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    Theater Critic Picks

    These are the 14 can't-miss shows in Dallas-Fort Worth theater for February

    Lindsey Wilson
    Feb 3, 2020 | 10:20 am

    This is a valentine to the DFW theater community, which seems to have chosen February as the month to debut all sorts of world premieres, reimagined classics, big national tours, and provocative new works.

    Here are the 14 shows to see in order by start date:

    The Band's Visit
    Dallas Summer Musicals, February 4-16
    AT&T Performing Arts Center, February 18-23

    In an Israeli desert town where every day feels the same, something different is suddenly in the air. Dina, the local cafe owner, had long resigned her desires for romance to daydreaming about exotic films and music from her youth. When a band of Egyptian musicians shows up lost at her cafe, she and her fellow locals take them in for the night. Under the spell of the night sky, their lives intertwine in unexpected ways, and this once sleepy town begins to wake up.

    Harvey
    WaterTower Theatre, February 6-23
    This Pulitzer Prize-winning play follows Elwood P. Dowd, a polite man with a very strange best friend. Elwood's sister, Veta, is concerned her brother's friend will interfere with her life as a socialite. And who can blame her? Elwood's friend is a six-foot, three-and-one-half-inch invisible rabbit named Harvey.

    Loving and Loving
    Bishop Arts Theatre Center, February 6-23
    Inspired by the true love story between Richard and Mildred Loving, an interracial couple from Virginia who were arrested in 1958 for being married, this play examines the landmark Supreme Court case Loving v. Virginia. Beginning in the present day and flashing back to the 1950s and '60s, this historical story is told from a 21st-century perspective and puts a human face on this famous court case and the ongoing legacy in a multiracial America.

    Hans & Sophie
    Amphibian Stage Productions, February 7-March 1

    A printing press, spray paint, and quick wit were all that siblings Hans and Sophie Scholl needed to build an underground resistance movement in Nazi Germany. Drawing on inspiration from letters, diaries, and coded correspondences in the book At The Heart of the White Rose, this intimate two-character portrait of resistance and conviction in the darkest of times immerses audiences in the students' metamorphosis from loyal Hitler Youth into one of the Nazi regime's most feared oppositions.

    Little Women
    Dallas Theater Center, February 7-March 1
    Written by Kate Hamill and based on the beloved novel by Louisa May Alcott, this version still follows Jo March, who doesn't want to be like other girls; in fact, she's not even sure that she wants to be a girl. Jo is ambitious, rough around the edges, headstrong, and yearns for a future she can't yet articulate. As the nation is torn apart by civil war, Jo and her sisters struggle with what it means to grow up.

    Mrs. Haggardly
    Ochre House Theatre, February 8-29
    Written and directed by artistic director Matthew Posey, this world premiere takes place at Mrs. Haggardly's Home For Wayward Children, an orphanage that sits on the outskirts of the Great Brutal War, and each day the drums of war draw closer. Mrs. Haggardly and her two companions, Madame Pigslips and Mrs. Busybottom, are the matrons of the orphanage who cunningly use their wiles to resist the pillaging fascists who have come to recruit the orphans for soldiers.

    Madame Bovary
    Undermain Theatre, February 12-March 15

    Adrienne Kennedy's innovative transformation for the stage tells Emma Bovary's story through the eyes of her own daughter and brings a fresh and exciting approach to this classic novel about a woman who longed for a life she could never fully achieve.

    Alabaster
    Kitchen Dog Theater, February 13-March 8
    A noted photographer sets out to explore the topography of "scars," and her journey lands her in the mysterious realm of an undiscovered folk artist hiding away in North Alabama. Three years after losing her entire family in a tornado, June has isolated herself, along with her goats Weezy and Bib, on what remains of her family farm. But photographer Alice is carrying scars of her own and is desperately trying to outrun her own pain.

    Abyssinia
    Lyric Stage, February 14-16
    Based on the novel Marked by Fire by Joyce Carol Thomas, this musical is part of Lyric Stage's celebration of Black History Month. Set in Stillwater, Oklahoma, at the turn of the 20th century, Abyssinia "Abby" Jackson is blessed with the gift of song and a voice that delights the entire community. Like Job, Abby is fated to undergo a series of trials, and consequently, her faith in both man and God is destroyed, so she vows to never sing again. Abyssinia’s withdrawal affects the devastated community like a long drought, but when Mother Vera takes the girl under her wing to teach her the ways of a healer, Abby begins to heal herself, her voice, and her community as she learns to relieve pain in others.

    Mlima's Tale
    Second Thought Theatre, February 19-March 14

    Ancient and legendary African elephant Mlima is struck down and his massive tusks stolen as trophies. His ghost is ever-present as the tusks change hands many times and travel the world from Kenya to Vietnam to Beijing. Set against the backdrop of the black market ivory trade, and written by two-time Pulitzer Prize-winner Lynn Nottage, Mlima's Tale explores complex questions of global consumerism, ancestral history, and human greed.

    The SpongeBob Musical
    Broadway at the Bass, February 20-23

    Be there when SpongeBob and all of Bikini Bottom face catastrophe — until a most unexpected hero rises to take center stage. The entire family will celebrate friendship and cooperation, and learn the power of unity and inclusion.

    Funny, You Don't Act Like a Negro
    Theatre Three, February 20-March 15
    Denise Lee's world-premiere play explores the prejudgments we make on our neighbors, the biases we inadvertently pass on to our children, and how the simple act of talking to one another is being subverted by social media. The audience is invited to share their experience and opinions throughout the course of the play.

    The House on Mango Street
    Cara Mía Theatre Co., February 21-March 8
    Esperanza's story is the experience of so many Mexican-American girls during the stage of life between childhood and adolescence. We see her rush into the innocent games, fantasies, and friendships of childhood, yet she begins to become conscious of the dangers and contradictions of being a young women living in the barrio. Esperanza tries to make sense of her place in the world while observing the lives of the women around her and decides her life is going to be different.

    Tuna Does Vegas
    Casa Mañana, February 29-March 8

    Portrayed by only two actors, the lovable and eccentric characters from the "third smallest town in Texas" take a rambling romp in Sin City. The hilarity begins when oddball-conservative radio host Arles Struvie announces on air that he and his wife Bertha Bumiller are heading to Vegas to renew their wedding vows ... but everyone in Tuna, Texas, goes along for the ride.

    Fort Worth becomes Bikini Bottom for a few nights when The SpongeBob Musical comes to town.

    National tour of The Spongebob Musical
    Photo by Jeremy Daniel
    Fort Worth becomes Bikini Bottom for a few nights when The SpongeBob Musical comes to town.
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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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