We’re back! Stage Notes is a weekly aggregate post about theater, classical music and stage news, events, reviews and other pertinent information. 

Stage Notes Calendar

Opening this week:

Dallas Winds: New Mornings, A Star Spangled Spectacular, Friday. 

American Chronicle Theatre Co.: King Kirby, Friday-July 12 at Cox Playhouse.

Art Centre Theatre: Girls Weekend, Friday-July 19.

The Core Theatre: Southlake, Friday-July 20.

AUDITION: Allen Contemporary Theatre: Dracula: A Comedy of Terrors, Saturday and Sunday. 

Pocket Sandwich Theatre: Star Trip: A Tale of Two Captains, Saturday-Aug. 23. 

Second Thought Theatre: Your Wife’s Dead Body, Wednesday-July 29, pictured.

Onstage now:

Broadway Dallas: Disney’s The Lion King, through today.

Sundown Collaborative Theatre: The Amphibians, through Sunday.

Theatre Three: Xanadu, through Sunday.

Circle Theatre: A Strange Loop, through July 12, pictured.

Allen Contemporary Theatre: Curtains, through July 13.

Dallas Theater Center: Joseph and the Amazing Technicolor Dreamcoat, through July 13. 

The Firehouse Theatre: Oklahoma, through July 13. 

Jubilee Theater: The Fall of Heaven, through July 13.

Shakespeare Dallas: The Importance of Being Earnest, through July 18 at Samuell-Grand Amphitheater.

Shakespeare Dallas: Othello, through July 20 at Samuell-Grand Amphitheater.

Echo Theatre commemorates its founder Linda Marie Ford England after her passing

In an email on Tuesday, Echo Theatre had sent its In Memoriam to one of its founders. Linda Marie Ford England died on June 21. She was locally famous for her window messages in the numerous panes of her Lakewood home. But she also helped establish a theater for and by women that has evolved over its tenure to become a theatrical voice for all women+ that has been inclusive of the LGBTQ+ community in its productions. Echo recently closed Open, a one-actor show about a female queer magician who must save her partner, Jenny.

From Echo:

Linda Marie Ford England passed away on Saturday, June 21, 2025 in Dallas, Texas. She was born in Queens, New York on August 25th, 1964 to her two loving parents, Timothy and Phyllis Ford, and was the oldest of 5 children. She attended the University of Oklahoma to pursue a Bachelor of Fine Arts in Drama. She was a loud and proud member of the Alphi Phi sorority where she made lifelong friendships. Upon graduating from OU, she remained in Tulsa where she met the love of her life, Andy England. Shortly thereafter, Andy followed her to New York while she pursued her acting and stand-up careers and he continued his work with American Airlines. The two eventually relocated to Dallas, Texas and were wed on June 9, 1990. Throughout the years in Dallas, the Englands started their incredible family of three sons; Tim, Matthew, and Christopher England. Their Echo Family sends them love and light.

In addition to her career in acting, Linda was the driving force behind the 1998 founding of Echo Theatre, Dallas’ esteemed Women’s Theatre. It was Linda who gathered the tribe of women who launched the mission. Alongside her colleagues Pam Myers-Morgan and Suzy Blaylock, a new kind of company was born, dedicated to performing works solely written by women playwrights and demanding gender parity in play production in order to break barriers and open eyes. Now in our 27th Season, with an expanded mission informed by our times, we continue to produce the works of Women and Women+ Playwrights. We miss our friend and are forever indebted to her bright, brash, brilliant vision. She remains an inspiration to continue the mission of the theater she sparked.

A Celebration of Linda’s Life in the Theater is being planned for this August.

Donations in her memory may be made to Echo Theatre and In My Shoes.

Lyric Stage announces its 32 season of shows

A bit of old news at this point, but during June, Lyric Stage revealed its new roster of shows for its upcoming season. The company will produce four shows at its Lyric Studio Space with one show at the Moody Performance Hall. The season kicks off this October.

“Lyric Stage’s season promises to be nothing short of extraordinary, so stay tuned for the announcement of our talented creative teams and audition dates. We encourage you to purchase season tickets, which will go on sale July 1 for these live and spirited performances,” Scott Guenther, Lyric Stage managing and co-artistic director, said in the mid-June announcement.

Lyric’s 32nd season includes:

Oct. 10-26: The Rocky Horror Show. In this cult classic, stranded sweethearts Brad and Janet discover the eerie mansion of Dr. Frank-N-Furter and the hunky, muscular Rocky. This 25th anniversary revival won’t be complete without its familiar shoutouts from the audience, cascading toilet paper and an array of other audience participation props. 

Dec. 5-21. Forever Plaid: Plaid Tidings. Back for another holiday season, this classic by Stewart Ross will put everyone into the holiday spirit. Sprinkled among the Christmas offerings are audience favorites, like the trio’s three-minute-and-eleven-second version of The Ed Sullivan Show  featuring the Rockettes, the Chipmunks and The Vienna Boys Choir among others.

Feb. 11: Dallas Divas. For one night only, just before Valentine’s Day, see this showcase of some of the most talented voices in Dallas. This Lyric Stage tradition features area singers performing songs ranging from Broadway to pop. There might even be a few surprise guests. Performance held at Moody Performance Hall.

April 17-May 3: Sweet Charity. This musical  explores the turbulent love life of Charity Hope Valentine, a hopelessly romantic but comically unfortunate dance hall hostess in New York City. With amid-1960s score by Cy Coleman, lyrics by Dorothy Fields and a book by Neil Simon, this captures the energy, humor and heartbreak of Life in the Big City for an unfortunate but irrepressible optimist with signature showtunes like “Big Spender,” “If My Friends Could See Me Now,” “I’m a Brass Band” and “Baby, Dream Your Dream.” 

July 17-Aug. 2: Little Women. This story is brought to life in this musical filled with personal discovery, heartache, hope and everlasting love. Based on Louisa May Alcott’s life and book, the story follows the adventures of sisters Jo, Meg, Beth and Amy March.

Tickets are availble now at LyricStage.org/season32.

Review: These ‘Curtains’ are well hung at Allen Contemporary Theatre

Despite never having heard of this show until its season’s inclusion by ACT and a couple other companies, I can confidently say that last Friday’s opening performance of this Kander and Ebb mystery musical is now unforgettable. This is largely thanks to Laura Jennings’ fast-paced directing and a talented cast that perfectly blends humor with beautiful voices and harmonies.

A murder-mystery musical, especially from the minds behind Cabaret collaborating with Rupert Holmes and Peter Stone, initially seemed like a questionable endeavor. Yet, these four delivered a hilariously entertaining and thrilling production from start to finish. It was, however, ACT’s creative team and cast who truly brought this wild show to life.

