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    Actor Spotlight

    Avant-garde Dallas actor divulges unique process and dream role

    Lindsey Wilson
    Oct 26, 2016 | 12:00 pm

    It would be pigeonholing to describe Justin Locklear as an artist-in-residence at Ochre House Theater. He is, but he's also a visual artist and a producer and conceptual artist with Danielle Georgiou Dance Group (DGDG). He also has popped up onstage and behind the scenes at theaters across Dallas.

    But his work at Ochre House — as playwright, actor, costumer, musician, puppet designer, and more — is what people associate him with the most. Locklear's keeping his Ochre streak going as Nikola Tesla with the Expo Park company's next original work, Dreaming Electric.

    Before the show opens on October 29 (it runs through November 19), Locklear took the time to fill out our survey of serious, fun, and sometimes ridiculous questions.

    Name: Justin Locklear

    Role in Dreaming Electric: Nikola Tesla, scientist and inventor

    Previous work in the DFW area: Ochre House Theater, Shakespeare Dallas, WaterTower Theatre, Cara Mia Theatre Co., Undermain Theatre, Second Thought Theatre, Dead White Zombies

    Hometown: Decatur, Georgia

    Where you currently reside: White Rock Lake, in the water.

    First theater role: The Turtle in a skit about the Turtle and the Hare, in vacation bible school.

    First stage show you ever saw: No clue. Probably something at Georgia Shakespeare Festival.

    Moment you decided to pursue a career in theater: I was walking through the park one day, and I saw a bright flash of light. "Be an actor!" was somehow spoken to me, without words, and I saw an image of myself standing on a stage. And then, like, I got some fro-yo.

    Most challenging role you’ve played: Probably the Turtle.

    Special skills: Unsolicited anecdotes, shoulder massage, puns.

    Something you’re REALLY bad at: Listening to people eat.

    Current pop culture obsession: Mindless, unyielding human conflict.

    Last book you read: I was reading Illuminations, a collection of essays by Walter Benjamin, and then, like, stopped. But I liked it. It was cool.

    Favorite movie(s): The Imposters, Big Night

    Favorite musician(s): Eryka Badu, Ligeti, Stefan Gonzalez, Trey Pendergrass, BlackTaffy

    Favorite song: "My Guitar Wants to Kill Your Mama" by Frank Zappa

    Dream role: Krapp in Krapp's Last Tape by Samuell Beckett

    Favorite stageworks: Mean and Dreams of Slaughtered Sheep by Matthew Posey; Einstein on the Beach and Shakespeare’s Sonnets by Robert Wilson and the Berliner Ensemble; Cafe Müller by Pina Bausch; Mother Courage and Her Children and How Much Is Your Iron? by Bertolt Brecht; Krapp’s Last Tape by Samuel Beckett; La Veillee des Abysses by James Thiérée

    Favorite actors/actresses: Stanley Tucci

    Favorite food: Oreos

    Must-see TV show(s): Oxymoron, but I suppose I can recommend Psych for fans of Encyclopedia Brown, bad jokes, and '80s references.

    Something most people don’t know about you: I’m taller than I think I am.

    Place in the world you’d most like to visit: Surprise me, I’m down.

    Pre-show warm-up: Depending on the project: yoga, walking around in a state of irrationally stubborn concern, tongue twisters.

    Favorite part about your current role: Tesla was an actual genius, and it’s fascinating to investigate how a genius lives his truth — what his internal life looks like.

    Most challenging part about your current project: Getting to discover a new play in a matter of weeks is always the most challenging yet life-giving aspects of working at the Ochre House. It’s fun, it’s educational, it’s risky, it’s barreling headfirst down a hill of inspiration with an audience waiting at the bottom.

    Most embarrassing onstage mishap: Random C-word out of nowhere. Just a bad moment for a breath.

    Career you’d have if you weren’t in theater: Park ranger

    Favorite post-show spot: The Couch. It’s super exclusive.

    Favorite thing about Dallas-Forth Worth: The art and the people, not necessarily in that order.

    Most memorable theater moment: Getting stabbed? Or yeah, casual sodomy with confetti cannons.

    Justin Locklear as Nikola Tesla in Ochre House Theater's Dreaming Electric.

    Justin Locklear in Dreaming Electric
    Photo by Kevin Grammer
    Justin Locklear as Nikola Tesla in Ochre House Theater's Dreaming Electric.
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    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
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    It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.

    During the onstage conversation at the University of Texas at Austin, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."

    Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.

    Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.

    In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.

    "Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."

    All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org.

    Ballet Austin Marie Antoinette: Vampire Queen of Versailles Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin

    Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.

    Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.

    Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.

    As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to a press release. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.

    "For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."

    If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in.

    And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."

    ---

    Stephanie Allmon Merry contributed to this story.

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