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    The Final Curtain

    Lower Greenville's Contemporary Theatre of Dallas takes its last bow

    Lindsey Wilson
    Nov 22, 2016 | 11:45 am
    As We Lie Still musical
    As We Lie Still turned out to be Contemporary Theatre of Dallas' last full-length production.
    Photo courtesy of Contemporary Theatre of Dallas

    Contemporary Theatre of Dallas, which has held cultural court on Lower Greenville for 14 years, will close at the end of 2016. It's the first closure of a major Dallas theater company in at least a decade.

    Managing director Miki Bone made the announcement over Facebook and through an email, stating that, "After having produced a critically and financially successful 14th season, it's a blessing to be able to close on a high note with tremendous regard for all involved."

    Contemporary Theatre of Dallas was founded by Sue Loncar, who acted as artistic director and often appeared onstage in the company's productions.

    Bone, who became managing director in 2014, praised Loncar and her husband, personal injury attorney Brian Loncar, in her statement, noting that "Supporting area artists has always been a huge part of Loncar's passion, having employed hundreds of local artists from all over the Metroplex. Her love and respect for actors, directors and designers has been a priority from the get-go, and was one of the core reasons she was inspired to open the theatre."

    Sue Loncar would often deliver the curtain speech preceding the performance, and there were several framed photographs of her in various roles scattered throughout the building.

    "I wanted to create a theatrical experience that really encapsulated our personality," says Loncar in the release. "CTD is one of a kind; it's not just a place one goes to see a great show ... it's an evening with friends. Every time you enter our doors, we are genuinely thrilled to see you, and we make sure you know it."

    Contemporary Theatre of Dallas began as an Actor's Equity Association Small Professional Theatre, then became for-profit that was known for paying its actors some of the highest wages in town. It had recently gone non-profit.

    The homegrown musical As We Lie Still closed on November 20, and CTD will finish out the year with a storytelling event with Randy Bonifay and Jim Pfitzer on November 28, the Laugh Supper improv group on December 3, and a stand-up comedy night on December 17.

    The release implies that Loncar would no longer be involved with CTD, and that her absence is the main reason for its closure.

    "The CTD brand and the building and the Loncar name are inextricably linked in the minds of the audience, critics, and theater community," says Bone. "One element cannot exist without the others; to try to continue on without one of those elements in play would be a disservice to that brand and its distinctive vision.

    "That doesn't mean our creative endeavors are over or that we won't work together in the future," she adds. "It simply means that our professional and personal goals have taken a turn."

    As its name suggests, Contemporary Theatre of Dallas often produced plays and musicals from the 1970s, '80s, and '90s. It also produced new works on occasion, such as Dallas couple Patrick Emile and Olivia de Guzman Emile's As We Lie Still and Bone's Division Avenue. The company's productions of James McLure's Lone Star and Laundry and Bourbon were performed off-Broadway in 2013.

    No plans have been revealed on what will happen to the building on the corner of Sears and Summit, which was originally built as a church in the 1930s. Lower Greenville has recently enjoyed a resurgence, with popular retail and restaurant options such as Truck Yard, Trader Joe's, Blind Butcher, and Rapscallion opening less than a block away from the theater.

    "There is no doubt that CTD has contributed to the neighborhood's rising status," Bone says. "It has absolutely added to the cultural development of the area in a substantial way, and has attracted a great deal of interest in the building as a valuable commercial property."

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    A good listen

    Dallas Symphony and Fabio Luisi release landmark Wagner 'Ring Cycle' set

    Associated Press
    Jun 10, 2026 | 2:00 pm
    Fabio Luisi conducting the Dallas Symphony Orchestra
    Photo courtesy of Dallas Symphony Orchestra
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    Fabio Luisi wanted his Ring Cycle to be heard and not seen.

    Wagner’s four-opera epic Der Ring des Nibelungen, approaching the 150th anniversary of its premiere in 1876, has been reinterpreted and deconstructed by directors finding various meanings in the conflicts among gods, humans, giants and dwarfs.

    While most new recordings are on video, Luisi led his Dallas Symphony Orchestra in concert performances that were released on 13 compact discs by Delos on May 22 and are available on streaming services.

    “Wagner conceived this as a total immersion in visual and acoustic, but I could focus really only on the music, and this was the point actually — not to be distracted by staging and not to have to cope with maybe strange ideas of staging,” Luisi said. “I think the music tells everything.”

    Luisi became DSO music director in 2020 and broached the idea while dining two years later with (the now late) Morton H. Meyerson, a longtime board member.

    “Fabio came back from lunch sort of giddy but sort of sheepishly saying: `Do you think that this would ever be possible?” recalled Kim Noltemy, the Dallas CEO at the time. “So, I said, well, let’s give it a try. So, we called around to see if there were people who wanted to support it and did a budget.”

    After securing a waiver from the orchestra allowing for the needed rehearsals and performance length, recordings were made during four concerts from May 1-5 and six more from Oct. 5-20. Each opera was performed two or three times.

    Americans in cast fill big roles
    American singers featured prominently, with Mark Delavan as Wotan, Lise Lindstrom as Brünnhilde and Sara Jakubiak as Sieglinde, part of a cast that included Christopher Ventris (Siegmund), Daniel Johansson (Siegfried), Deniz Uzun (Fricka), Tómas Tómasson (Alberich), Michael Laurenz (Mime) and Stephen Milling (Hagen).

    Delavan sang Wotan at New York’s Metropolitan Opera in 2013 after Luisi took over from an ailing James Levine in Robert Lepage’s much-maligned production staged on a 45-ton set of 24 rotating planks.

    “We’re accessible and they know that we’re hungry and we have a chip on our shoulders,” Delavan said. “What conductors like about American singers is their technique is sound. Even a European conductor would say: Well, I’m going to give up some of the communication skills, only one degree of separation with the language, but I’m going to get a solid technique, and I’m going to get pretty good acting chops.”

    Lindstrom has been in Atlanta to sing in its production of “Götterdämmerung,” the concluding night of the tetralogy, leading to what is being billed as the first complete Ring Cycles in the America South in 2029.

    “The wonderful thing about it is the intimacy between the orchestra and us, because we’re not separated by a chunk of stage or a chunk a scenery or a chunk of concept,” she said of the Dallas performances. “And for people like me, who have had the opportunity to perform the role before, I have all those iterations to rely on for my portrayal that I can sort of filter myself through.”

    A younger Luisi listened to famous renditions
    Luisi, 67, first heard a Ring recording in Georg Solti’s famous studio set with the Vienna Philharmonic from 1958-65. He also admires Karl Böhm’s live recording from the 1967 Bayreuth Festival and Marek Janowski’s 1980-83 studio version with the Staatskapelle Dresden.

    He first conducted Ring when he was music director of Dresden’s Semperoper from 2007-10. Luisi’s Dallas performances include more legato and softer sound than his rendition a decade earlier at the Met. He tries to keep an arc from the first notes of “Das Rheingold” to the final strains of “Götterdämmerung.”

    “I have a deeper understanding about the meaning of this piece,” he said. “I consider the ring to be a big Bruckner symphony. So we have the introduction, then we have the first movement, this is “Walküre,” which happens to be a slow movement, and then we have the scherzo, which is “Siegfried,” of course, and then the long, long, last movement. There is a unity.”

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