Dine With A Celebrity

By

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June 23, 2011

It was a brash yet halcyon age of innocence. It was 1963. John F. Kennedy, who had recently stayed at Tulsa’s fabled Mayo Hotel, was in the White House. Tulsa was Oil Capital of the World. And in that year Mike Samara, a restaurateur from Oklahoma City, moved to Tulsa and opened the Celebrity Restaurant.

Step through the unassuming entrance, and nothing has changed since then. You’re in a world of hushed opulence, bathed by the russet glow cast by chandeliers off gilt mirrors, oxblood walls, swagged white curtains and Louis XV chairs whose pink velvet upholstery and glossy wood is burnished by wear and time. Elegance frozen in amber.

It’s hard to believe that 45 years ago, this place was cutting edge. Back then, most people thought of 31st and Yale, so far from town, as open wilderness, and the Club’s gas-fired grill was one of the first in Oklahoma.

The grill attracted the notice of top gas company executives, the food and service made them bring their friends, and the Club soon became the haunt of the reclusive, powerful elite that ran the city. It was a late-night hotspot. “A hopping place,” people called it.

To be allowed to serve liquor, it was run as a private club. Willie Nelson, according to legend, was refused membership because he refused to wear a jacket and tie. Things have changed; the restaurant is no longer private, and on his latest visit, Mr. Nelson and his friends ordered 60 plates of fried chicken.

But not much else has changed. Old-fashioned is a term of pride at Celebrity. Many employees have been there for 15 years or more, and some of the customers have been coming for 40. Some are middle-aged couples that first came on prom night; others celebrate the anniversary of the night they first became engaged at Celebrity, often requesting the same table. That table is covered with crisp, spotless linen; shortcuts and cutting corners are taboo at Celebrity Club.

Though quite a few celebrities – from Mickey Mantle to David Cook – have dined there, the true celebrity is Samara. He’s built his business on making people feel welcome. He’s in his late 80s and his eyesight is failing, but whenever health permits he’s at the door, greeting customers, recognizing regulars by the sound of their voice.

The menu isn’t long and hasn’t changed all that much since the club’s salad days, but the old-style signature dishes are so well made that they draw those regulars back three, four, even five times each week.

Cold-water lobster tails (no imposter Caribbean lobsters here); succulent strips, rib eye and filet mignon; juicy chicken fried in a cast-iron skillet. Whether you’re there for the food, for the warm welcome, for the piano player who regales the bar area on weekends or, at year’s end, for the elaborate Christmas decorations that take three days to put up – whatever you do, don’t miss the Caesar salad. Prepared tableside by Samara’s son Nick using a classic recipe, a perfect blend of raw eggs (don’t worry, they’re pasteurized), Worcestershire sauce and anchovies, it’s a taste of old-world perfection you won’t find anywhere else. Just like Celebrity Club. 3109 S. Yale, Tulsa. 918.743.1800.

The Giver

By

Jami Mattox

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June 23, 2011

Lynn Schusterman and her husband, the late Charles Schusterman, established a family foundation in 1987 dedicated to spreading the joy of Jewish living, giving and learning around the world and to enhancing the quality of life in Tulsa. You can see buildings around Tulsa, from educational institutions to public libraries, burnishing the Schusterman name. Lynn recently signed Warren Buffett’s Giving Pledge. She also authors articles and opinion pieces for publications across the nation on various topics, including women in philanthropy.

The Schusterman Family Foundation bases our giving on helping people move out of circumstances they were born into. I think that the most important aspect of philanthropic giving is empowering people to realize their full potential. When Charlie and I began the foundation, we operated under the thought that if you give a person a fish, you feed him, but if you teach a person to fish, he can feed his family.

One of the causes I’m thrilled about (funding) is Teach For America; it’s helping kids in underprivileged, under-taught areas get an education. That’s one of the things I enjoy and how we base what we do. I can already see the impact Teach For America is having.