Jennings deserves much credit for skillfully directing over 20 actors onstage with precision. Their accurate staging provided a strong foundation for the show, while maintaining the energetic comedy. Becca Tischer’s choreography was also a delight, with her moves filling the stage, performed by the large cast.

Set behind stage at a theater in 1959 Boston, the star of Robbin’ Hood of the Old West, Jessica Cranshaw, dies at curtain call which is later determined to be a murder. Lieutenant Frank Cioffi is on the case and thrilled as a theater fan himself, but he has to determine who’s attempting to kill off more folks in the cast and crew. He sequesters the cast and crew for his investigation while they also rework the show for its next-day performance. Niki, the first understudy, is overlooked to take the part of Jessica which is given to the show’s songwriter and former actor Georgia. Her partner in music and life Aaron isn’t all that thrilled while producers Carmen and Sidney Bernstein scramble to save the show with the oblivious, eccentric and self-absorbed director Christopher.

Eddy Herring triumphed as the enthusiastic lieutenant leading the investigation. His comedic portrayal balanced being in the action while remaining central to the show. Emily Fabrega, as Niki, was a delightful understudy and romantic interest. While occasionally verging on Disney-princess-like, Fabrega ultimately conveyed the character with ideal innocence and compassion.

Shea McMillan, as the reluctant star Georgia, had a strong presence and voice, subtly commanding attention with her lovely, floating vocals. Blake Rice delivered a beautifully delicate performance as Aaron. Michael McMillan’s portrayal of Bobby, felt slightly disconnected despite his lean into the character’s cockiness. The intended love triangle among the three never fully materialized, and McMillan’s solid performance sometimes seemed to be playing catch-up to the energies of the other actors.

Scott Hickman was spot-on as the detestable Sidney Bernstein and as show investor Oscar. Beau Dameron was rich with his character’s excited vibes. Jennifer Grace, as the stage manager Jenny, was a lethal comic weapon; her timing and delivery were always an eye-catcher, giving so much to a role that could have been overlooked.

Amy Foster Parsons and Mario Estep were brilliantly cast as Carmen and Christopher. Parsons, as Carmen the show’s producer, was basically legendary. Her portrayal was an expert blend of beautifully bitchy authority, comic timing, maternal tenderness and some impeccable song and dance. Estep was a fabulous surprise as the flamboyant show director. His over-the-top, bleach-blonde Christopher, complete with affected voice, grand gesturing and self-indulgence, was consistently at a “10”—an impressive feat.

Every actor on stage was astonishingly ideal for their role which was a magical element. They did their homework and delivered a ridiculous tale of non-stop laughter and incredible show tunes. Curtains was a winning choice for this ACT.

The show runs through July 13. 

–Rich Lopez

Circle Theatre’s regional premiere of A Strange Loop, the Tony and Pulitzer Prize-winning musical, opened last Saturday. Directed by vickie washington, this meta-musical explores the trauma and identity-chasing of a Black queer man writing a musical about a Black queer man writing a musical – a loop that might hit close to home. It’s more than a musical; it’s a significant queer experience, brimming with clever music and lyrics.

A Strange Loop (ASL) delves into the life of Usher, a young Black queer man employed as an usher for The Lion King musical on Broadway. He battles a relentless barrage of internal thoughts, personified by six actors who vocalize his self-loathing, doubts about his self-image, and his aspirations. These voices represent his mother, father, agent, and dubious romantic encounters.

However, ASL doesn’t offer Usher an easy escape. Instead, he confronts his trauma, memories, and reality directly.

Due to its unique concepts and complexities, conveying the show’s brilliance is challenging and almost a disservice. Michael R. Jackson’s writing is effective, sharp and gritty, yet laced with both light and dark humor. The show also features some of the most entertaining show tunes of the modern era, with each song offering a new surprise through provocative and enlightening lyrics that unfold Usher’s personal experience. Jackson crafted a fully-realized character, and director washington led the cast to remarkable performances, complemented by Djore Nance’s music direction.

Kiba Walker’s portrayal of Usher was front and center; a true home run. Usher battles constant internal and external pressures urging him to abandon his dreams, with thoughts telling him he’s “too Black, too thick, too queer.” Walker masterfully navigated these profound struggles, delivering a captivating performance.

In a prior interview, Walker shared his deep personal connection to the character, a connection he clearly leveraged to fully inhabit the role. Though this was Walker’s professional theater debut, his extensive experience in community theater was evident. He confidently conveyed Usher’s complex layers of self-loathing, doubt, desire, and aspirations.

Walker flawlessly navigated the show’s challenges, maintaining his delicate demeanor amidst encircling negative thoughts. He portrayed a passive yet yearning desire during a demeaning racial encounter with a hookup. His performance soared with triumph in “Inner White Girl” and later brought heartbreak in “Memory Song” and the titular track.

Landon Blanton, J. Dontray Davis, Kris Black Jasper, Quintin Jones Jr., Darius-Anthony Robinson, and Logan Rhys portray Usher’s intrusive thoughts with incredible abandon. These Thoughts embodied his inner voices of self-loathing, anxiety and self-image. They also represent the parental burden Usher carries from his alcoholic father’s constant criticism and his Tyler Perry-loving mother’s denial, irrational fear of AIDS for her son, and pleas for a wholesome religious musical. Kiera Powers costumes the Thoughts in predominantly floaty white attire, contrasting with Usher’s more casual 20-something and work clothes.

A Strange Loop was a masterful exploration of identity led by washington that ventured  into a widely entertaining experience with deep gravitas. Usher’s journey may not culminate in complete resolution but his navigating and surviving life’s absurdity is a queer story for all. 

The show runs through July 12.

–Rich Lopez

Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat seems to be one of those musicals everyone has seen – like Cats or The Music Man. Somehow, this musical has never crossed my path. Admittedly, I was OK with that for no reason other than all that hype when Donny Osmond took on the role decades ago. I remember being inundated with his tv appearances, that romance novel hair and pinwheel looking coat. Ahh, the ‘90s.

In Dallas Theater Center’s production on opening night last Wednesday, Joseph was nothing short of sensational with its fresh look, exciting choreography and a massive cast of talents directed by Tiffany Nichole Greene. The excitement on stage made up for the story’s lacking comprehension. For the unfamiliar (hand raised here), underneath the explosive energy onstage was a story hard to follow.

The show’s narrator guided the audience along as we learn that Joseph is the favorite son of Jacob and is gifted a colorful coat. His 11 brothers aren’t happy so they sell him into slavery because, brothers. Believed to be dead, Jacob is devastated; the brothers and wives celebrate.

