Broadway On the Road

AT&T's 2018-19 Dallas season is stocked with sizable Broadway and West End hits

Recent and enduring Broadway hits, along with some West End showstoppers, are on the bill for AT&T Performing Arts Center's 2018-19 season. Between them are 19 Tony Awards, two Grammys, two Olivier Awards, and one Meat Loaf, along with a first-ever co-production between ATTPAC and Dallas Theater Center.

"This season is our biggest yet," says ATTPAC president and CEO Doug Curtis. "It's interesting, diverse, and combines Broadway favorites, unexpected new shows, and an exciting collaboration, all in the stunning Winspear Opera House."

First up is Hairspray, the stage musical version of John Waters' film about a plus-size white girl in 1962 Baltimore who tries to integrate the local TV station through its popular teen dance show. A score by Marc Shaiman and Scott Wittman is matched with a book by Mark O'Donnell and Thomas Meehan. This is the collaboration with Dallas Theater Center, running July 7-15, 2018.

The next two shows are season add-ons, and each has played Dallas before. A Christmas Story, another movie brought to musical life onstage, stops by for a quick holiday run December 12-16, 2018. Set in 1940s Indiana, a young and bespectacled Ralphie Parker schemes his way toward the holiday gift of his dreams, surrounded by an infamous leg lamp, outrageous pink bunny pajamas, a maniacal department store Santa, and a triple-dog-dare to lick a freezing flagpole.

Chicago, the longest-running musical in American Broadway history, slinks in right after, from December 18-23, 2018. Wannabe starlet Roxie Hart may or may not have committed murder, but why let facts get in the way when it becomes clear that scandal is the ticket to fame? A sly commentary on celebrity culture with knockout choreography inspired by Bob Fosse, this razzle-dazzle show is one of America's most iconic.

Still currently running on Broadway, A Bronx Tale is the musical version of the play and movie — are you sensing a theme here? — originally written by Chazz Palminteri. Directed by Robert De Niro and Jerry Zaks, with songs by eight-time Academy Award winner Alan Menken and three-time Tony Award nominee Glenn Slater, the show brings audiences to 1960s New York, where a young man is caught between the father he loves and the mob boss he'd love to be. It runs December 26, 2018-January 6, 2019.

Last summer, a live-filmed versin of the acclaimed Broadway revival of Falsettos was shown in movie theaters, selling out screenings across the country and introducing many to William Finn and James Lapine's groundbreaking musical. If you missed it, February 12-17, 2019, is your chance. The show revolves around Marvin, his ex-wife Trina, his psychiatrist Mendel, his son Jason, his gay lover Whizzer, and Cordelia and Dr. Charlotte, the lesbians next door.

Still selling strong in London and New York, The Play That Goes Wrong has been described as the illegitimate Broadway baby of Sherlock Holmes and Monty Python. A classic murder mystery that's chock-full of mishaps and madcap mania, the play takes place during opening night for The Murder at Haversham Manor, where things are quickly going from bad to utterly disastrous. It runs June 11-16, 2019.

Another Broadway box-office titan that's returning to Dallas is Beautiful — The Carole King Musical. From being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history, King's story is accompanied by several of her biggest hits:"I Feel The Earth Move," "One Fine Day," "(You Make Me Feel Like) A Natural Woman," "You've Got A Friend" and the title song. It plays June 18-23, 2019, and is a season add-on.

There isn't much info out there on the next show, but most audiences will only need to know one thing: the music of Meat Loaf. Bat Out of Hell is an "exhilarating tale of star-crossed lovers, with boundary-pushing spectacle, thrilling performances, and Jim Steinman and Meat Loaf's legendary hits." It begins performances in London's West End in April 2018, but Dallas gets to experience it June 27-July 7, 2019.

The season comes full circle with another of Marc Shaiman and Scott Wittman's musicals, this one a snazzy Broadway version of a children's classic. Roald Dahl's Charlie and the Chocolate Factory combines new songs with ones from the beloved original film version, as Charlie Bucket and other Golden Ticket-holders venture inside the mysterious candy man's factory. Expect Oompa-Loompas, incredible inventions, the great glass elevator, and much more when this confection hits Dallas August 22-September 1, 2019.

Six-show subscription packages range from $149 to $546, with the option to order A Christmas Story for $27 to $85, Chicago for $27 to $96, and Beautiful — The Carole King Musical for $27 to $96. Subscriptions are available online at www.attpac.org/broadway, by phone at 214-880-0202, or in person at the box office at 2403 Flora St.

Beautiful — The Carole King Musical returns to Dallas.

Julia Knitel in Beautiful: The Carole King Musical

Photo by Joan Marcus

Beautiful — The Carole King Musical returns to Dallas.

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Dance News

Dallas Black Dance Theatre makes interim artistic director permanent

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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