I became involved in Birthright Israel at its inception 13 years ago. Part of why I became involved in Birthright is because I am a product of birthright. When Charlie and I were married and had our young family, we decided that before we went any place in the world, as a family, we would go on a trip to Israel. Before then, I took my Judaism and ancestry for granted, and Israel wasn’t on my radar screen. I fell in love with the country and the people. I began reading about the Holocaust because I thought, “How can I ask others to get involved if I don’t know anything?”

The impact (of Birthright Israel) has been far beyond what any of us dreamed. It has changed the face of Israeli relations, and for young people it has become a rite of passage and has secured a place on the Jewish communal landscape.

We also do a Birthright trip for Teach For America teachers. I think it’s important for people to learn about their roots and their ancestors. Young people today have capabilities beyond anything I will ever be able to do.

They’re still looking for identity. “Who am I? Where am I going? Where did I come from?” The trip impacts Teach For America teachers in how they teach and how they view themselves. These trips have been so successful that we’re looking at doing similar trips for Teach For America teachers of other nationalities, ethnic groups and religions.

There were a few things that compelled me to sign The Giving Pledge. One was to encourage people of all ages and capabilities to join to repair the world, to make it a better place, and to really understand the joy of making it a better world. It’s important to learn that it’s the little things that you do that make a difference. To make someone else’s life a little bit better, a little bit easier, it’s an incredible feeling. I get euphoria from helping people through some projects. Who ever thought a woman from Tulsa, Oklahoma, would become involved in something this large?

Magical Montreal

By

Michael W. Sasser

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June 23, 2011

Arriving on a Friday evening affords the opportunity to quickly and gently acclimate yourself to the particular culture of Montreal. Around twilight, head to Old Montreal for a stroll through its historic streets and narrow passages and enjoy the beautiful lighting of the old buildings. You’ll feel like you were much farther from home than just a few hours out of Boston. Grab a copy of the Montreal Gazette or one of the English language weeklies to find a restaurant or wine bar that appeals to you in Old Montreal, then take a relaxing stroll or cab ride back to your hotel.

Depending on your personal hankering and where you wake up, opt for breakfast at Fairmount Bagels (www.fairmountbagel.com) for a taste of real tradition; or enjoy the famous Eggs Benedict at L’Avenue or crepes at a convenient Chez Cora (www.chezcora.com) location. Walk that breakfast off or bike or taxi up to Mont Royal Summit to orient yourself to the lay of the land from atop the city’s beautiful, impeccably designed hilltop park. Then head back to Old Montreal and enjoy the things that had been closed the previous night like the Point Calliere Museum (www.pacmusee.qc.ca) and Notre Dame Basilica (www.basiliquenddm.org), and a host of unique shops and cafes.

Enjoy lunch in Old Montreal on a café patio, take in the sights and you’ll look and feel like a local. After lunch, it’s time for the tour to continue at Montreal Olympic Stadium (www.rio.gouv.qc.ca), the Montreal Biodome (www.biodome.qc.ca) and the Montreal Botanical Garden (www2.ville.montreal.qc.ca/jardin). Even a casual art fan must also see the Montreal Museum of Fine Arts (www.mbam.qc.ca). Around nightfall, head off to dinner and enjoy French cuisine at Les Deux Singes de Montarvie or sample unapologetically Canadian food at the famed Au Pied de Cochon (www.restaurantaupieddecochon.ca). After dark enjoy plentiful nightlife along Rue Crescent or Boulevard Saint-Laurent.

In inclement weather, take in the cultural sites you might have missed previously or visit Casino de Montreal (www.casinosduquebec.com/montreal) after breakfast on Sunday. Otherwise, enjoy splendid outdoor Montreal on Sunday with a self-guided tour on your own or a rented bicycle. Besides Mont Royal, scenic locations include Parc Lafontaine or Parc Jean-Drapeau for the closest beach park. Alternately, enjoy shopping along boulevard St-Laurent or Rue Sherbrooke before seeking inspiration for your final meal in Montreal from the very convenient RestoMontreal (www.restomontreal.ca).

Stay in Style

With its distinctive European environment, Montreal features all levels of accommodations, ranging from hostels to exquisite, world-class resort hotels, including these options.

