Sunday, April 19, 2015

“Between the fourteenth and the seventeenth centuries, English composers produced some amazing music,” says Eugene Enrico, OU Reaugh Professor of Musicology and conductor of the concert.

The University of Oklahoma School of Music presents EARLY MUSIC OF ENGLAND, as part of the Sutton Concert Series at 8 p.m. on Saturday, April 25 in the Grayce B. Kerr Gothic Hall of the Catlett Music Center in Norman. 

 “Our concert begins with a delightful medieval song, celebrating Spring, and sung as a round. Next, a sensuous motet by John Dunstable ushers in the new sound of the early Renaissance. We also have a lusty set from the Court of Henry VIII, followed by a suite of lute and dance songs of the Elizabethan era. The finale of the concert is Purcell’s Come Ye Sons of Art, a cantata written for the birthday of Queen Mary,” noted Enrico. Soloists include Skye Singleton, Jenna Dennert, Megan Wagner and Caitlin Gray, sopranos; Will George and Danur Kvilhaug, countertenors; Jonathan Gillis and Joel Garber, tenors; and Andrew Wannigman and Matt McCarter, basses.  A chamber orchestra led by violinists Yajing Zhang and Tristan Selke will accompany the singers. Also featured will be Andrew Schaeffer, harpsichord; Larry Hammett and Danur Kvilhaug, lutes; and Lauren Hughes, Elizabeth Cullen, Roger Rideout and Emily Hiltner playing recorders; with Adam Hall playing both bass recorder and bass gamba (viol).
All Sutton Series performances are in OU’s Catlett Music Center, 500 W. Boyd, in your OU Arts District! Advance purchase tickets for Sutton Series events are $9 for adults and $5 for students, faculty, staff and senior adults. $10 at the door. For tickets and up-to-date information call the Fine Arts Box Office at (405) 325-4101.

Many concerts are scheduled for live stream via Internet. To see a schedule visit Please visit for a full calendar of events and performances at the School of Music. The University of Oklahoma is an equal opportunity institution. For accommodations on the basis of disability, please call the Box Office at (405) 325-4101.
From the press release


 By Nancy Condit

My original commentary of October 17, 2014 was very poorly researched. I apologize 
especially to Mr. Sparso, and to the Oklahoma City Ballet for such an omission.

Dress rehearsal for Oklahoma City Ballet's world premiere Cinderella, choreographed by Jacob Sparso, company ballet master, Thursday night at the Civic Center Music Hall, was a promising rehearsal of the coming performances, October 17-19.

Mr. Sparso's Cinderella is a very pleasant, pretty ballet, with lush music by Sergei Prokofiev -- premiered in 1945, with a much gentler scenario than the Eastern European ones of the popular fairy tale. Nobody died, for a change. No one deserved severe punishment for a change. 

Sparso trained and made his debut with the Royal Danish Ballet at the age of 10. August Bournonville, who created many ballets from 1836 on for the Royal Danish Ballet, already a choreographer, also followed the French school where he had advanced training. His romantic ballets were characterized by light, fleet footwork, and happy endings, which are different from the grand passions of the European story ballets. 
(Jack Anderson, Ballet & Modern Dance)

It is to be hoped that Sparso will bring more ballets from this school of thought to the Oklahoma City Ballet.

Of particular note were the dances of the fairies and their cavaliers, with their attendants of the four seasons: Spring, Amanda Herd-Popejoy and Walker Martin; Summer, Amy Potter and Daniel Handman; Autumn, DaYoung Jung and Gerald Pines; and Winter, Jeppe Jakobsen - the fairy, and Ryan Piper. The dancing and the choreography was very nice.

The Ugly Stepsisters are more comic or mad as characters danced by Robert Mills and Ronnie Underwood. These roles are traditionally played by men. It was to be wished that Mills cheated a little more, turning to the audience so that his outraged, screaming, wide open mouth could be appreciated by more of the audience.

Dress rehearsal is where you find out that a sprinkling of snow can accidentally become a blizzard, leaving the lead Winter dancers to lose their footing -- without injury.

