As February bridges the gap between winter’s stillness and spring’s renewal, we spotlight two virtuosos enriching the Oklahoma City and Cleveland County arts scenes. Meet Kara Troester Blythe, a graceful ballerina and budding choreographer, and Royce McLarry, the distinguished Principal Violist for the Oklahoma City and Norman Philharmonics. From the discipline of the ballet barre to the precision of orchestral strings, these artists reflect on their local roots, creative rituals, and the power of performance to move our community.
Artists spotlight - Kara Troester Blythe
Every artist has a unique 'origin story' with our community. How has living or working in the OKC area shaped your creative voice, and is there a specific local spot that never fails to inspire you?
To me, it is the people of Oklahoma City that continue to amaze and inspire me. So many here are passionate about their art and it cultivates a city environment of creativity and growth. Seeing the way Oklahoma City has developed over the past 20 some years, and is continuing to grow, is something that pushes everyone in the community to continue creating and pursuing greatness. I am also always inspired every time I attend a performing arts event. Being a performing artist myself, watching musicals, dance productions, theater shows, orchestral performances, and so much more put on by our fabulous performing arts community never ceases to ignite a spark in me.
Whether you are tuning an instrument, prepping a canvas, or rehearsing a scene, what does the first hour of your creative process look like? Do you have any 'must-have' rituals to get into the zone?
Getting in the zone is so different for each craft. For ballet, I begin with a ballet barre warm up, whether by myself or with the entire company. Anywhere between 30 to 90 minutes to get my muscles ready and heart pumping. This prepares my body for whatever I am performing that day. My mental ritual is to use visualization exercises. I try to visualize myself dancing in two ways in order to prepare my mind for the stage. I first begin by imagining what the piece feels like from my perspective, going through every movement and how I want to execute each step. I then imagine observing myself on the stage as though I was an audience member, and work to visualize what I am trying to convey to the audience. It is important for me to perform not just for myself, but to convey to the audience what is needed through dance.
February often sits at the crossroads of winter’s quiet and the first hints of spring. How does this time of year—or the themes of reflection and renewal—show up in your current work?
This time of year is always when I do just that: reflect and look forward. I always try to look back on the areas of growth and what I have put forth over the last few months and year. It allows me to truly appreciate what I have done and set new goals for myself moving forward. The new year always inspires me to try something new and step out of my comfort zone in my art. This spring, I will be doing this by choreographing for the first time, and I am looking forward to what this new creative outlet will look like for me! Typically, my dancing is an outlet for others creative choreography, so it is exciting for me to be the creator this time and make a work for others to present to an audience.
Art is often a conversation between the creator and the audience. What is one thing you hope a local neighbor feels or thinks about after experiencing your work for the first time?
After experiencing my dancing, I hope that an observer can feel the emotions behind what I am doing. Because ballet does not use words, it is up to the observer to fill in the blanks of the story through what they are witnessing on stage. I hope that my dancing is powerful and strong enough to convey what would normally could be said simply through words. Art styles like this allows observers an avenue to explore the emotions and thoughts they have behind each piece, and it is so valuable to let each observer come to their own conclusions.
Artists spotlight- Royce McLarry
Musical Journey Royce McLarry currently serves as Principal Viola for both the Norman Philharmonic and Oklahoma City Philharmonic. His prominent position in these orchestras highlights his expertise and dedication to his craft.
Royce grew up in a highly musical family. His father, Lacy McLarry, was concertmaster of the Oklahoma Symphony Orchestra and served as Artist-in-Residence and Director of String Development at Oklahoma City University. Lacy was well-known for his successful Suzuki program, which involved several teachers and hundreds of students between the ages of two and twenty. Royce’s mother, Beverly McLarry, is a singer and composer who served as minister of music at First Christian Church and as an adjunct professor of voice at Oklahoma City Community College. His sister, Amanda, is the director of the Suzuki Academy of Waco and a Suzuki Teacher Trainer with more than forty years of teaching experience.
Royce began his musical studies at the young age of four, learning violin from his father, Lacy McLarry. His talent was evident early on, as he made his solo debut with the Oklahoma Symphony Orchestra (now the Oklahoma City Philharmonic) at just 12 years old. By the age of 16, he was already distinguishing himself as a finalist in the International Mozart Festival Competition in Pueblo, Colorado.
While in high school, Royce expanded his musical horizons by picking up the viola, motivated by his friends’ interest in forming a string quartet. During his time as a student at Oklahoma City University, he continued to develop his skills, playing both violin and viola.