Joseph thrives in slavery and gets promoted basically to manager. But he can’t catch a break as the wealthy slave owner Potiphar catches wifey with Joseph in bed albeit all being a set up. Now Joe’s in jail where we learn he can interpret dreams and predict the future. 

The Pharaoh later hires Joseph. Famine follows. A sketchy family reunion happens and then ultimately, we see the coat again. 

Webber and Tim Rice’s story felt very tidy and efficient even in its melodrama but it didn’t allow for much emotional resonance with the characters. Joseph was painted with broad strokes of noble qualities and felt two-dimensional. 

To remedy that, Zachary J. Willis delivered a majestic performance as Joseph. Joseph is a rather passive character. The role almost calls for him to simply follow along with each scene’s actions. Willis rose above those limitations with a delicate but powerful portrayal that gave Joseph a needed depth. 

Liz Mikel served double duty as a sympathetic Jacob and then did a 180 as the charismatic Pharoah. Tiffany Solano served as the one constant in the show as the Narrator and delivered a gorgeously sung performance. Christian Dior Draper oozed charisma as the ultra-cool Potiphar but gave us the delightful brother Levi. 

The large cast was a veritable North Texas theater all-stars with talents including Esteban Vilchez, Parker Gray, Mark Quach, Jayden Myckala Russell, Amber Marie Flores and more who all brought forth a dynamic package to show’s big numbers – which was, like, all of them. Also, big props to the Children’s Chorus who performed strongly alongside this professional cast. 

Music Director Cody meshed all their voices into glorious choruses while adding to the show’s grand scale with a mere five-person band. Ahmad Simmons’ choreography was outstanding from start to finish and he had every single body on that stage killing his incredible moves in the midst of Leah Mazur’s monumental set and scenery.

Cole McCarty dressed the cast to near-perfection with a wide palette echoing the onstage action. The muted brothers’ dress reflected their environment appropriately while colors were expressive of wealth and opulence in Potiphar and Pharaoh’s scenes. The Egyptian costumes and wig pieces were a particular note of glory to look at and the famous piece of clothing refrained from any grandess in lieu of a lovely, patchworked coat that was big in color but modest in design.

Greene’s production was as epic as any David Lean film and she directed the show with a genuine feel for the look and sound that reverberated across the ensemble. With all its resplendent action, I regret the story and characters didn’t have more to offer. But due to the outstanding work by this cast and creative team, it was impossible to resist the joy they consistently delivered in this Joseph and the Amazing Technicolor Dreamcoat.

The show runs through July 13 at the Wyly Theatre. 

—Rich Lopez

Last year, Stage West kicked off playwright David MacGregor’s low-key trilogy of Sherlock Holmes plays with Sherlock Holmes and the Adventure of the Elusive Ear. By the title alone, these are less whodunit mysteries and more comedic farces. For its second chapter, the company opened SHATA of the Fallen Souffle on June 12. Directed by Jay Duffer, this adventure leaned into the British buffoonery with classy style and clever humor. 

MacGregor’s plays center on  the foursome of Sherlock Holmes, Dr. Watson, the American (and Holmes lover) Irene Adler along with the ever-plotting Marie Chartier, the daughter of Holmes perpetual villain Professor Moriarty. 

The premise of Souffle begins just before Queen Victoria’s Diamond Jubilee in the late 1800s London. The vain and puerile Bertie, the Prince of Wales, visits the detective trio who is targeted by anarchists. The trio had already begun a case with August Escoffier, the most famous chef in the world bedridden by scandal and blackmail. Marie Chartier proves to be somewhat of an ally – or does she have other designs?

John-Michael Marrs was an ideal Holmes with the right amount of propriety but had enough edge and humor to bounce around with MacGregor’s script. Dana Schultes’ played Irene with an understated portrayal that balanced the madcap of Marrs and Brian Gonzales’ Watson. 

In fact, Holmes’ name may be in the title, but this chapter almost entirely belonged to Watson and Gonzales was a spot-on sidekick getting his moment. Gonzales delivered gold with a spiffy performance that unpacked layers of comic timing and dramatic flair all with a mostly stoic face. Marie could be a budding love interest to Watson in this second installment and Amanda Reyes was appropriately bewitching matching Gonzales’ energy while also serving villainous vibes. 

Jovane Caamano was terrific as he chewed the scenery portraying the exaggerated French chef and Matthew Minor was a revelation as the man-boy Bertie. Minor was equally preposterous, milking every moment with best results. 

Clare Floyd DeVries recreated the wonderfully detailed 221B Baker Street flat with Lynn Loett’s properties and discord. Laurie Land’s flattering costumes added to the show’s sleekness. 

Duffer moved the show along at a rapid pace to fit the comedy. The engaging cast was easy to join along with for the ride but always left room for comedy to land.  

This delicious Souffle did not fall and offered anticipation for next year’s final chapter at Stage West. 

The show runs through July 29. 

–Rich Lopez

Can we call it a comeback? A rebound? A rollercoaster, for sure.

Theater Three staged a triumph with its latest production, the vibrant and energetic Xanadu. This roller-disco, Greek mythology, rom-com musical not only closes the season with a bang but also offered a collective sigh of relief. The company’s perseverance, evident in its swift recovery from its very public financial crisis last month and the delivery of such a magnificently entertaining show, truly underscored T3’s tenacity and dedication to the stage.

Directed by Joel Ferrell with music direction by Vicky Nooe, this production’s charm shined through despite the corny premise and, OK, let’s be honest, paper thin songs. The cast of five played multiple roles efficiently and effectively, but the story focuses on Kira, a Greek muse who descends into 1980s LA to help artist Sunny Malone achieve his dream of building an arts center/roller disco.

The festive air was felt even before the lights went up on last Monday’s opening night as the crowd applauded the actors simply getting into position. That energy was carried through by the audience that also fed the actors. That electric buzz added to the stage experience. 

To start, technically, the show was a whimsical marvel. Aaron Johansen’s lighting and Jeffery Schmidt’s scenic and projection designs merged into a stunning display from the floor up. The use of animation and projections added to the disco atmosphere. Ryan Matthieu Smith’s costumes were a jewel-toned mix of glamour and 80s nostalgia with playful touches.

With his California dude swagger, Max J. Swarner was winsome as the hapless Sonny Malone. Sonny is somewhat of an airhead, but Swarner smartly played with him with a sweet earnestness that gave the character peppy appeal. As the Greek muse Kira, Lauren LeBlanc was, well, divine. She was an ideal combination of meticulous and physical comedy who served the role on skates almost the entire time.

Laura Lites and Hannah Arguelles played Kira’s fellow muse sisters Melpomene and Eutrepe. As the former, Lites was entertaining as the show’s zany villain plotting against Kira. Arguelles seemed to disappear in much of the show’s first half but her time on stage was well spent with some laughs as Eutrepe. 

