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    Theater Critic Picks

    These are the 10 can't-miss shows in Dallas-Fort Worth theater for May

    Lindsey Wilson
    May 5, 2017 | 3:36 pm

    By May, most theater seasons are winding down and it's the company's chance to give their audiences one last jolt before heading in the fresh direction of a new season. Right now, that means timely topics that speak to our nation's current state, along with a little escapism.

    Here are the 10 shows to see, in order by start date:

    Trevor
    Kitchen Dog Theater, May 4-14
    With the area premiere of Nick Jones' play, KDT is on the move once again (the company is hoping to move into its new permanent home in 2018). This time, the Dogs are performing on the ninth floor of the Wyly Theatre, and it may be the first time that venue has had a "chimpanzee" in residence. Max Hartman plays the title character, a former child-star chimp, with Lisa Hassler as his owner, who swears he would never do anyone harm on purpose. An impressive cast rounds out the production, which is directed by Tina Parker.

    The Aliens
    Stage West, May 4-June 4
    Annie Baker's Obie-winning play had a wave of popularity in Dallas in 2013, but it'll be nice to see Joey Folsom return to the guitar-strumming role of Jasper four years later here in Fort Worth. Even nicer will be seeing how he handles the role of slacker KJ — beginning the second weekend of the run, Folsom and Jake Buchanan will trade off roles. Parker Gray will continue to play the straight-laced coffee shop employee Evan.

    Holy Bone
    Dead White Zombies, May 4-27
    After eight months of development, DWZ is ready to present its "multi-venue performance initiation." You might recall that in fall 2016, characters and situations written by Thomas Riccio began popping up at more than 40 public spaces across Dallas (think NorthPark Center, Trader Joe's, Starbucks, and the like). Now, with each Holy Bone performance, 56 people — six departing from Tacos Mariachi every 10 minutes — will experience the culmination of this immersive and ever-changing artistic experiment, guided and "mis-guided" by Holy Bone operatives along the streets.

    Titanic
    Uptown Players, May 5-7
    Each year, Uptown Players partners with the Turtle Creek Chorale for a musical in concert, and this year it's Maury Yeston and Peter Stone's take on the infamous tragedy of the Titanic. The massive cast of singers performs at Dallas City Performance Hall for one weekend only, so if this show is your jam, you'd better get your tickets.

    A Man of No Importance
    Brick Road Theatre, May 5-13
    B.J. Cleveland stars as bus driver Alfie Byrne, who, in 1964 Dublin, attempts to find an artistic and emotional outlet for the secrets he's been keeping by staging a production of Oscar Wilde's Salome in the local church hall. With a score by Stephen Flaherty and Lynn Ahrens, and a script by Terrence McNally, this under-the-radar musical is bolstered by a cast of local luminaries.

    Into The Woods
    AT&T Performing Arts Center, May 16-28
    Fiasco Theater wowed New York with its stripped-down version of Stephen Sondheim and James Lapine's musical, which puts familiar fairytale figures together on a dark journey. The cast uses basic props and costume pieces to assume their roles, and the labyrinthine woods are represented by a forest of ropes that appear to be exploding out of an onstage piano.

    Inherit the Wind
    Dallas Theater Center, May 16-June 18
    DTC and director Kevin Moriarty put a further timely twist on this play about the "Scopes Monkey Trial" by utilizing gender-neutral casting and modern dress. For example, Akin Babatunde plays the role of Mrs. Sarah Brady, while Liz Mikel is Matthew Harrison Brady. Though it premiered in the 1950s, the play and its exploration about what happens when facts and beliefs collide feels as if it could have been written yesterday.

    Circus 1903 — The Golden Age of Circus
    Dallas Summer Musicals, May 23-June 4
    The Ringling Bros. and Barnum & Bailey Circus announced it would shut down for good in May, but this theatrical event humanely fills the circus void. Puppetry brings elephants back into the ring (or in this case, Music Hall at Fair Park), along with a huge cast from all around the world performing traditional circus acts: strong men, contortionists, acrobats, musicians, high wire, and more.

    The Birds
    Theatre Three, May 25-June 18
    The last show of Theatre Too's season is Conor McPherson's adaptation of Daphne du Maurier's short story about two people trapped in an isolated house while masses of birds relentlessly attack the outside. You're probably more familiar with Alfred Hitchcock's film version, but the tiny underground space of Theatre Too is sure to bring the story's claustrophobia and fear to life.

    The Submission
    Proper Hijinx Productions, May 25-June 4
    Jeff Talbott's play deals with cultural division, race perceptions, and affirmative action — again, timely. But there's a twist here: A young, white, male playwright submits his work to a festival under the pen name of an African American woman, then hires a black actress to pose as his alter ego during the festival. This regional premiere will be performed in the studio space at Addison Theatre Center.

    Kitchen Dog Theater moves to the Wyly for Trevor.

    Kitchen Dog Theater presents Trevor
    Photo by Matt Mrozek
    Kitchen Dog Theater moves to the Wyly for Trevor.
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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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