Among other ballets, Sparso choreographed The Wizard of Oz and The Phantom of the Opera for the OKC Ballet. 

Guest conductor Kermit Poling directed the Oklahoma City Philharmonic, bringing live music to all performances. Also composed the scores for Beauty and the Beast, and Phantom of the Opera for the OKC Ballet.

Costume and scenic designer Alun Jones' early 19th century costumes and scenic designs were lovely, especially the added touch of a painted ceiling during the ball. The sets and costumes were courtesy of the Louisville Ballet, with additional costumes courtesy of Nashville Ballet.

Tickets start at $25, and are available through OKC Ballet at 405.848.TOES (8637), by going online at, by going to the ballet office at 7421 North Classen, open Monday - Friday from 9 to 5, and at the Civic Center Box Office, 405.297.2264, Monday-Friday  9 a.m.-5:00 and two hours before every show start time, or online at

Saturday, April 18, 2015


Perpetual Motion Dance is currently creating an original concert of modern and aerial dance entitled Fault Line in collaboration with filmmaker Kyle Van Odsol that will feature the company's signature blend of stunning visuals and technical ingenuity. The concert will take place May 15th-16th 8:00pm and May 17th 2:00pm at the Oklahoma Contemporary Arts Center.  Fault Line will explore the metaphor of seismic shifts by creating an eight by eight foot wall of boxes that will be deconstructed into multiple platforms. Kyle Van Osdol will integrate 3-D projection mapping onto these platforms, reflecting the seismic activity occurring below our feet. Aerial apparatuses such as a horizontal ladder and harnesses will lift the performance off the ground and into the air. The choreography for Fault Line will be created by director Michelle Moeller, company choreographers Stephanie Crosby, Kayla Jenkins, and Amy Nevius and artist in residence Amy Querin of Fresno Dance Collective. 

Perpetual Motion Dance was awarded the Mid-America Arts Alliance "Artistic Innovations" grant for the creation Fault Line, one of only three awarded in the state of Oklahoma.  The company was also awarded a matching grant from the Oklahoma Arts Council to assist in funding Perpetual Motion's concert. Through state appropriations and grants from the National Endowment for the Arts, the Oklahoma Arts Council funds over 1,200 events annually with an estimated total attendance of over 3.5 million. Projects funded by the Oklahoma Arts Council generally account for over $20 million in grants and matching funds distributed throughout Oklahoma's economy throughout the state's rural and urban communities. 


We would like to send a huge thank you to Edward K. Van Osdol of  Oklahoma City, Ok for creating our 2015 "FAULT LINE" promo video!  Kyle Edward Van Osdol (pictured above) is an Oklahoma based digital media artist who deals with organic and technology based themes. His unique eye for detail has allowed him the ability to focus more on the composition as a photograph in order to seamlessly create a verisimilitude between technology and plausibility. Kyle primarily utilizes a 3D canvas in which to create his pieces. Equip with only a mouse and a keyboard, he is able to conjure fantasy and make it a reality. 

Click the link below to view:

Support Perpetual Motion by shopping! Click on the links below for more details!

V isit our etsy shop and support your local dance company! 

Choose Perpetual Motion Dance as your charity on Amazon Smile and a percentage of your purchase will be donated to our organization!

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APR. 29TH 


Monday 5:30-6:30 
Beg/Int Modern
Instructor: Kayla Jenkins

Monday 6:30-7:30 
Advanced Aerial
Instructor: Emily Dawson

Wed 6:30-7:30 
Beg/Int Aerial
Instructor: Maria Krey Gibson

CLASSES ARE open to students ages 12 & up. 
 Drop-ins are welcome!

To stay up to date on all class info throughout the week join our class group on Facebook! 

Simply click the link below:


April 4th
University of Central Oklahoma - Ages 12 & up.