L. Walter (readers usually know her as Lee) was the other plotting sister Calliope. Walter and Lites made a dynamic duo and their clownish antics and acting were golden moments. Walter especially knew how to amplify the absurdity through her exaggerated inflections and gestures. But Walter had so many slays onstage also portraying Danny, the real estate mogul who had encountered his own muse and as Zeus in a hilariously clever costume. She morphed into this the slick talking Danny with ease and embodied the ridiculousness of Zeus’ portrayal wholeheartedly. 

The soundtrack grooved along well under Vicky Nooe’s musical direction and her band of four were rock stars as they were in on the action peripherally but set the tone musically adding to the production’s colorful energy. 

T3’s Xanadu was a refreshing and vibrant experience and, appropriately for June, reminiscent of a Pride parade with its colorful aesthetic, revealing costumes and pop show tunes. Thankfully, unlike a parade, this one came with air conditioning. The show’s happy-go-lucky spirit thanks to its cast, crew and Joel Ferrell’s direction should leave a light-bright impression well after the show’s over.

To add to the good news of Theatre Three’s rebound, they even announced its new season for 2025-26 at its opening which is also in the show’s program. 

The show runs through July 6. 

Last weekend, Terry Martin’s adapted classic, A Country Life, premiered by The Theatre Classics Project. The local actor-playwright-director transformed Anton Chekhov’s Uncle Vanya into a provincial tale, centering on a family residing in a farmhouse in rural Alabama in 1922. Directed by Joey Folsom, A Country Life is a play in two acts. Martin’s story takes a look at the dynamics of the family that’s been chipped away through death, time and trauma. 

The narrative, though an ensemble piece, centered on two male leads. 

Dr. Michael Adams, makes the over 30-mile trip to care for the elder Alexander Scott who dismisses every diagnosis. Adams, however, appears to have deeper connections to the family, as he is well-acquainted with both the housekeeper and the family itself. He soon finds himself entangled in an unexpected love triangle, drawn to Alexander’s wife, Helen, while the younger Sarah has a deep infatuation for him.

Martin’s story also brings Johnny into focus, who is Sarah’s widowed uncle. He has deep ties to the land and house that he and Sarah have been tending to, which was left to Sarah upon her mother’s death. Alexander has grown to become the family’s patriarch by marriage to Sarah’s mother and Martin’s sister but has since passed. He heads the family merely due to his success as an author, while Johnny has dedicated his time and hard work to the homestead. Alexander’s desire to sell the house throws Johnny into a panic and identity crisis as he, in his middle age, ponders what he has given his life to.

The drama is palpable, fueled by the pervasive unhappiness that Martin and Folsom cultivate within the family. A cloud that hangs over the characters who have almost become fixtures in the house rather than living in it. Folsom set the pace with a languid Southern atmosphere and soundtrack —crickets chirping, raindrops falling and a perpetual heaviness in the air. This external mood mirrored the interior of the house, where characters navigated their personal journeys and discoveries almost passively.

The cast poignantly captured these vibes. Michael Michel, played the doctor with commanding attention and lovely warmth. As somewhat of an outsider to the family, Michel brought a strikingly different energy to his character, yet as the doctor stayed with the family, Michel acclimated the character to their wavelength.

Aaron Martin’s portrayal of Johnny was a revelation. Initially a sly character, Johnny’s dismay and disappointment were conveyed by Martin with convincing and genuine emotion – particularly as the character broke down into a vulnerable mess.

Cara Johnston successfully delivered a fully developed character as Helen, and served as the flirty vamp of the show with a heightened Southern accent. Johnston’s performance might have benefited from a touch more levity. Her character was perhaps the most open to counterbalance the intense drama surrounding the character. Johnston’s tender moments with Stephanie Oustalet were sweet as she explored Helen’s role as a stepmother to Sarah.

Oustalet’s nuanced performance as Sarah skillfully captured both youthful angst and a strong sense of maturity. She effectively conveyed the character’s premature growth, blending youthful innocence with newfound wisdom.

Jason Briscoe, as Wink the house factotum, delivered a nuanced and whimsical performance that was a delight to watch. The cast also featured Nancy Girard as Rose, the matriarch, and Anthony McGee as Alexander Scott. Marilyn Twyman delivered a solid performance as Ruth although sometimes, the character felt a bit two-dimensional. Twyman injected a staunch humanity to the role with a maternal affection for the family yet still emotionally reserved. 

A Country Life was a dynamic show even with its ambiance. While the setting may sound low energy, that does feed into the events that transpire. The story was sometimes confusing with the number of characters and overlapping stories, but succeeded in relating a dramatic journey. Of note, the show is on stage at the Stone Cottage theater in Addison, but at my performance last Saturday, the play was moved into WaterTower’s mainstage due to an air conditioning issue in the original venue. The cast still delivered on the play’s intentions  but it is easy to imagine the intimacy of the Stone Cottage working highly in favor of A Country Life.

 The show runs through June 29th. 

Stage Notes is a weekly aggregate post about theater, classical music and stage news, events, reviews and other pertinent information. 

Stage Notes Calendar

Opening this week:

The Firehouse Theatre: The Wedding Singer, today-June 1, pictured.

Outcry Theatre: Outcry Reads Festival, Friday-Sunday.

Texas Ballet Theater: Giselle, Friday-Sunday at the Winspear. 

Teatro Dallas: El Otro, Friday-May 31 at the Latino Cultural Center. 

Art Center Theatre: Southern Fried Nuptials, Friday-June 1.

Upright Theatre Company: Ghost the Musical, Friday-June 14. 

Basically Beethoven: The Charles Barr Memorial Concert, 3 p.m. Saturday at Central Commons. 

DSO Pops: Beethoven X Beyonce, Saturday at the Meyerson.

FWSO Special: Mozart’s Clarinet Concerto and Symphony No. 39 with Stan Chernyshev, 7:30 p.m. Saturday at Arlington ISD Center for the Visual and Performing Arts.

Lone Star Wind Orchestra: From the Page to the Stage with Quinn Mason, 3 p.m. Sunday at Moody Performance Hall. 

The Cliburn: 2025 Cliburn Competition, Wednesday-June 7 at multiple locations.

Onstage now:

MainStage ILC: The Sunshine Boys, through Saturday. 

Pocket Sandwich Theatre: Romeo and Juliet – The Melodrama, through Saturday. 

Allen Contemporary Theatre: The Outsider, through Sunday. 

Broadway at the Bass: MJ, through Sunday at Bass Hall.

Theatre Frisco: The 39 Steps, through Sunday. 