Hotel Le Germain is situated in Montreal’s bustling downtown, and its 101 rooms and suites and the common areas are characterized by elements of loft living, with both Eastern and Western design flourishes. Comprehensive amenities for travelers of all stripes and designer accessories accentuate the hotel’s stylish nature. www.germainmontreal.com

Hotel Le St-James is part of Old Montreal history with the actual building dating back to 1870. High-end professional service, timeless elegance and décor all contribute to the historic hotel’s renown. The hotel’s Le Spa pampers guests already delighting in its distinctive nature. www.hotellestjames.com

W Montreal brought an instant sense of hip when it opened and was winner of Conde Nast Traveller UK’s coveted Best New Hotel award and a 2010 Fodor’s Choice distinction. W Montreal is hip and stylish and features room options ranging from “Cozy Room” to “extreme Wow Suite.” Amenities pamper business travelers and tourists, as does the AWAY Spa and W Montreal’s Ristorante Otto. www.starwoodhotels.com

Ink Impresario

By

Paul Fairchild

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June 23, 2011

Award-winning editorial cartoonist Bruce Plante makes readers of Tulsa World think and laugh every weekday. He has more than 30 years of experience making thoughtful points about important political and social issues – with just one panel and a couple of word balloons. He is syndicated, his work appearing in newspapers and magazines from the New York Times to Newsweek.

Oklahoma Magazine: You’re coming up on three decades of professional cartooning. But when did you actually begin cartooning?
BP: Second grade. I drew a caricature of my teacher. She wasn’t supposed to see it, but she did. She grabbed the cartoon and dragged me into the hallway and started spanking me. She told me that cartooning was never going to get me anywhere. She did that spanking based on how many syllables the cartoon’s sentence had. It just made me try harder.

OM: During your career, which president has provided you with the most material?

BP: Reagan, and maybe Clinton. They’re real close. But probably Reagan.

OM: Which president has provided you with the best material?

BP: (laughs) I guess Clinton. Let’s just say I was for Clinton, voted for Clinton and, coming from Arkansas originally, I was really rooting for him. Then he pissed me off. I kind of vented my spleen, which always makes for better editorial cartoons.

OM: There are many paths that a talented illustrator can take. How did you arrive at political commentary and editorial work?

BP: That started in college. I knew I wanted to be a cartoonist. I grew up drawing characters from Marvel comics and MAD Magazine, that sort of thing. I was a real Spider-Man nut. Loved Thor. I got really bored drawing the stuff we had to draw for fine arts majors at the university. So, I started drawing caricatures at Six Flags Over Texas, just to get my foot in some kind of cartooning. When I got back to the university, I started drawing caricatures at fraternity parties and that sort of thing.Somebody dared me to draw the student government president. I drew it. I gave it to my friend. I didn’t know he worked for the student newspaper, and he gave it to the editor, who printed it. It got a lot of reaction. It was kind of cool. Then the student newspaper editor called me up and asked if I wanted to do this on a regular basis for pay. So I thought, ‘Well, this must be it.’ Then I visited my mentor, George Fisher, and asked him what an editorial cartoonist is supposed to do.

OM: Fisher was a wonderfully talented editorial cartoonist. What sort of stuff did you learn from him?

BP: He’s one of my heroes. He actually changed the community that he worked in with his cartoons. Ever since I worked with him, that’s what my goal has been – make Oklahoma, the state that I’m in, a much better state.

OM: Your topics can be very complex. You only have one panel and one, maybe two word balloons to get your message across.

BP: Twain had a quote: “I have made this letter longer than usual, only because I have not had time to make it shorter.”
It’s harder to write a sentence than it is to write a short story. One thing that’s interesting about this is that (editorial cartoonists) have to rely on what people know. Often, most people aren’t really that familiar with the issue.

Sometimes details I pick out and use aren’t known by most of the readers. When you see a wordy editorial cartoon, that’s the reason we do it – we can’t always count on people being aware of an issue. Sometimes, though, it makes us pick the subjects based on what people know – they’re all going on about Donald Trump now. They’re all going to know about Osama being killed.