APRIL 2nd & 3rd
Guest Performers - Perpetual Motion & PM 2
"Fusion" Dance Showcase - 7:00pm
Douglass Highschool

May 15th-16th
FAULT LINE 8:00 pm 
Oklahoma Contemporary Arts Center
Tickets on sale April 6th

May 17th 
FAULT LINE  2:00pm
 Oklahoma Contemporary Arts Center 

June 26th-27th 
Tulsa Summer Stage with Bell House Arts

July 24th-25th 
To receive info about upcoming performances:

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perpetual motion Dance | P.O. Box 1916 | Oklahoma City | OK | 73120


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Hartel Dance Group goes to the Orlando Fringe Festival

HDG was selected to be a part of the Orlando Fringe Festival

from a pool of over 200 national and international acts.   This is a great opportunity to produce our show  "What's Love got to Do with IT"  for national and international audiences, showing them  what the performing arts are all about in Oklahoma City.


HDG must raise $3,000 to cover operational costs associated with the production and travel expenses of the company to Florida, which includes the rental fees for the Lowndes Shakespeare Center in Orlando and rental of the rehearsal space,  in addition to the travel expenses to take 10 company members to this festival

The performers are

Brooke Benton, Emily Oliver, Thyrsa Da Rosa, Jennifer Rader, Christy Strauss, Bailey Evans and Billi Marder. Also will join us on stage Tonia Sina and Matthew Ellis with original composition by Aaron Robinson. HDG dancers are incredibly talented and creative performers who are  dedicated to their craft and the company.

To Make a Donation to the Campaign click HERE

To learn more about the company, visit
Thank you for being a part of this cultural explosion happening in our City, we could not do it without your help.
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Friday, April 17, 2015


By Nancy Condit

Last night's triple bill of Nine Sinatra Songs, choreographed by Twyla Tharp in 1982 and set by Shelly Washington, Dear Miss Cline, choreographed by Amy Seiwert in 2011, and Stanton Welch's Play, choreographed in 2004 to music by Moby brought the Civic Center audience to their feet Friday night.

The music made the pieces as Frank Sinatra's, and his daughter Nancy's voices in one of the nine, and Patsy Cline's in the second added the generations familiar songs. Familiar except, as Shelley Washington, from the Tharp company, pointed out, to the dancers. "We were googling the songs to listen to them, since almost none of them were over 28," she said in the pre-performance lecture. Moby's techno music added the beat that left theater goers sounding the beat long after they left the Civic Center.

"Twyla Tharp was one of the first to use popular songs. I wanted it for our company -- to push the dancers," Robert Mills, artistic director in the lecture. 

The dancers were certainly up to being pushed, as they performed the lyricism of many of the Sinatra pieces, and the outright humor and sadness of "One for My Baby," Seiwert's lifts, and Welsh's big city feel as dancers walked rapidly back and forth, leaving a just arrived in this country man on the sidelines to watch. The end of Welsh's piece was particularly well done as the women -- on point, rushed across the stage flipping their heads and hair up and down, and the men formed a triangle of dancers moving in unison to the music's beat.

Spanning 40 years, ballets were performed in order in Oscar de la Renta designed cocktail dresses, tuxes and heels, stylized gingham country dresses on point, and business suits on point.

Tickets are available for Saturday's 8:00 pm and Sunday's 2:00 pm performances online at   
or at the Civic Center before the performance.

Thursday, April 9, 2015


The story of enigmatic art forger, Mark Landis, comes to life in Tracy Truels (libretto) and Eric Lindsay’s (music) interactive opera, “Ascription.” The May 7 performance at 7 p.m. will be followed immediately by a talk back with the composer and librettist.

The performance, staged in the galleries of the “Intent to Deceive: Fakes and Forgeries in the Art World” exhibition at the Oklahoma City Museum of Art, will be nothing like a typical opera. Conceived as a series of short vignettes, the opera will not have a traditional stage but will instead take place throughout the gallery. Singers and musicians will be mixed in with – and emerge from – the crowd.

Librettist Truels says this untraditional staging complements the con artist who inspired the opera. “Mark Landis played with expectations each time he gifted a forged work,” she says. “So it fits that the audience will also encounter some surprises as the opera unfolds around them.”