Theatre Three: The Mystery of Irma Vep, through Sunday in Theatre Too.

Ochre House Theater: Moving Creatures, through May 24, pictured.

Pegasus Theatre: Death/Take:1!, through May 24 at the Bath House Cultural Center.

Rockwall Community Playhouse: The Sound of Music, through May 25.

Theatre Arlington: The Curious Incident of the Dog in the Night-time, through May 25. 

Undermain Theatre: H*llo K*tty Syndrome, through May 25.

SheDFW Arts announces lineup for its Summer Theater Festival

SheDFW Arts, a division of the nationwide gender equity nonprofit SheNYC Arts, announced on Monday the official selections for its second annual SheDFW Summer Theater Festival. The festival, dedicated to amplifying the voices of women, trans and nonbinary playwrights and theater artists from Texas and the central U.S., will run from Aug. 2-10 this year at the University of Texas Arlington’s Studio Theatre.

“We are incredibly proud to present this diverse and thought-provoking lineup for our second SheDFW Summer Theater Festival,” Danielle DeMatteo, Artistic Director of SheNYC Arts said in a press release. “The talent in Texas is extraordinary, and these four shows are a testament to the powerful, innovative work being created by underrepresented voices in our industry. We’re also deeply grateful for the support of MusicalWriters.com in bringing our two new musicals to the stage. We can’t wait for audiences to experience all these stories at the UTA Studio Theatre this August.”

This year’s festival will showcase four new productions, including two musicals and two plays. This year’s selections include:

Omen: A new musical by Jocelyn Moen. Omen transports five of Shakespeare’s iconic heroines from their plays to a magical island. With only one day of freedom, they must decide whether to return to their predetermined stories or forge new paths, exploring the limits of imagination and creator.

Bl!nk: A new musical by Grace Ward and Elke Myers. This vibrant femme-powered musical comedy follows two best friends who create a revolutionary dating app, exploring the complexities of ambition, technology, and modern friendship. 

Camp Contrition: A play by Hadley Shipley. Dive into the unsettling secrets of a Christian summer camp as four campers uncover truths that will challenge their beliefs and bonds.

First: A new play by Joey Banks and Vee Council. First follows the intertwined stories of Emily Bren and Thea Ross navigating their burgeoning relationship at a conservative university, and the student election committee grappling with the political and personal fallout when Emily unexpectedly emerges as the frontrunner for student body president.

Both musicals in this year’s SheDFW Festival are sponsored and co-produced by Rebecca Lowrey of MusicalWriters.com.

Tickets for the 2025 SheDFW Summer Theater Festival will go on sale June 16. That date is subject to change. For the latest updates and to purchase tickets, visit SHENYCArts.org/SHE-DFW.

LGBTQ Theater Critics Broadway nominations are out

Honestly, I didn’t even know this was a thing, but I’m totally here for it.

On Tuesday, GALECA: The Society of LGBTQ Entertainment Critics announced its latest shortlist of standout New York stage productions for the third annual Dorian Theater Awards. Honoring excellence across Broadway and Off-Broadway during the 2024–2025 season, the awards celebrate both mainstream achievements and works that reflect LGBTQ+ themes and perspectives.

Leading the Broadway categories with seven nominations is Death Becomes Her, including Outstanding Broadway Musical and Outstanding LGBTQ Broadway Musical and acting nominations for Megan Hilty, Jennifer Simard, and Christopher Sieber.

In the Off-Broadway categories, Cats: The Jellicle Ball leads with five nominations, including acting nods for André De Shields, Sydney James Harcourt, and ballroom icon “Tempress” Chastity Moore. DRAG: The Musical and its stars Alaska Thunderfuck and Jujubee, both of TV’s RuPaul’s Drag Race fame, all hold nominations. And the Manhattan Theatre Club’s We Had a World, by playwright Joshua Harmon, is in the running for Outstanding LGBTQ Off-Broadway Production World’s stars Joanna Gleason and Jeanine Serralles are nominated as well.

Two queer Texans (that I know of) were among this year’s nominees. Plano’s Michael Urie (Ugly Betty) received recognition for his featured performance in Once Upon a Mattress. Midland’s Michael Arden is among the nominees for LGBTQ Theater Artist of the Season. He directed the Broadway musical Maybe Happy Ending.

GALECA will kick off Pride Month by announcing the winners of the 2025 Dorian Theater Awards on Monday, June 2.

Full list of 2025 Dorian Theater Awards nominees:

Outstanding Broadway Musical

• Death Becomes Her
• Dead Outlaw
• Just in Time
• Maybe Happy Ending
• Operation Mincemeat
• Real Women Have Curves

Outstanding Broadway Play

• English
• The Hills of California
• John Proctor is the Villain
• The Picture of Dorian Gray
• Purpose

Outstanding Broadway Musical Revival

• Floyd Collins
• Gypsy
• Pirates! The Penzance Musical
• Sunset Blvd.

Outstanding Broadway Play Revival

• Eureka Day
• Our Town
• Romeo + Juliet
• Yellow Face

Outstanding LGBTQ Broadway Production

• Cult of Love
• Death Becomes Her
• Purpose
• Redwood
• SMASH

Outstanding Lead Performance in a Broadway Musical

• Darren Criss, Maybe Happy Ending
• Andrew Durand, Dead Outlaw
• Tom Francis, Sunset Blvd.
• Jonathan Groff, Just in Time
• Megan Hilty, Death Becomes Her
• Audra McDonald, Gypsy
• Jasmine Amy Rogers, BOOP! The Musical
• Nicole Scherzinger, Sunset Blvd.
• Helen J. Shen, Maybe Happy Ending
• Jennifer Simard, Death Becomes Her

Outstanding Lead Performance in a Broadway Play

• Kit Connor, Romeo + Juliet
• Laura Donnelly, The Hills of California
• Mia Farrow, The Roommate
• Daniel Dae Kim, Yellow Face
• Sydney Lemmon, JOB
• Louis McCartney, Stranger Things: The First Shadow
• Jon Michael Hill, Purpose
• LaTanya Richardson Jackson, Purpose
• Sadie Sink, John Proctor is the Villain
• Sarah Snook, The Picture of Dorian Gray

Outstanding Featured Performance in a Broadway Musical

• Natalie Venetia Belcon, Buena Vista Social Club
• Jeb Brown, Dead Outlaw
• Gracie Lawrence, Just in Time
• Justina Machado, Real Women Have Curves
• Jak Malone, Operation Mincemeat
• Jinkx Monsoon, Pirates! The Penzance Musical
• Lea Salonga, Stephen Sondheim’s Old Friends
• Christopher Sieber, Death Becomes Her
• Taylor Trensch, Floyd Collins
• David Thaxton, Sunset Blvd.
• Michael Urie, Once Upon a Mattress
• Joy Woods, Gypsy

Outstanding Featured Performance in a Broadway Play

• Alana Arenas, Purpose
• Tala Ashe, English
• Molly Bernard, Cult of Love
• Jessica Hecht, Eureka Day
• Francis Jue, Yellow Face
• Marjan Neshat, English
• Bob Odenkirk, Glengarry Glen Ross
• Zachary Quinto, Cult of Love
• Fina Strazza, John Proctor is the Villain
• Amalia Yoo, John Proctor is the Villain
• Kara Young, Purpose

Outstanding Broadway Ensemble

• Cult of Love
• Death Becomes Her
• John Proctor is the Villain
• Real Women Have Curves
• Sunset Blvd.