OM: You’ve been doing this for a long time. You have to do five of these a week. Has the pressure ever gotten to you?

BP: Nope. It’s just one of those things that is part of life. I’m always thinking about a cartoon, hoping that it’d just hit me. I wish it happened like that more often. Earlier in my career it did. But I’m so used to deadlines now that it’s just not that big a deal. But sometimes that’s why you see a bad cartoon out there.

Break A Leg

By

Marnie Fernandez

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June 23, 2011

Vern Stefanic knows a little something about community theater in Oklahoma.

After all the veteran director and award-winning playwright has been involved in more than 80 productions with numerous troupes and groups around the state. The years of experience have taught Stefanic much about the nature of community theater in Oklahoma and also prompted his enthusiasm for the historic, volunteer-driven stage craft.

“We have so much talent in Oklahoma,” says Stefanic. “Community theater is a way for untapped or unschooled talent to be discovered.”

Community theater, which is easiest to define as local productions featuring generally amateur and almost always volunteer talent, is about more than just showcasing residents’ acting chops. It is also about entertaining audiences, celebrating the arts and, in some cases, bringing together small communities.

From Oklahoma’s largest cities to some of its smaller towns, community theater has long been a part of the state’s civic fabric. Despite modern challenges, it remains an integral part of Oklahoma culture.

“Theatre Tulsa was founded because at the time, there was no professional theater in Tulsa,” he says. “The community wanted arts and culture in Tulsa, and the vision for a community theater was born.”

Theatre Tulsa began in 1922 with a production of Our Town. Tulsans have seen Theatre Tulsa through the Depression, World War II and two devastating fires. Theatre Tulsa is said to be the oldest continuously running playhouse west of the Mississippi, and after 89 years, it continues as one of the region’s cultural flagships.

Since Theatre Tulsa’s inception, numerous other community theater groups have arrived on the scene. Today, Oklahoma boasts more than 75 theater groups, both urban and rural, that produce plays on a regular basis. Community theaters have taken root both in urban locations such as Tulsa and Oklahoma City and rural towns, such as Clinton, Chickasaw and Shawnee.

The vibrancy of Oklahoma community theater has not gone unnoticed, particularly in light of efforts by tourism and economic development leaders to accentuate the state’s cultural attractions.

“We have so much talent in Oklahoma.
Community theater is a way for untapped or
unschooled talent to be discovered.”

“Community theater is an extremely important component of the cultural? life of any city,” says Ken Busby, executive director of Tulsa’s Arts and Humanity Council. “It engages a diverse group of performers as well as? audience members.”

Tulsa has 10 active community theater groups and Oklahoma City has five. In 1969, the Oklahoma Community Theater Association was formed by the Lawton Community Theater to unite all of the theater groups throughout the state. OCTA provides support, communication, festivals, fostering of artistic excellence and encouraging high standards from its members. An elected board of directors and an appointed advisory council govern it.

Some theater groups have come and gone over the years, but the ones that stay have dedicated boards, volunteer bases and quality shows with quality talent. Different theaters take different approaches to remaining viable in a landscape that today has far more competition for the public’s entertainment dollar.

Groups like Shawnee Little Theater and Broken Arrow Community Playhouse have been successful over the years because it is truly a community endeavor, from the acting onstage to the community enjoying the talents of other community members.

“Broken Arrow Community Playhouse serves a buffet dinner before every performance,” says Stefanic. “Everyone knows each other and comes together to celebrate the talents of their town through theater.”

Broken Arrow Community Playhouse has been around since 1980 and has brought quality productions to Broken Arrow ever since. Like most small town community theaters it is run entirely by volunteers who are passionate about theater and about creating a better quality of life for their citizens.

Shawnee Little Theater, founded in 1967, has won several national awards and is known for showcasing local talent. A lot of that talent comes from one family in particular.

The Hopkins family has been active in SLT since the beginning. Over three generations and 25 family members have performed or been involved with the theater in some way.

“Some of my earliest memories are from Shawnee Little Theater; our family has been involved in, I think, every role there is,” says Nicki Hopkins Sherman, a second-generation community theater participant.

