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    Theater Critic Picks

    These are the 11 can't-miss shows in Dallas-Fort Worth theater for February

    Lindsey Wilson
    Feb 1, 2017 | 3:34 pm

    For such a short month, February sure packs in the shows. From glittery national tours to lesser-known works with small casts, this month's lineup is the very definition of variety.

    Here are the 11 shows to see, in order by start date:

    Thurgood
    Jubilee Theatre, February 2-26
    This timely production examines the life of civil rights activist Thurgood Marshall, who prior to his appointment to the Supreme Court worked as a lawyer for the NAACP. We'll say it again: timely.

    Hedwig and the Angry Inch
    AT&T Performing Arts Center, February 7-12
    Tony nominee Euan Morton is stepping into John Cameron Mitchell's platforms to play Hedwig, the charismatic East German singer who's the victim of a botched sex-change operation. Mitchell and Stephen Trask premiered the rock musical Off Broadway in 1998, where it quickly developed a cult following and was made into a movie. Morton is no stranger to outrageous costumes, by the way — his Tony nom was for playing Boy George in the musical Taboo.

    Galileo
    Undermain Theatre, February 8-March 5
    In Bertolt Brecht's play, Galileo is abandoned by his friends and colleagues for teaching the radical notion that the earth moves around the sun and the moon reflects the sun's light. The setting may be the early 17th century, but science being considered dangerous and heretical — when it opposes an institution that claims the truth as its own commodity — is all too familiar a theme. Bruce DuBose stars as the titular character.

    Big Enough: The Musings and Misadventures of a Bumblef*ck
    Proper Hijinx, February 9-19
    Artistic director Stefany Cambra steps into the spotlight with her newest one-woman show, which weaves together stories about love, food, relationships, and self-confidence. The show will be staged in the Studio Theatre at the Addison Theatre Center.

    Her Song
    Echo Theatre, February 10-25
    New songs, new story, new cast members — Echo Theatre's annual trip back in time to a 1930s supper club has been revamped and refashioned for its fourth year, just in time for Valentine's Day. The revue uses only songs written by female composers in the early 20th century, creating a floor show while the audience enjoys food and drinks from the onstage bar. But bring your cash, because they didn't accept credit cards in the '30s.

    Northside Hollow
    Amphibian Stage Productions, February 10-March 5
    If two men are trapped in a cave, can anyone hear their soul-searching? That's the premise of Jonathan Fielding and Brenda Withers' play, which sticks Gene and Marshall (Jim Jorgensen and Jordan Sobel) underground and has them examine their lives while they await rescue.

    Stomp
    Dallas Summer Musicals, February 14-19
    This endlessly innovative percussion and movement show takes what your toddler does — crash a bunch of household objects together — and turns it into performance art. Now why didn't you think of that first?

    Who Am I This Time? (& Other Conundrums of Love)
    Circle Theatre, February 16-March 11
    Three Kurt Vonnegut stories form the basis for this Aaron Posner play, which focuses on "love, pure and complicated." It's the 36th season opener for Circle Theatre, and lets seven versatile actors explore several different characters and relationships.

    Paper Flowers
    Kitchen Dog Theater, February 17-March 11
    KDT is giving this rarely performed play by Égon Wolff a fun spin: Christopher Carlos and Christie Vela are not only co-starring, but co-directing. The Chilean playwright won the Casa de Las Americas Prize for this work, which pits a man and a woman against each other amid disruption of the social order.

    Kurios: Cabinet of Curiosities
    Cirque du Soleil, February 17-March 26
    "Seeing is disbelieving" for this Cirque show about an ambitious inventor who defies the laws of time, space, and dimension in order to reinvent everything around him. Expect gravity-defying acrobatics, colorful costumes, and just a tinge of weird — you know, typical Cirque fare.

    The 24-Hour Plays
    WaterTower Theatre, February 25
    A handful of playwrights, directors, and actors have just 24 hours to create four brand-new plays, but no pressure or anything. Playwrights Shelby-Allison Hibbs, Janielle Kastner, Brigham Mosley, and Steven Young will churn out the scripts for the 15-minute plays, then directors Abigail Birkett, Jeff Colangelo, Anastasia Munoz, and Joanie Schultz will lead actors Kia Boyer, Magdiel Carmona, Shawn Gann, Steph Garrett, Gelacio Gibson, Jeremiah Johnson, Alexandra Lawrence, Doak Rapp, Garrett Reeves, Kelly Stewart, Nicholas Wanjohi, and Kennedy Waterman in the final performances.

    Thurgood Marshall's life and career are put onstage at Jubilee Theatre.

    Jubilee Theatre presents Thurgood
    Photo by Cecil Fuqua
    Thurgood Marshall's life and career are put onstage at Jubilee Theatre.
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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
    undefined

    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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