The work takes on particular significance given that the OKCMOA will have a number of Landis’ forgeries on display during the exhibition. Those works will serve as focal points for scenes in the opera. “By staging the production in the space where Landis, himself, put on his ‘performance’ long ago,” says Composer Lindsay, “audiences will gain a unique insight into Landis’ motivations and process, something that will complement the story told through his works on display.”

Starring in the performance will be four Oklahoma-based singers with national reputations. Kelly Holst, assistant professor of voice at Oklahoma City University and lyric coloratura soprano, will perform the role of Brenda Stavlo, an exuberant registrar initially fooled by Landis’ act. Tenor Zac Engle, who recently performed with the Boston Opera Collaborative and Green Mountain Opera, will appear as Mark Landis. Courtney Crouse, assistant professor of voice at Oklahoma City University and mezzo soprano, will play Bernadette Lowe, an assistant curator who first notices something strange about Landis’ work. Baritone bass Mark McCrory, a voice professor at the University of Oklahoma, will perform the role of the curator who is determined to expose Landis’ actions as fraudulent. While Landis’ life inspired the central role, the remaining characters are fictional creations representing a duped, confused and sometimes angered art world.

This isn’t the first time Truels and Lindsay have used the theme of reality versus illusion in operatic form. Their first opera, “Cosmic Ray and the Amazing Chris,” translated the grand opera tradition into the world of cosplay, with a story that moved between a costume contest at the Comic Con convention and a fictional comic book world. Staged in 2014 by New Voices Opera Company in Bloomington, Indiana, the opera will be restaged this year by Thompson Street Opera Company in Louisville, Kentucky.

Remixing and style synthesis is a running thread in Lindsay’s works, which range from concert music to sound installation and film. In 2014, his music was performed in the sculpture garden of the Museum of Modern Art in New York, and his multimedia installation for the ADORNO Ensemble in San Francisco allowed audience members to move freely while musicians navigated unique paths through the performance space. An alumnus of Indiana University-Bloomington, King’s College-London and the University of Southern California, Lindsay recently joined the faculty of Indiana University, where he teaches courses in music for mixed media and music for film.

In addition to being a librettist, Truels is a published poet. She holds an MFA in creative writing from Indiana University and is the curator of education at the Oklahoma City Museum of Art. She began working on “Ascription” prior to joining the Museum staff.

Seating for the opera debut is limited. Tickets are available for $10 online at or by calling (405) 236-3100.

From the press release


Among the more than 55 works on display, "Intent to Deceive" features original works by renowned artists such as Charles Courtney Curran, Honoré Daumier, Philip de László, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Paul Signac, and Maurice de Vlaminck, interspersed with fakes and forgeries painted in the styles of these masters. The exhibition presents some of the most infamous scandals in the art world and allows viewers to test their perceptions of authenticity. Curated by Colette Loll, an art fraud expert, and organized for tour by International Arts & Artists, Washington, D.C., "Intent to Deceive" will be on view from Feb. 14 through May 10, 2015.

Unable to make a career based on the acceptability of their own artistic style, the five forgers profiled in "Intent to Deceive"-Han van Meegeren, Elmyr de Hory, Eric Hebborn, John Myatt, and Mark Landis-found fakery, the exact duplication of an original work of art, and forgery, the creation and selling of a work of art which is falsely credited to another, to be their surest avenue to recognition and commercial success. Showcasing their personal effects and the materials and techniques each used to create fraudulent works, the exhibition illuminates how each forger managed to fool the experts until they were ultimately exposed. The exhibition brings to light these forgers' frustrated artistic ambitions, chaotic personal lives and contempt for the art world. It also examines how advances in technology are aiding art professionals in ascertaining authenticity.