“Actor, director, stage manager, choreographer, costume, set and lighting design, construction, musician, kid wrangler, ticket sales, fundraising, you name it,” Hopkins continues. “We’ve even served in every office of the board.”

Her brother Greg is currently president of Shawnee Little Theater. His favorite theater memory was directing his mother as the Wicked Witch of the West in The Wizard of Oz. Even Hopkins’ dog has taken to the stage as Sandy in Annie.

Community theater includes numerous specialty troupes. Oklahoma City’s Jewel Box Theater, for example, has been around for more than 50 years, and is sponsored by The First Christian Church. They perform some of their productions, such as Oklahoma!, outside. In cooler weather, they move productions inside to a theater adjacent to the church.

Oklahoma City also has a theater just for children. The Oklahoma Children’s Theater hosts children’s productions every year, as well as a touring group. They also provide afterschool programs, acting workshops and summer camps for children. It is located on the Oklahoma City University campus, which is also known for its strong arts program.

“We need our people to get out of the box
and come up with creative ways to market
our productions.”

What unifies community theater enthusiasts both rural and urban is the love of the stage and appreciation for the rewards that it can present.

Hopkins, who just recently directed Shawnee Little Theater’s production of Annie, fondly recalls her experience as a first time director.

“With Annie, I had the ability to sit in the light booth and view the audience’s reactions,” says Hopkins. “I will never forget the feeling of realizing that the audience sang Tomorrow with the Cabinet, upon FDR’s command. Every night. I teared up every time, knowing they were so caught up in the moment.”

Tom Berenson, an optometrist and a veteran actor in Tulsa and Broken Arrow, has participated in community theater since 1980.

“I’d always been interested in theater, but never took the time to explore it,” Berenson says. “A friend talked me into auditioning for (at the time the fledgling) Broken Arrow Community Playhouse’s A Diary of Anne Frank, and I’ve had the acting bug ever since.”

Berenson has performed in dozens of plays throughout the years, including The Gin Game, which was submitted to the Oklahoma Community Theater Association Festival of Plays and placed first. Since then, The Gin Game has gone on to compete at the National competition in Rochester, N.Y.

While community theater has brought years of entertainment to many and career achievements to some – Stefanic’s version of Miracle on 34th Street has won numerous awards and made it to Broadway, for example – challenges abound.

Most community theaters survive solely on season ticket holders, single ticket sales and donations from the public. Some of the larger theater groups may have a staff that helps with fundraising and grant writing. While some directors do get paid, all the actors are volunteers.
The model has worked for decades in Oklahoma, but with technology’s penchant for opening up new avenues of recreation, today it is often challenging for theaters to reach potential audiences.

“You can have the most talented actors perform, but if no one knows about the performance, then it doesn’t matter,” says Stefanic.

Stefanic believes one of the biggest challenges that faces community theaters (especially in larger cities) is the lack of marketing and marketing dollars.

“There are so many productions (in Tulsa) at one time, that there is no possible way to see them all,” says Stefanic. “You have to pick and choose, and the ones that have the most promotion are the ones that are going to sell the most tickets.”

Most theater groups do not have money for advertising, so it requires some creativity, such as utilizing social media.

“We need our people to get out of the box and come up with creative ways to market our productions,” says Stefanic. “We can no longer rely on posters and word of mouth. There is just too much competition for our free time, especially in Tulsa.”

Oklahoma’s greater cultural environment is arguably more amenable to theater than ever in the past. The Tulsa Awards for Theatre Excellence launched just a few years ago and is helping raise community theater’s profile.

“As a member of the Tulsa Awards for Theatre Excellence, I’m pleased that we have been able to raise the quality of community theater in a very short time – three years – so that its value as both an economic and cultural engine can be realized,” Busby says. “From ticket sales to advertising, technical crews to ushers, community theater is a vital part of Tulsa’s economy.”

Father by Day, Actor by Night

Kurt Harris found his love for acting later in life.

