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    Theater Review

    The Curious Incident of the Dog in the Night-Time disorients in the best way

    Alex Bentley
    Jan 13, 2017 | 3:11 pm

    Right from the start of The Curious Incident of the Dog in the Night-Time, the Tony Award-winning play running at Winspear Opera House through January 22, the production attempts to disorient the audience. A loud electronic sound comes out of nowhere, thrusting the audience into the confusing world of Christopher Boone (Adam Langdon).

    Christopher, an autistic 15-year-old English boy, has discovered his next-door neighbor’s dog dead with a pitchfork sticking out of it. This sight would make anyone out of sorts, but for a person with Christopher’s condition, it’s particularly disturbing. With a mind that needs to make sense of the nonsensical, Christopher sets out to track down the dog’s killer.

    His quest, which is discouraged by his father, Ed (Gene Gillette), leads him to interact with many of his neighbors for the first time. With a lack of “proper” etiquette, Christopher manages to unearth more than he intended, including some secrets that might have been better left hidden.

    The set, comprised of four electronic screens and multiple square blocks, is as sparse as they come, but it only serves to highlight the confusion that Christopher experiences on a daily basis. Some, if not all, of the actors are almost constantly moving, creating a swirl of activity. When things get especially overwhelming for Christopher, the screens become a mass of images and the sound gets pushed up to extreme levels.

    Christopher has a particular predilection toward math, which helps him make order of his life. The screens bring this to life as well, creating his drawings and equations to give a better insight into how his mind works. Also helping is narration by Siobhan (Maria Elena Ramirez), a teacher who reads a book Christopher has written detailing the events in his life.

    It all adds up to a deep dive into the brain of someone whose thought processes and actions can be as mysterious as everyone else’s are to him. Christopher’s inability to process emotions normally winds up, ironically, being the driving force behind the play’s biggest emotional moments, as his father and others struggle to connect and communicate with him.

    Langdon’s performance is supremely affecting, as his delivery and body movements create a fully realized character. His reactions to and interactions with everything and everyone on stage are engrossing, something that’s particularly important since he is the only character who is in every scene.

    Despite some familiar elements, you’ve likely never seen anything like The Curious Incident of the Dog in the Night-Time. Autism is still as baffling as ever, but works of art like this, and the book on which it’s based, help to create avenues for conversation that might not otherwise exist.

    Adam Langdon and the national tour cast of The Curious Incident of the Dog in the Night-Time.

    Adam Langdon and cast of the national tour of The Curious Incident of the Dog in the Night-Time
    Photo by Joan Marcus
    Adam Langdon and the national tour cast of The Curious Incident of the Dog in the Night-Time.
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    Dance News

    Dallas Black Dance Theatre makes interim artistic director permanent

    Lindsey Wilson
    Nov 4, 2025 | 11:41 am
    Richard A. Freeman, Jr.
    Photo by Aleah Pilot
    Richard A. Freeman Jr. became the new artistic director October 24, 2025.

    Dallas Black Dance Theatre (DBDT) has officially named Richard A. Freeman, Jr. as its new artistic director, ushering in a new era of leadership for the dance company as it approaches its 50th anniversary season.

    Freeman, a longtime member of the DBDT family, has served as interim artistic director through the company’s recently completed 48th and current 49th seasons. His appointment, effective October 24, 2025, marks a natural progression for the former lead dancer, resident choreographer, and artistic project coordinator, whose career within DBDT spans more than a decade of creative and organizational leadership.

    “Richard has been an integral part of Dallas Black Dance Theatre's artistic fabric for years, and his extraordinary leadership during his time as interim artistic director made this decision clear,” says Heidi K. Murray, a member of DBDT’s board of directors, in a release. “His dedication to artistic excellence, his deep understanding of our mission, and his vision for the future of contemporary modern dance make him the ideal person to lead DBDT into this exciting new chapter.”

    DBDT founder Ann M. Williams echoed the sentiment, calling Freeman’s appointment a full-circle moment for both artist and company. “Richard embodies everything Dallas Black Dance Theatre stands for: artistry, excellence, and a deep commitment to uplifting our community through dance,” she says in the release. “I have had the privilege of watching him grow from a gifted dancer into an inspiring leader and visionary artist. His dedication to preserving our legacy while boldly charting new artistic territory gives me tremendous confidence in DBDT’s future.”

    During his tenure as interim artistic director, Freeman guided DBDT through seasons marked by artistic innovation and expanded community engagement, but also staff shake-ups and legal issues.

    In October 2024, accusations of retaliation surfaced after 10 DBDT dancers, its entire main company, were fired following their decision to unionize in May and demand better working conditions. This led to an unprecedented "Do Not Work" order by the American Guild of Musical Artists.

    Dallas City Council ultimately voted to withhold $248,000 in city funding due to labor violations, and DBDT later settled for $560,000 with the National Labor Relations Board.

    In response, DBDT formed a 17-member advisory stakeholder task force co-chaired by Jennifer Scripps, president and CEO of Downtown Dallas, Inc., and Shawn Williams, vice president of public affairs at Allyn. The group has been working with DBDT leadership to review the organization’s policies and practices, propose changes that foster an accountable environment, and put in place safeguards to prevent future concerns related to talent.

    In September 2025, executive director Zenetta Drew announced her retirement after nearly four decades with the company. A national search for her replacement will start in early 2026. Williams retired in 2014.

    As artistic director, Freeman will oversee all aspects of DBDT’s artistic operations, from performances to educational initiatives, and continue to expand its reach throughout Dallas and beyond.

    “I am deeply honored to accept this role and to continue building on the incredible foundation established by the vision of Ann Williams,” Freeman says. “This company has a unique power to move, inspire, and unite communities through dance. I look forward to working with our talented dancers, staff, and board to create unforgettable artistic experiences and to nurture the next generation of dance artists.”

    A native of Washington, D.C., Freeman began his training with the District of Columbia Youth Ensemble and the Washington Ballet before graduating from the Duke Ellington School of the Arts and Virginia Commonwealth University. His performance credits span acclaimed companies and productions, including Elisa Monte Dance, Houston Grand Opera, Porgy and Bess, and The Wiz.

    Freeman’s choreographic works have been featured by leading institutions such as Texas Ballet Theater School, Texas Christian University, and Booker T. Washington High School for the Performing and Visual Arts. He has also shared his expertise through master classes and workshops nationwide, reinforcing his commitment to DBDT’s educational mission.

    Founded in 1976, Dallas Black Dance Theatre is the oldest and largest professional dance company in Dallas and one of the most acclaimed Black dance institutions in the U.S.

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