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    Actor Spotlight

    Versatile Dallas actress is stoked to throw punches in her latest show

    Lindsey Wilson
    May 27, 2016 | 2:40 pm

    Kitchen Dog Theater is making its first attempt at repertory theater, with Steve Yockey's plays Blackberry Winter and The Thrush & The Woodpecker. Not only that, but the company is doing it in the temporary space of Undermain Theatre.

    Actor Kristin McCollum is part of Thrush's cast, adding to her impressive resume yet another challenging role, as a mother whose college-age son unexpectedly returns home. Before the second Yockey show opens on May 27, McCollum took the time to fill out our survey of serious, fun, and sometimes ridiculous questions.

    Name: Kristin McCollum

    Role in The Thrush & The Woodpecker: Brenda

    Previous work in the DFW area: In the Next Room (or The Vibrator Play) and The Seagull at Kitchen Dog Theatre; Well, Gulf View Drive and String of Pearls at Echo Theatre; On The Eve at Theatre Three; August, Osage County and Almost Maine at WaterTower Theatre; Jack and Jill, Wonder of the World, and Earth and Sky at Second Thought Theatre.

    Hometown: Dallas (ish). I was born in Roswell, New Mexico, but moved here when I was 1.

    Where you currently reside: Dallas

    First theater role: Snow White in third grade — does that count?

    First stage show you ever saw: First one I can clearly remember seeing is Richard Harris in the Camelot tour in Dallas. Blew me away.

    Moment you decided to pursue a career in theater: Seeing Raul Julia in Man of La Mancha, at the National Theatre in D.C. I had just gotten a degree in International Studies and was about to start working in that field. After seeing the show, I called my mom crying and told her I wanted to come home and act (thanks for saying yes, mom).

    Most challenging role you’ve played: Lisa Kron in Well. It was a one-woman show (with other people in it — that’s how it was billed), and there were so many monologues directed toward the audience, who I could see. It took me out of my comfort zone in a good way.

    Special skills: Fluent in French, chicken-raising, children-raising, hell-raising.

    Something you’re REALLY bad at: Gauging distance. Or depth. Or height. Basically anything involving math or physics.

    Current pop culture obsession: Hamilton (duh). We saw it in February, and it was all that.

    Last book you read: A Man Called Ove by Fredrik Backman. This book made me laugh and cry more than any book I’ve ever read. Please read it.

    Favorite movie(s): Star Wars (IV, V, VI, VII), The Goonies, My Neighbor Totoro, Stage Door (the original), The Producers (the original). We also just saw Captain America: Civil War and loved it.

    Favorite musician(s): Man, here I’m lame. I basically listen to show tunes and NPR. I love Home by Hovercraft. Also anything old-school '80s, à la Depeche Mode, Duran Duran, even Falco.

    Favorite song: This is hard! There are so many songs in the world. I’ll go with "Non, Je Ne Regrette Rien" by Edith Piaf. Because dang.

    Dream role: I don’t really have a dream role. My theater journey has been super weird and fun, with stuff coming to me for reasons that weren’t clear, until I was actually up onstage living those characters — so I pretty much just leave it up to the universe. Bring it, universe.

    Favorite play(s): Rhinoceros by Ionesco, God of Carnage by Yasmina Reza

    Favorite musical(s): I will say it again, please don’t groan: Hamilton, Matilda, Wicked, Fun Home, Avenue Q, Book of Mormon. Thanks to Allison Tolman, I now am a musical junkie.

    Favorite actors/actresses: All the British ones. Kidding — I love all of them, worldwide.

    Favorite food: Raclette, which is basically melted stinky cheese on potatoes and pickles. Yum.

    Must-see TV show(s): Breaking Bad, The Wire, Battlestar Galactica reboot, Unbreakable Kimmy Schmidt, House of Cards, The Sopranos, Game of Thrones, Girls. OMG this season of Girls! I could seriously go on all day. TV is my bae.

    Something most people don’t know about you: I was in Dubrovnik, Croatia, when the civil war broke out, and I had to be evacuated. Also, I once ate only pancakes for a whole month straight. After that, I couldn’t eat them again for about 10 years. And it wasn’t a dare. Just my OCD.

    Place in the world you’d most like to visit: All the places. Seriously. I want to take my kids everywhere. Next up may be Holland.

    Pre-show warm-up: A whole bunch of vocal stuff that makes me look like a crazy person. And then some stretchy stretching. I basically just steal from the Kitchen Dog warm-up. They are serious about it.

    Favorite part about your current role: She gets a fight scene!

    Most challenging part about your current project: The fight scene!

    Most embarrassing onstage mishap: I don’t want to say I’ve never had one, 'cause then I would be seriously jinxed. But … I’ve never had one [knocks wood repeatedly for an hour].

    Career you’d have if you weren’t in theater: I would hope it would be something artsy — though I can’t draw at all. My non-theater job is a voice-over actress with the Kim Dawson Agency. That is my absolute dream job.