“It was an indirect result of my daughter taking acting classes that sparked my interest,” Harris says. “My wife talked me into auditioning for Theatre Tulsa’s Cheaper By the Dozen. I didn’t even know it was a musical until I was on my way to the audition. I sang ‘Happy Birthday’ as my song and somehow got cast as the lead.”

He’s been hooked ever since.

For the past 10 years, Harris has performed in more than a dozen plays, from comedy to drama. One of the standouts for him was The Laramie Project, which won best play in 2002.

“I particularly liked this one because it really made people think,” says Harris of the play about the hate crime murder of Matthew Shepard in Laramie, Wyo.

“I enjoy doing shows that affect people in a profound way.”

His family commitments prevented Harris from pursuing acting full-time.

“I have two kids and a full-time job,” says Harris. “I enjoy doing this as a hobby – it is my creative outlet – lots of fun and not a lot of pressure.”

Harris can’t really name a favorite single play, though.

“All of them are my favorites for one reason or another; they all have different memories and are special in their own way,” Harris says. “I feel very blessed that I get to give back to the community by doing something I love.”

In fact, Harris recently starred in Theatre Tulsa’s production of The Pitmen Painters, a true story about Robert Lyon, an art teacher who taught a group of coal miners to paint.

A sample of Oklahoma’s
community theaters:

Ardmore Little Theater

American Theater Company, Tulsa

Broken Arrow Community Playhouse

Chickasaw Community Theater

Carpenter Square Theater, OKC

Clark Theater, Tulsa

Children’s Musical Theater of Bartlesville

Duncan Little Theater

Enid Gaslight Theater

Grove Playmakers

Heller Theater, Tulsa

Jewel Box Theater, OKC

Lawton Community Theater

Midwestern Theater Company, Tulsa

Muskogee Little Theater

Nightingale Theater, Tulsa

Oklahoma Children’s Theatre, OKC

Owasso Community Theater

Oklahoma Community Theater

Oklahoma Shakespearean Festival

Ponca Playhouse, Ponca City

Poteet Theater, OKC

Red Carpet Community Theater, Elk City

Sapulpa Community Theater

Shawnee Little Theater

Shakespeare in the Park, Edmond

Southwest Playhouse, Clinton

Stage Door Theatrical Company, Norman

The Stage Door, Yukon

The Pollard Theater, Guthrie

Theatre Tulsa

Theater Bartlesville

Town and Gown Theater, Stillwater

Wagoner Playhouse

Watonga Community Theater

Yellow Rose Theater, Moore

*Most colleges and universities in Oklahoma also have theater departments that actively put on productions for their communities.

Minding The Manor

By

Staff

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June 23, 2011

Having lived in historic homes for quite some time, this Tulsa couple decided to make the move to somewhere they could stretch.
“The couple had raised their children and were looking for a more spacious feeling,” designer Carolyn Nierenberg says.

Her clients’ wish list included larger rooms and higher ceilings with lots of large window space.

The result of Nierenberg’s collaboration with architect Mike Dankbar was a grand French Normandy-style manor. Bringing a touch of Old World style to Oklahoma, the two-level stone residence is complete with a pitched roof and double-stacked chimney along with cut stone arches around the windows.

The home allows for multiple dining areas, including a bar, breakfast room and dining room. An elaborate great room encompasses much of one wing and affords the space to accommodate events of all kinds.

“They wanted the interior more casual – not so formal,” Nierenberg says.

“It’s a very unusual and interesting piece of architecture.”

She helped the couple achieve this result while incorporating Old World elements, such as lush fabrics and a custom bar surround, which Dale Gillman of Antique Warehouse built from a set of antique doors. Nierenberg is thrilled with Gillman’s entire body of work for the home, which includes all the chandeliers in the public areas. The most grandiose of his creations is the huge chandelier that appears in the sizable opulent staircase in the turret of the home.

“The staircase has beautiful, custom iron railing,” Nierenberg shares. “It’s a very unusual and interesting piece of architecture.”

Another interesting custom piece is the Purcell Murray pewter countertop used on the kitchen island.