Outstanding Off-Broadway Production

• Cats: The Jellicle Ball
• Grangeville
• Liberation
• Vanya
• Wine in the Wilderness

Outstanding LGBTQ Off-Broadway Production

• Cats: The Jellicle Ball
• DRAG: The Musical
• Grangeville
• The Fires
• We Had a World

Outstanding Lead Performance in an Off-Broadway Production

• Patsy Ferran, A Streetcar Named Desire
• Susannah Flood, Liberation
• Brandon Flynn, Kowalski
• Joanna Gleason, We Had a World
• Marla Mindelle, The Big Gay Jamboree
• Paul Mescal, A Streetcar Named Desire
• Andrew Scott, Vanya
• Paul Sparks, Grangeville
• Alaska Thunderfuck, DRAG: The Musical
• Olivia Washington, Wine in the Wilderness

Outstanding Featured Performance in an Off-Broadway Production

• Betsy Aidem, Liberation
• Billy Crudup, Henrik Ibsen’s Ghosts
• André De Shields, Cats: The Jellicle Ball
• Drew Elhamalawy, We Live in Cairo
• Sydney James Harcourt, Cats: The Jellicle Ball
• Jujubee, DRAG: The Musical
• Ahmad Kamal, SUMO
• Julia Lester, All Nighter
• Paris Nix, The Big Gay Jamboree
• Jeanine Serralles, We Had a World
• Kyra Sedgwick, All of Me
• “Tempress” Chastity Moore, Cats: The Jellicle Ball
• Jenny Lee Stern, Forbidden Broadway: Merrily We Stole a Song
• Jason Veasey, The Fires
• Natalie Walker, The Big Gay Jamboree

LGBTQ Theater Artist of the Season

• Michael Arden
• Tommy Dorfman
• Jonathan Groff
• Branden Jacobs-Jenkins
• Jinkx Monsoon

LGBTQ+ Theater Trailblazer

• André De Shields
• Branden Jacobs-Jenkins
• Jinkx Monsoon
• Andrew Scott
• Paul Tazewell
• George C. Wolfe

Review: Theatre Arlington’s Curious Incident is a technical delight but plays up the sentimentality

Theatre Arlington opened The Curious Incident of the Dog in the Night-Time last weekend. The play follows Christopher, a teen intent on solving the mystery of who killed Wellington,  the neighbor’s dog. As he embarks on this crusade, he uncovers personal truths about his father and mother. His teacher Siobhan has her own understanding of Christopher who is neurodivergent and is easily abrupt and irrational at the slightest touch or surrounding noise. 

Based on the Christopher Haddon 2003 book of the same name, the staging at Theatre Arlington was imaginatively devised. Co-director Bryan Stevenson conceived the set and lights into a magical spectacle of projections, light effects, doodles and maps with hidden compartments. Ryan Simon’s sound added to the modern and cosmic atmosphere of the set. 

Incident was a showcase of Stvenson’s technical talents who also served as the show’s Technical Director. He directed the show with TA Executive Producer Steven D. Morris. 

John Marshall did an exhaustive and impressive job as Christopher who the show centers on. Playing neurodivergent can be a slippery slope but Marshall’s portrayal worked well. Mixing that with elaborate dialogue and monologues of numbers and details, Marshall’s role was demanding but he stuck the landing on every aspect of Christopher. 

Outside of Christopher, the show revolved around his parents Ed and Judy and his teacher Siobhan. Christopher lives with Ed and Judy has moved to London with the neighbor’s husband, Mr. Shears, while Mrs. Shears still lives next to Ed and Christopher. 

The parents were confusing characters as they both rollover at any sign of a challenge but connect and calm Chritsopher through a special hand touch. Rodney Honecutt does well with Ed’s loving but ineffective parenting. His exasperated conveyal felt relatable but also appropriately frustrating. When we’re introduced to Judy, it was easy to expect the character to be endearing, but like Ed, she’s all over the place in taking care of her son. Elizabeth Kensek wrapped a maternal instinct with Judy’s own ineffective parenting into a heartfelt portrayal. 

Ed and Judy aren’t bad parents – they just lack the emotional tools for their situation and both actors straddled that line convincingly. 

As the teacher Siobhan, Megan Noble was the show’s center and her performance was touching in her chemistry with Marshall. 

The remaining actors all orbited around Christopher through a roster of rotating peripheral characters. They add to the scenery in a bus station and classroom. Hannah Bell did so much with her characters, particularly as Mrs. Shears, Wellington’s owner. Laurel Lynn Collins was lovely as the sympathetic other neighbor willing to help Christopher. Clayton Younkin was a viable antagonist to Ed as Mr. Shears, Judy’s current lover.

Simon Stephens’ stage adaptation of the book, while faithful, does unnecessarily sentimentalize certain scenes. A significant and unsettling detail about Ed is introduced but felt unexplored, and Judy’s reunion with Christopher lacked impactful reaction. The play’s emotional depth felt somewhat imprecise and calculated.

Technically speaking, Incident was a marvel, boasting effective and impressive special effects. The narrative benefited from this slick, modern backdrop, which functioned as a fascinating representation of Christopher’s brain at work. Personally, the story had its bits of melodrama but they were clearly effective with the surrounding sounds of sniffles at last Saturday’s performance.

The show runs through May 25.

Recent headlines

Theatre Three posts urgent appeal for funding to keep its doors open

Review: ‘Hllo Ktty Syndrome’ defies the rules as uncharted theater

DSO announces Pride Night

—Rich Lopez

Ahead of its opening, playwright Brian Dang and director Garret Storms described H*llo K*tty Syndrome as a genre-bending show filled with all the elements of theater that leaves the final interpretation to the audience. A mix of anticipation and some trepidation were natch for me. Because what they didn’t say was that this was a show that’s run through a blender and then a jigsaw.