    Favorite post-show spot: On the couch watching stories with my two daughters.

    Favorite thing about Dallas-Forth Worth: We are one artsy, blue city, y'all.

    Most memorable theater moment: You probably mean onstage, but I’ve only mentioned it twice, so I’m gonna say it again: seeing Hamilton. My 14-year-old daughter basically violently sobbed the last half of the show and then turned to me and said, “This was the best day of my life.” This, from a teenager! It’s not often you get to gift your kids with something so memorable.

    ---

    Kitchen Dog Theater's production of The Thrush & The Woodpecker plays at Undermain Theatre May 27-June 25.

    Dallas actor Kristin McCollum.

    Dallas actor Kristin McCollum
    Photo by Kelsey Edwards Photography
    Dallas actor Kristin McCollum.
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    A good listen

    Dallas Symphony and Fabio Luisi release landmark Wagner 'Ring Cycle' set

    Associated Press
    Jun 10, 2026 | 2:00 pm
    Fabio Luisi conducting the Dallas Symphony Orchestra
    Photo courtesy of Dallas Symphony Orchestra
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    Fabio Luisi wanted his Ring Cycle to be heard and not seen.

    Wagner’s four-opera epic Der Ring des Nibelungen, approaching the 150th anniversary of its premiere in 1876, has been reinterpreted and deconstructed by directors finding various meanings in the conflicts among gods, humans, giants and dwarfs.

    While most new recordings are on video, Luisi led his Dallas Symphony Orchestra in concert performances that were released on 13 compact discs by Delos on May 22 and are available on streaming services.

    “Wagner conceived this as a total immersion in visual and acoustic, but I could focus really only on the music, and this was the point actually — not to be distracted by staging and not to have to cope with maybe strange ideas of staging,” Luisi said. “I think the music tells everything.”

    Luisi became DSO music director in 2020 and broached the idea while dining two years later with (the now late) Morton H. Meyerson, a longtime board member.

    “Fabio came back from lunch sort of giddy but sort of sheepishly saying: `Do you think that this would ever be possible?” recalled Kim Noltemy, the Dallas CEO at the time. “So, I said, well, let’s give it a try. So, we called around to see if there were people who wanted to support it and did a budget.”

    After securing a waiver from the orchestra allowing for the needed rehearsals and performance length, recordings were made during four concerts from May 1-5 and six more from Oct. 5-20. Each opera was performed two or three times.

    Americans in cast fill big roles
    American singers featured prominently, with Mark Delavan as Wotan, Lise Lindstrom as Brünnhilde and Sara Jakubiak as Sieglinde, part of a cast that included Christopher Ventris (Siegmund), Daniel Johansson (Siegfried), Deniz Uzun (Fricka), Tómas Tómasson (Alberich), Michael Laurenz (Mime) and Stephen Milling (Hagen).

    Delavan sang Wotan at New York’s Metropolitan Opera in 2013 after Luisi took over from an ailing James Levine in Robert Lepage’s much-maligned production staged on a 45-ton set of 24 rotating planks.

    “We’re accessible and they know that we’re hungry and we have a chip on our shoulders,” Delavan said. “What conductors like about American singers is their technique is sound. Even a European conductor would say: Well, I’m going to give up some of the communication skills, only one degree of separation with the language, but I’m going to get a solid technique, and I’m going to get pretty good acting chops.”

    Lindstrom has been in Atlanta to sing in its production of “Götterdämmerung,” the concluding night of the tetralogy, leading to what is being billed as the first complete Ring Cycles in the America South in 2029.

    “The wonderful thing about it is the intimacy between the orchestra and us, because we’re not separated by a chunk of stage or a chunk a scenery or a chunk of concept,” she said of the Dallas performances. “And for people like me, who have had the opportunity to perform the role before, I have all those iterations to rely on for my portrayal that I can sort of filter myself through.”

    A younger Luisi listened to famous renditions
    Luisi, 67, first heard a Ring recording in Georg Solti’s famous studio set with the Vienna Philharmonic from 1958-65. He also admires Karl Böhm’s live recording from the 1967 Bayreuth Festival and Marek Janowski’s 1980-83 studio version with the Staatskapelle Dresden.

    He first conducted Ring when he was music director of Dresden’s Semperoper from 2007-10. Luisi’s Dallas performances include more legato and softer sound than his rendition a decade earlier at the Met. He tries to keep an arc from the first notes of “Das Rheingold” to the final strains of “Götterdämmerung.”

    “I have a deeper understanding about the meaning of this piece,” he said. “I consider the ring to be a big Bruckner symphony. So we have the introduction, then we have the first movement, this is “Walküre,” which happens to be a slow movement, and then we have the scherzo, which is “Siegfried,” of course, and then the long, long, last movement. There is a unity.”

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