Great care was given to exacting lighting for the couple’s art collection, which includes large-scale pieces by Tulsa artist Pat Gordon. In many cases color palettes for the rooms were devised from these stunning pieces.

Other features worth noting include imported Spanish limestone used in the kitchen and great room and rich marble accented with pale green and gold onyx on the floor and shower area of the master bath. The spa-like setting of the latter space is further enhanced with a barrel-vaulted ceiling, which has subtle lighting to create just the right atmosphere.

The pool, courtyard and outdoor living areas can be seen from all main rooms of the home. The clients frequently entertain in this ample outdoor space, which is complete with an extensive kitchen service and living area equipped with remote controlled shades.

The Perfect Mix

By

Staff

-

June 23, 2011

A luxury home at its best is a reflection of the owners. The design of this Ranch style home is an artful blending of styles and unique features that are as engaging as the family who lives in it, according to Tulsa designer Sallie Hughes of SR Hughes.

“The owners were very involved in the design process,” Hughes says.

The home underwent a complete re-design from the ground up with the collaborative efforts of an extensive team of experts, which in addition to SR Hughes, included Duvall Architects, builder Kurt Barron and landscape architect Clare Ashby.

Moving to a space with less square footage than their previous home, the clients wanted to make good use of every inch and create dual functions in many areas.

“Luxury, to me, is when each and every element is the highest quality and functions well,” Hughes says. “We don’t like to see any space wasted.”

“Every room needs a touch of whimsy.”

Employing clever design, the owners created dual areas for their project rooms and made a guestroom of their well-appointed study with the addition of a Murphy bed that descends from the wood-paneled wall.

Colorful and inventive, the home’s design features an eclectic mix of styles.

The living area is a great example of the blending process. Many of the owners’ Country French furnishings from a previous home were combined with classic modern elements.

For instance, the dining area features a Country French table that was painted and paired with re-upholstered Knoll chairs selected for the home. Adding another touch of interest is the modern lighting feature, titled Dance, by lighting designer Tobias Grau.

“It’s beautiful and allows the light to flood down, but it also doesn’t block the view,” Hughes says.

The kitchen and breakfast nook are fun areas full of small delights. Classic Knoll furnishings from the Tulip collection populate the breakfast nook, which also features a cowhide rug.

“Every room needs a touch of whimsy,” Hughes says.

A luxury home needs luxury materials, and the granite counter spaces in the kitchen along with the rich marble featured in the adjacent wet bar fit the bill.

When the family wants to take the fun outside, they can pamper themselves in the outdoor living area complete with fireplace, television and comfortable seating for everyone. Expert landscaping allows for ultimate privacy while the owners enjoy the pool and hot tub.

Food For Nectarivores

By

Staff

-

June 23, 2011

They’re small, they’re quick, and their wings can flap as many as 90 times per second. Hummingbirds are a natural wonder, and enthusiasts long to have these small, feathered creatures dine in their back yard.

Hummingbirds are nectarivores, meaning that they feed largely on plant nectar, supplementing their diets with insects and other small invertebrates. For those who hope to build a garden appealing to hungry hummingbirds, consider a variety of plants that have high nectar content. These can include columbine, foxglove, ladybird scarlet, morning glory, hibiscus, salvia and zinnia. For best results – and best returns of hummingbirds – plant several species.

If a flower garden for hummingbirds is a little too high-maintenance, there’s always that trusty hummingbird feeder. Fill the feeders with faux nectar made by adding a cup of sugar to four cups of boiling water. Be sure to chill the nectar before adding it to the feeder. And forego the red food dye; it’s not necessary to attract the hummingbirds.

Renaissance Flair

By

Staff

-

June 22, 2011

As the saying goes, “Home is where the heart is,” and that couldn’t be truer of Drs. Ben and Eugenia Johnson’s two-level Italian Renaissance style home.

When the couple decided to move back to Oklahoma from Florida, they engaged designer Sue Simpson of Zelda’s Interiors to help coordinate a new home that would take nearly three years to complete. The result of their work is the 18th century-styled villa filled with a blend of antique and new, custom Italian and French furnishings.