The show opened on May 1 and so my Thursday performance had a few notches under its belt. The result was a confounding mix that didn’t bow to structural parameters of playwriting, but instead flipped them into a fascinating experience to watch unfold. But also, HKS is a show to let go and let gawd. Sit back, enjoy the ride and ask questions later – which we did at the Talkback Thursday. 

The premise hangs on HK, who ambles about through various episodes in their life of family drama, romance and a detective story while perpetually donned in their Hello Kitty mascot costume. The other four actors rotate through the same characters while an onstage screen (television) dictates the show’s direction. 

The 90-ish minute play with no intermission breaks in two about halfway. 

The first half was fun and insane. The second was abstract, surreal but darker and emotional. Storms pared the set to just the actors outside of props and transparent curtains. Dang’s story dived into an exploration of body and identity which spoke much to queer and trans sensibilities and perspectives.  The characters’ one objective was mostly to get HK to take off their mascot head. HK is defiant. And this is all punctuated by Whitney Houston’s bop “So Emotional.”

RELATED: Undermain’s H*llo K*tty Syndrome bends every genre while giving big queer energy

HKS was a relentless show with a fusion of aggressive and passive energies. Instead of scenes, Dang gave us interconnected snippets that were an onslaught of visuals and emotions. One moment, the audience was laughing, followed by heartbreaking confessions by the cast. 

And what a cast. In a costume with head covered and even their sight, Captain Milbourn crafted a distinct and sympathetic character. Milbourn had to convey much through their body and succeeded through a well-crafted physicality and movement. HK’s dismay and confusion – among other moods – were always evident thanks to Milbourn’s body control. 

The remaining four actors all had the same job – only very different versions of it. 

They each had to bring all their talents to the table from deep drama to melodrama, singing, choreography, fourth-wall breaking monologues and volatile and outlandish dialogue. Each put a splendid stamp on their performances. 

Parker Gray, simply credited as Stagehand, displayed a remarkably confused energy in the play’s initial scenes milling about in HK’s orbit. As the character descended into a darkness, Gray effectively shifted into a direful performance. Marianne Galloway was dynamic and embraced the caricatures of the first half. Her cowboy and detective versions were glorious and her ASL monologue brought forth a poetic break from the action. In her Undermain debut, Jess Anoruigwe was dazzling. Her comic and dramatic portrayals had nifty depth. Ryan Michael Friedman’s gift of physical comedy was on full display. His performances morphed camp and experimental into one. 

To add to the vibes, the creative team also nailed Dang’s avant-garde story. Mazur’s set in the beginning was a welcoming neighborly front-door set that then moved into darker, scary territory and ultimately a completely minimalist stage. Luke Atkison’s lighting captured all the moods from oddball bright to a sinister air. Properties Designer Rayven Harris displayed an extravaganza of props that fit perfectly into the show’s aesthetic. Aaron Patrick Declerk’s Hello Kitty costume was solid, but the attention to detail in the other cast’s costuming was remarkable work including the masks and robes and the varied caricatures in the show’s early scenes. 

In the latter half of the show, the characters broke the fourth wall and introduced themselves with their real names and shared personal insecurities. Please urge the restraint to go give them a hug like I wanted to. This created a severely vulnerable moment yet also had a disorienting effect as the play became – if not already – self-referential. Subsequently, HK directly addressed the audience that resulted in a blind vote if we wanted to see them take their mascot head off. This took me out of the show a bit at its ending, but then, I had to acknowledge the unconventional rule-breaking nature of H*llo K*tty Syndrome which ultimately enhanced its compelling quality.

The show runs through May 25. 

—Rich Lopez

The Sunshine Boys is like theater comfort food. You know what you’re gonna get with such a seasoned title. Neil Simon’s 1972 play about a broken up vaudeville act getting one more chance at a spotlight hasn’t aged gracefully with some of its language nor is it particularly groundbreaking. Instead of battling that patina, director Michael Serrecchia and his cast leaned into Simon’s tone and crafted a winsome and touching show. 

Al Lewis and Willie Clark (Lewis and Clark) were a comedy act in the old days of vaudeville. Together for more than 40 years, the two grew apart while still performing and ultimately separated and haven’t spoken to each other in over 10 years. Al retired while Willie chose to hang on to a fledgling career. The old act is asked to take part in a CBS special highlighting the age of vaudeville, but the two struggle to reconcile. 

Evan Faris hit all the grumpy notes as Willie Clark, a man determined to stay afloat within his fairly shitty apartment. Faris conveyed a clear understanding of Clark portraying both a disgruntled, snappy side alongside a man who struggles to exist in a time that has forgotten him. His agent Ben works hard to keep Willie in motion and Jason Crawford Jordan delivered a spirited performance that mixed in frustration, youth and an optimistic outlook. As Willie’s nurse, LisaAnne Haram did so much with little and stole her scenes with biting dry humor. 

Jon Morehouse played the other half of the duo. Al was the more affable of the two and Morehouse brought that to life in his performance. His contrasting performance was slight compared to Faris’ bombastic character, but their chemistry was top notch. The two vibed so well together, it was easy to believe their roles. 

The cast also featured Rhonda Triana, Evan Christopher Arnold and Leo Adrian Vibal as part of the Lewis and Clark return act for television. All served their parts sufficiently. Like Haram, Adrian Villa made a distinct impression as Eddie, the excitable stage manager. 

The show’s age is evident in some of Simon’s derogatory dialogue but shouldn’t be overly triggering. There is some objectification of women as well that’s part of the vaudeville act, but Serrecchia and the cast kept it in check without a whole lot of cringe while staying true to the source material. The stakes aren’t overly high, but the chemistry among this cast conveyed the power of friendship — good and bad.

The show runs through May 17.

–Rich Lopez

Stage Notes is a weekly aggregate post about theater, classical music and stage news, events, reviews and other pertinent information. 

Stage Notes Calendar

Opening this week:

Forbidden Broadway: Merrily We Stole a Song, today-Saturday at the Wyly Theatre.

Theatre Arlington: The Curious Incident of the Dog in the Night-time, Friday-May 25. 

DSO Pops: ¡Bailamos! A Night of Latin Music, Friday-May 11. 

Ochre House Theater: Moving Creatures, Friday-May 24.

Pegasus Theatre: Death/Take:1!, Friday-May 24 at the Bath House Cultural Center.

Rockwall Community Playhouse: The Sound of Music, Friday-May 25.

Oak Lawn Band: … For Band, 4 p.m. Saturday at the Latino Cultural Center.

FWSO Special: Picasso Symphony, 7:30 p.m. Saturday at Will Rogers Auditorium. 

Avant Chamber Ballet: Masterworks, Friday and Saturday at Moody Performance Hall. 