In the summer of 1971, while Royce’s father was on the faculty of Kansas State Teachers College in Emporia, Kansas, the family traveled to Matsumoto, Japan. There, they worked with Dr. Suzuki and studied his renowned teaching method. Royce, at age 8, and his sister Amanda, at age 6, participated in classes and recitals. Their father had taught both children using the Suzuki Method, which emphasizes parental involvement in lessons, allowing parents to serve as home teachers during the week. Repetition and positive encouragement are key aspects of this popular teaching approach.
Every artist has a unique 'origin story' with our community. How has living or working in the OKC area shaped your creative voice, and is there a specific local spot that never fails to inspire you?
My parents, my sister and I moved to Norman from Emporia, KS in the summer of 1972. I attended Jackson Elementary School for grades 4-5 and Whittier Middle School for grades 6-8. The following year we moved to Oklahoma City where I attended Northwest Classen High School. I graduated from Oklahoma City University with a Bachelor of Music Degree in 1987. My father, Lacy McLarry, was Concertmaster of the Oklahoma Symphony during the 1970s and through the mid 1980s. My mother is a singer, composer and retired choir director. My sister is also a violinist.
I played in the Oklahoma Youth Orchestra and attended Oklahoma Summer Arts Institute as a high school student.
I remember my earlier days in Norman fondly. I enjoyed playing in the Whittier Middle School Orchestra with my friends. Several of those musicians I continue to play with to this day.
Whether you are tuning an instrument, prepping a canvas, or rehearsing a scene, what does the first hour of your creative process look like? Do you have any 'must-have' rituals to get into the zone
The first hour of preparation for an upcoming performance includes working the more difficult passages. Basically, trying to be as well prepared for the first rehearsal of any upcoming performances as possible.
February often sits at the crossroads of winter’s quiet and the first hints of spring. How does this time of year—or the themes of reflection and renewal—show up in your current work?
February has always been a special month for me. Since it's my birth month it is naturally a month of reflection and renewal.
Art is often a conversation between the creator and the audience. What is one thing you hope a local neighbor feels or thinks about after experiencing your work for the first time?
When performing a piece of music for the first or one hundredth time, I try to be emotionally involved. I think it's important to be really into whatever I'm playing in order to keep the audience's attention for the duration of the performance.
Artists spotlight-Rachel Ann Kendrick
A multidisciplinary artist living in Oklahoma City. She explores the intersections of art, technology, identity, and expression. She earned her BA in Fine Arts from Northeastern State University.
Kendrick's diverse practice combines mechanical sculpture, murals, abstract and surreal painting, electronic music, and video art. Her innovative approach fuses industrial and organic elements, inviting viewers to contemplate the relationships between technology, nature, and humanity. Kendrick's pursuit of innovation yields visually striking and intellectually resonant works.
Every artist has a unique 'origin story' with our community. How has living or working in the OKC area shaped your creative voice, and is there a specific local spot that never fails to inspire you?
Oklahoma City has been a catalyst for my artistic growth. The city's cultural diversity and central location have expanded my reach, allowing me to showcase my work regionally and surrounding states. I'm drawn to the Myriad Botanical Gardens' crystal bridge and the Plaza District's eclectic vibe. The Oklahoma City Museum of Art's collection and Will Rogers Park's serene landscapes also inspire my creativity.
Whether you are tuning an instrument, prepping a canvas, or rehearsing a scene, what does the first hour of your creative process look like? Do you have any 'must-have' rituals to get into the zone?
The creative process begins with setting an intention and thinking about what I’m going to create. I start with playing my favorite music, allowing the melodies to help get my thoughts in the zone. Many times a cup of coffee gets me going. I journal or sketch ideas, letting my subconscious guide the way. When painting, I prefer to start with a loose, intuitive approach and like a dance it eventually becomes more clear as I go on. My studio is my sanctuary – natural light, and music create the perfect atmosphere. This music ritual allows me to tap into my artistic voice.
February often sits at the crossroads of winter’s quiet and the first hints of spring. How does this time of year—or the themes of reflection and renewal—show up in your current work?
February's duality resonates with my practice. I'm drawn to reflection at this time of year. My work explores transformation, often featuring symbols of growth and rebirth.Vibrant colors and dreamlike surrealist themes. I enjoy setting intentions for future shows, connecting with the community, and sparking conversations through my art.
Art is often a conversation between the creator and the audience. What is one thing you hope a local neighbor feels or thinks about after experiencing your work for the first time?
I hope that the audience for my work would experience a sense of wonder, like they've stumbled upon a hidden world that's both personal and universal. Maybe they see a painting and feel a memory resurface, or recognize a pattern that resonates deeply. Maybe they feel emotions from the colors or patterns. I would want them to think, "That resonates with me, but I've never seen it expressed like that before." That's the conversation I want to start – one that unfolds in their mind, long after they've left the gallery.
To me, it is the people of Oklahoma City that continue to amaze and inspire me.