“Nothing in the house is fake or faux,” Eugenia says of the home. “We really wanted everything to be authentic and custom.”

The home could be considered an original work of art, from the custom designed formal dining room suite from Italy – a favorite of the owners – to the elaborate custom woodwork throughout the residence created by Chateau Designs in Tulsa.

The home is surrounded by a sophisticated courtyard arrangement outfitted for relaxation and luxury entertainment with a pool, spa and covered outdoor cooking and entertainment areas. Koi ponds and lush flower plantings designed with help from Barbara Day, owner of Sunnyside Gardens, along with Eugenia’s well-tended rose garden, surround the home with natural beauty.

The entryway and adjacent sitting room lead to a balcony and set the tone for the entire house. Two-story windows with French draperies and Venetian ceilings painted by local artists in hues of aged aqua tones complement the entryway’s domed arches and gold-leafed crown molding.

“Nothing in the house is fake or faux.”

The area is graced with the stately presence of a large stuffed lion from one of Ben’s hunts, along with zebra skin and Persian rugs, also from his travels.

The living area pays homage to the couple’s world travels, with a mounted leopard above the hand-carved entertainment area and granite designs that remind Eugenia of her childhood in Russia.

Luxury caters to the interests as well as the needs of the owners. In this home, the couple has included a home theater that recalls the elegance of a bygone era of cinema along with a room to house Ben’s vast collection of outdoor tools.

“The design is built in layers,” Simpson says of the details that build upon each other.

Hosting guests is effortless with a bar designed by Ben himself, along with a prep kitchen and a cook’s kitchen complete with a Wolfe range and hand-carved hood.

The couple was extremely pleased with the collaboration between luxury builder Sam Hollinger of Hollinger and Associates in Tulsa and the local artists who made the project come to life. They planned all along to make this the home of a lifetime, for themselves and their family.

“I love this home,” Eugenia says. “My heart is here.”

A Place To Call Home

By

Staff

-

June 22, 2011

“Classic, timeless style,” says interior designer Carolyn Nierenberg of Campbell Design Associates when asked to define a luxury home.

“Luxury stands the test of time, and it won’t do that if it’s trendy.”

She put this mantra to work when approached by a couple looking to downsize to a luxurious space with a little less land to maintain.

“They had so much land to care for, so they wanted to find a similar house with the big, open spaces they enjoy but with a little less upkeep,” Nierenberg says, and adds that another requirement was plenty of room for their grown children and families to use when visiting.

Her clients’ criteria for the home also included plenty of floor-to-ceiling windows, smart use of space and an uncluttered feel.

When her clients couldn’t find the exact home they were looking for, Nierenberg, along with Tulsa architect Mike Dankbar, helped create a modified Mediterranean style home with a crisp limestone exterior and classic tile roofing.

The expert team had every art piece, furnishing and light fixture planned before a single stone was laid. Every space was designed with exact purpose, from the great room – which opens to the other main living areas – to the lavish outdoor accommodations.

“They wanted an eclectic style that wasn’t so modern that it didn’t fit the neighborhood,” Nierenberg says.

The expert team had every art piece, furnishing and light fixture planned before a single stone was laid.

The modified elements of the classic Mediterranean style can be seen in the use of polished limestone for the exterior and the mix of tailored furniture pieces alongside primitive antiques.

Nierenberg used antique beams with iron straps throughout the great room and dining room. Another standout piece is the 200-year-old door imported from France that was turned into a table with a modern iron base and thick glass covering.

The furnishings were specially selected for the home and work in harmony with the natural color palette of the residence, which is created in part by an exuberant use of natural materials.

A selection of art and furnishings adds pops of color and a modern touch to this residence.

The use of natural materials also helps create a strong relationship between indoor and outdoor spaces. This relationship is enhanced by the interplay of ceiling height with large expanses of windows.

This is especially evident in the great room, where Nierenberg says Dankbar created an exquisite exchange between the interior and exterior living spaces with floor-to-ceiling windows with three sets of French doors leading to an outdoor pool, kitchen and sitting areas. Interlacing courtyards, each with private access, further connect the indoor with the outdoor.

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