Coppell Community Chorale: Show Off!, Saturday and Sunday at the Coppell Arts Center. 

The Elevator Project: Strings Across the Pacific by Hee Yun Kim, Saturdat and Sunday at the Wyly Studio Theatre. 

Broadway at the Bass: MJ, Tuesday-May 15 at Bass Hall, pictured.

Onstage now:

Circle Theatre: The Hatmaker’s Wife, through Saturday.

McKinney Repertory Theatre: Deliver Us from Mama!, through Saturday.

Second Thought Theatre: Healed, through Saturday.

Amphibian Stage: Rift, or White Lies, through May 11, pictured.

Bishop Arts Theatre: A Dallas Hedda, through Sunday. 

Jubilee Theater: Thunder Knocking on the Door, through Sunday.

Kitchen Dog Theater: The Grown-ups, through Sunday at Samuell-Grand Amphitheatre. 

Garland Civic Theatre: Boeing Boeing, through Sunday. 

Theatre Off the Square: Four Old Broads, through Sunday. 

MainStage ILC: The Sunshine Boys, through May 17. 

Pocket Sandwich Theatre: Romeo and Juliet – The Melodrama, through May 17. 

Allen Contemporary Theatre: The Outsider, through May 18. 

Theatre Frisco: The 39 Steps, through May 18. 

Theatre Three: The Mystery of Irma Vep, through May 18 in Theatre Too.

Undermain Theatre: H*llo K*tty Syndrome, through May 25.

Review: ACT’s The Outsider is a playful look at the circus of politics

Smith’s political comedy, The Outsider, directed by Chris Berthelot, premiered last weekend at Allen Contemporary Theatre. Set in an unnamed governor’s office, the simplistic premise of the play, while aiming for comedy, felt somewhat a bit too-soon given the recent election and the inherent absurdities of politics. That being said, the show was an inviting story of laughs. 

Chief of Staff Dave Riley is doing his damnedest to keep the imbroglio around the perceived incompetence of Governor Ned Newley to a minimum with the help of staffer Paige and a new temp hire Louise with zero skills matched with a big personality. Spin doctor Arthur Vance is brought in to help Newley keep his seat but then finds a potential Lieutenant Governor in Louise. News reporter Rachel Parsons and her cameraman A.C. are on the scene trying to piece the hot mess together of who’s running for what. 

Ryan Maffei’s portrayal of Dave was a standout. His performance as the high-strung character skillfully combined physical comedy with subtle yet effective punchlines. Despite the constant chaos surrounding him, Maffei grounded Dave as the voice of reason, providing comic relief amidst the confusion. His performance was a consistent delight.

In contrast, David Kelton gave a properly understated performance as the dubious governor who didn’t have confidence in himself. Kelton’s performance felt genuinely sweet albeit the character’s fish-out-of-water circumstances. Michael Miller was unctuous as Arthur Vance with slicked hair and a slick suit and thus, an ideal performance for the character 

Rashae Boyd, a local comedian, displayed a smart presence as the reporter Rachel onstage, though her performance felt somewhat restrained. While there were hints of a more vibrant portrayal, she appeared to be holding back, which felt ironic given her background. Boyd possessed a certain gravitas which makes me curious to see her in future productions.

Kya James was a lovely surprise in her ACT debut. As the ditzy Louise who ends up in the running for Lieutenant Governor, James nailed the part with an eager and cheerful disposition for Louise. We all know a Louise and James cemented her distinct ever-smiling and non-stop confusing chatter into a fully realized character. 

Berthelot’s direction felt punchy and the show had sitcom vibes which fit the story. He led his cast into finding the right wavelength of funny for each scene also allowing for a few poignant moments peppered throughout. 

Contemporary American politics make the play’s outlandish premise feel way too plausible. However, the playwright’s humor and Berthelot’s clever direction, combined with a charming cast, elicited genuine laughter. In this instance, reality isn’t stranger than fiction; it’s nearly identical!

Theater responses to NEA grant withdrawals

Last Friday, the National Endowment for the Arts pulled its grant money assigned to arts and cultural organizations across the country. Some of those are here in Dallas. Soon after, the organizations took to social media.

First,to read about the tidal wave of bad news for arts organizations, click on KERA/DMN’s article here about the quick effect this news has had on local groups.

Bishop Arts Theater opened its latest show A Dallas Hedda on Friday only to receive the news after. The company posted this on its socials on Monday.

Kitchen Dog Theater is in the middle of the run of The Grown-Ups which is staged at Samuel-Grand Amphitheater. The news hit them as they were battling the rains in the show’s outdoor setting. KDT posted the following to its socials as well as in an email which is screen captured here.

Teatro Dallas announced that it lost $39,000 of grant money by the NEA’s pilot program ArtsHere. The news came the week before Teatro opens its new show El Otro at the Latino Cultural Center. Teatro’s annoucement can be seen in its Instagram post from Wednesday.

In good arts funding news, TACA receives an historic $500,000 gift from The Eugene McDermott Foundation

At Wednesday’s annual Silver Cup Luncheon hosted by TACA, the arts granting organization announced a $500,000 gift from The Eugene McDermott Foundation, delivered by Foundation Trustee Grace Cook. The donation is the largest single-year gift in TACA’s 57-year history.

“TACA is deeply honored and humbled by this unprecedented gift from The Eugene McDermott Foundation,” Maura Sheffler, Donna Wilhelm Family President and Executive Director of TACA said in a press release. “This donation is not only a historic moment for our organization, but a long-term investment in the sustainability and growth of TACA and our support of the arts in Dallas. It is a true testament of the generosity and dedication to our arts community.”

This investment will support the implementation of strategic initiatives that enhance TACA’s sustainability and organizational infrastructure.

“The Eugene McDermott Foundation is proud to invest $500,000 in TACA — the largest single-year gift in TACA’s history,” Cook stated. “My grandparents, Margaret and Eugene McDermott, believed that building a stronger Dallas wasn’t just an act of generosity — it was a responsibility. Supporting TACA honors that legacy and affirms our belief that creativity is one of Dallas’ greatest natural resources. This gift is an invitation to everyone who believes in the future of this city — to invest in the artists, organizations, and ideas that will shape the Dallas we haven’t even yet imagined.”

For more than 50 years, TACA’s mission is to strengthen the North Texas’ arts community and invests in more than 60 arts organizations to ensure that North Texas remains a vibrant place to live, work, and play.

The event had also raised more than $90,000 at the luncheon with a match challenge by arts supporter Donna Wilhelm. TACA honored Bruce Wood Dance Dallas Executive Director Gayle Halperin and Dallas arts leader Jim Nugent with its Silver Cup Award.

–Rich Lopez