Han van Meegeren (Dutch, 1906-1976)
Han van Meegeren was the first of the forgers romanticized in 20th-century media for his ability to fool the "infallible" art experts. Like others who followed, van Meegeren turned to forgery out of frustration with his own stalled artistic career and the demands of an expensive lifestyle. He began to produce forgeries of 17th-century Dutch masters in the 1920s, but they were not credible enough to earn him significant wealth. However, by the mid-1930s, van Meegeren developed a technique to simulate the look and feel of centuries-old dried oil paint by mixing an early form of plastic into his pigments.

Elmyr de Hory (Hungarian, 1906-1976)
After several failed attempts to ignite his own career, Elmyr de Hory focused on his own talent as a forger. De Hory built a façade of being a dispossessed Hungarian aristocrat in the United States, selling off artworks from his collection-which were later revealed to be authentic turn-of-the-century society portraits in which de Hory had over-painted the faces, hands and signature.

Eric Hebborn (British, 1934-1996)
Eric Hebborn's training at the Royal Academy of Arts-Britain's most prestigious art school-as well as his award of the Rome Prize, could have heralded an illustrious artistic and academic career. Instead, his exquisite drawing skills were rejected by the mid-20th-century art world, making Hebborn profoundly contemptuous of art dealers and experts. His training as a painting restorer taught him to repair damaged works, but also to enhance them and, at times, simply forge them. When he realized how easily the experts were fooled, his contempt for them increased. Ultimately, he came to justify his forgeries as ethical if he sold them to experts and dealers who should be able to discern the authentic from the fake.  

John Myatt (British, b. 1945)
John Myatt's life demonstrates how one wrong step, and one wrong partner, can turn a struggling artist into a criminal art forger. Myatt began his artistic career with promise. He was awarded a scholarship to open his own art studio and supported himself by selling and teaching art for several years, but his traditional, pastoral style did not create enough interest to allow him to earn a proper living. To provide for his children, he devised a plan to sell "genuine fakes" through an advertisement in a local paper. Con man John Drewe saw the ad and approached Myatt. The Myatt-Drew partnership created one of the most damaging art hoaxes of the 20th century, with Myatt forging more than 200 modernist paintings, and Drewe most likely corrupting the art historical record for generations to come by falsifying provenance documentation.

Mark Landis (American, b. 1955)
Mark Landis may be the most famous art counterfeiter who never committed a crime. He does not fit the standard profile of charlatan working for material gain or embittered artist seeking to punish a world that failed to appreciate him. For the past 30 years, Landis has approached dozens of museums and university galleries in multiple states claiming to be a wealthy philanthropist with a collection he wished to donate in honor of his deceased parents. He has gone to odd lengths to perpetuate this fantasy to give away his fakes, not only falsifying documents and using aliases, but also dressing in costume.

The exhibition features Mark Landis' priest coat and collar he used as one of his many aliases, along with six works he created and donated to the Oklahoma City Museum of Art. A staff member at the Museum noticed a pattern of odd donations and suspected the same person, under a series of aliases, was making them. Placed under a microscope, Landis' painting revealed the presence of pixels, a telltale sign it had been painted over a digital image. Landis later admitted his technique was to download a digital image of the painting, glue it to a board, distress it with sandpaper and paint over the top.

The last gallery of the exhibition will be an interactive space where visitors have a chance to pick out authentic works of art hung beside fakes and forgeries. Visitors can also try their own hand at creating a copy of a drawing by French artist Honore Daumier.

This exhibition is funded in part by the Oklahoma Humanities Council (OHC) and the National Endowment for the Humanities (NEH). Any views, findings, conclusions or recommendations expressed in the exhibition do not necessarily represent those of OHC or NEH.

Upcoming Events

Making Memories
A special program for Alzheimer's and dementia patients and their loved ones
Monday, April 13, 10:30 a.m.-12 p.m. & 2-3:30 p.m.

Art After 5: Opera Performance
Arias from the opera
Ascription, composed by Eric Lindsay
Thursday, May 7, 7 p.m.

Drop-in Drawing
Saturday, May 2, 2-4 p.m.

Free Family Day: Art Investigations
Sunday, May 3, 2015, 12-5 p.m.

From the press release