, compelling and appealing to Tulsans. We also receive many calls from subscribers who have heard or know of an outstanding speaker. Those recommendations are always carefully researched and considered by the program committee.
How is the 75th year being marked? In addition to the outstanding five speakers who are part of the 2009-2010 lineup, Town Hall is offering a bonus lecture by Dr. J. Rufus Fears on Friday, May 14, 2010. Dr. Fears is one of the most popular recent Town Hall speakers and will be speaking on “Leadership in the Times of Crisis,” comparing the challenges of Lincoln and Roosevelt with those of today’s leaders. Dr. Fears will present a different lecture on that topic at the 75th anniversary dinner Thursday, May 13, in the Crystal Ballroom of the Mayo Hotel.
Who is Harm de Blij, Tulsa Town Hall’s guest in January? Harm de Blij is a world-renowned geographer whose topic encompasses “Why Geography Matters.” For years subscribers have asked Town Hall to focus on geography as one of the topics, and Harm de Blij meets that request in a compelling talk. Through the topic of geography, he addresses the United States and relations around the world.
MAYFEST
With preparations already under way – from accepting applications for musicians, visual artists and food vendors to completing the 2010 poster and souvenirs, Mayfest Executive Director Heather Pingry discusses this year’s festival, to be held May 13-16. To be one of the 800 volunteers Mayfest needs, visit 1-800-volunteer.org or www.tulsamayfest.org.
What should Tulsa expect of Mayfest 2010? Mayfest 2010 will continue to feature over 120 visual artists; three indoor galleries showcasing the artwork of Tulsa artists of all ages; approximately 75 performances on our three stages, including a national headline act; a KidZone area that features hands-on art activities for children and great family-friendly entertainment; and, as always, great festival food.
What’s going to be new at this year’s festival? As a continuation of our greening efforts, we are creating a new specialty indoor gallery this year that will feature artwork created from recycled materials. We also plan on having another great headline act on Saturday night. I can’t reveal the artist yet, but I think Tulsans are going to love the artwork and the great souvenirs that complement it.
Do you have a favorite part of Mayfest? If so, what is it? That’s a really tough question because, as I think of each area or aspect of the festival, they’re all my favorite. The majority of our guests enjoy the music, outdoor artists and food, but I think that our indoor galleries, especially the Invitational Gallery and Youth Art Gallery, are incredible features that aren’t as well known. The Invitational Gallery showcases the artwork of approximately 100 professional Tulsa artists and is located in the lobby of the Williams Towers. It’s a unique opportunity to see so many wonderful Tulsa artists’ work on display at one location. Our Youth Art Gallery is located in the PAC (Tulsa Performing Arts Center) and features approximately 500 area students’ artwork. It’s amazing to see what these young artists are capable of and the variety of works displayed.
Why do you think Mayfest is such a popular event in Tulsa? Mayfest is a Tulsa tradition. It is the area’s largest free festival and will be celebrating its 38th anniversary at the 2010 event. Tulsans are great supporters of the arts, and festival-goers know that we have something to offer everyone. Mayfest always offers quality products, whether it (is) artwork, children’s entertainment or the music. It’s such a happy event … it’s the unofficial kickoff to summer!
THEATRE TULSA
Classic theater.
The two words bring to mind not only well-known plays performed through the ages but their playwrights as well — plays such as Tennessee Williams’ 1955 Pulitzer Prize-winning “Cat on a Hot Tin Roof.”
Theatre Tulsa presents Williams’ compelling story of a powerful Southern family as it gropes with the news of its dying patriarch, how each family member will fare as the beneficiary of his estate and the tensions that ensue. Directed by Lisa Stefanic, “Cat on a Hot Tin Roof” hits the Liddy Doenges Theatre stage of Tulsa Performing Arts Center March 19-21 and 25-27. Here, Stefanic (who teaches theater at Tulsa Community College) shares her thoughts on directing the upcoming show.
Are you excited about directing “Cat on a Hot Tin Roof“? I am always excited about directing — and I always wonder what I’m going to learn each time I start a show. I continue to learn something each time, whether I’m directing, performing or choreographing. … I’m excited about directing this show because Tennessee Williams is such an important part of American theater; he worked on a big canvas and with rich, bold language. It will be exciting to be part of bringing it to life.
What are a few of the challenges for this play, and any Tennessee Williams play?
The challenge of directing any classic is to come up with a fresh interpretation or approach — especially if it’s a favorite and is done often. Tennessee Williams is quite the prose writer; his verbiage is rich, fluid and dripping with Southern accents. You need to see the humor and you have to watch the energy levels and make sure that the story doesn’t get pulled down with the weight of that accent and the emotions.
What do you look for in the cast of this show? There’s a joke in our family: the secret to baking a great ham? First, buy a good ham. It’s kind of that way with casting — if you cast it right, the rest will eventually come together. (Not that they are hams, mind you!) Some of the things I look for in auditions are emotional honesty, energy and a willingness to collaborate with the director.
Which types of theater do you prefer to direct the most and why? I really enjoy directing all types of shows. I love musicals because they are typically bright and the music can pull you down some other emotional avenues that a straight play doesn’t. Dramas are great because of the challenge not to make them too dramatic. You need to find the relief in humor, even if it’s ironic humor or dark humor, because isn’t that the way it is in real life? We connect with that. Comedy/farce is the hardest because you need to really rehearse well to have the timing in your line delivery down, as well as the physical timing, but I always have a good time. I love to laugh.
Why do you think “Cat on a Hot Tin Roof” is a good play for Theatre Tulsa (TT) to tackle this year, and for Tulsans to attend? Theatre Tulsa, like “Cat on a Hot Tin Roof,” is a classic. TT produces all the genres, but they’ve been around so long, they have the resources to produce classics/period pieces with costumes and set pieces. … On a deeper level, I think “Cat on a Hot Tin Roof” deals with the struggles of honesty with others and, more importantly, being honest with yourself. That’s a big challenge today. Our society is dominated both culturally and politically by people who excel in avoiding the truth — in “spinning” their message, if you will — and simple, courageous honesty is becoming lost in the battle. Obviously, “Cat on a Hot Tin Roof” wasn’t written as a political tract, but I think the story of people literally fighting their way through hypocrisy toward an honest accounting of who they are is timely. In fact, the timing is perfect, don’t you think?
TULSA BALLET
This spring, Tulsa Ballet will present the classic “Carmina Burana.” For the first time, Ma Cong, principal dancer for Tulsa Ballet, has choreographed the work. Here, he discusses his creative process and expectations for the production, which also features Tulsa Oratorio Chorus and Tulsa Symphony Orchestra.
How long does it take to choreograph such a massive work, and when do you plan to begin rehearsals? I have spent over two months doing all the research about the music, background, history, lyrics, etc. For creating the movement and steps, I only used about two and a half weeks in total; it was the fastest working process I have ever done for almost an hour ballet. To be (ready) again in May 2010, we have had about two weeks in total for reviewing in the beginning of this season, which is in August, and mostly just for the new dancers … to learn the steps and movement. And then, we are planning on starting rehearsals by the end of April; it will take us probably about two to three weeks to put everything together.
Approximately how many dancers are needed for “Carmina Burana”? I am using two lead couples (two females and two males) and eight corps couples (eight females and eight males). Of course, there will be some second cast and covers will be needed.
How will “Carmina Burana” be staged, since Tulsa Ballet will be sharing the billing with Tulsa Oratorio Chorus and Tulsa Symphony Orchestra? We (Tulsa Ballet) will rehearse and get the ballet in great shape, and Tulsa Oratorio Chorus and Tulsa Symphony Orchestra will rehearse themselves. Then we are all going to merge together in the theater week at PAC … It probably will take at least two or three times for final rehearsal with all, but it’s truly magic when everything goes together, and it becomes this beautiful, massive, powerful “Carmina Burana.”
Have you danced in “Carmina Burana” before, and if so, how will this affect your choreography? Yes, I have danced another version of “Carmina Burana.” Because I have danced this ballet before, it made me extremely clear about the music. I always get inspired by music, especially this powerful one. Choreographic-wise, I wasn’t affected by another version of “Carmina” at all. Because I always have a very close “conversation” with music before I start a new work … it speaks to me and leads me to the feeling I need to be discovered, and to the passion I need to be reached, and to the soul I have to be found, and to the message I need to be sent ... with all those materials, I come (up) with my own movement and steps, and it worked perfect just like how I imagined in my mind.
What types of ballet, or modern dance, are needed for the pieces “O Fortuna,” “Uf dem Anger” and “Court of Love”? As for this typical work I created, dancing-wise they are all based on classical ballet techniques, but with (the) upper body, I have used a lot of contemporary movement, so I would say this “Carmina Burana” belongs to neo-classical ballet.
Do you have a favorite piece in the work? Every section is very interesting and has different elements; it’s very hard for me to pick a favorite one. I guess all of them are.
