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    Hot Summer Theater

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

    Lindsey Wilson
    Jun 3, 2015 | 4:37 pm

    UPDATE: Cara Mia Theatre Co. has made its staged reading of The Dreamers: Deferred Action invite-only, so we replaced it with another show. Don't worry, there were oh-so-many to choose from this month.

    ---

    The year is almost half over, but for a lot of theater companies, June is either the time to wrap up one season or start another. That explains why there are so many shows opening this month. This list is not definitive, but it does represent the plays and musicals we're especially looking forward to checking out.

    Dallas Solo Fest, June 4-14
    Audacity Theatre Lab

    Back for its second year after a strong debut last summer, this annual festival of short plays showcasing solo performers takes over the Margo Jones Theatre in Fair Park for the month's first two weekends.

    From Van Quattro's emotionally and physically brutal real-life account of his year as a semi-pro boxer, Standing Eight Count (which was well-received at the most recent Out of the Loop fringe festival in Addison), to local funnyman Jeff Swearingen's An American Asshole in France, to SMU grad Brigham Mosely's Mo[u]rnin' After, there's a strong contingent of local talent joining the visiting playwrights and performers.

    Each show runs only about an hour, and the Margo Jones has a BYOB policy. You know, just in case that helps sway your decision to purchase tickets (which are $12 each, or $60 for a pass to all eight shows).

    Precious Little, June 4-20
    Echo Theatre

    Echo Theatre is reserving the final slot of its 17th season for Pride Month, with Madeleine George's 90-minute play about a linguist working through some tough decisions. When Brodie finds out unsettling news about the artificially inseminated child she's carrying, she doesn't turn to her girlfriend for solace, but to a gorilla.

    The three-person cast performing at the Bath House Cultural Center includes Sherry Jo Ward, Molly Welch and Lisa Fairchild, and they are led by on-the-rise director Kelsey Leigh Ervi. For tickets, call 214-904-0500 or visit the company's website.

    Manicures & Monuments, June 5-28
    WaterTower Theatre

    Do you know the name Vicki Caroline Cheatwood? You should, because she's one of Dallas' most prolific local playwrights and dramaturgs. Her latest show, about a young manicurist-in-training who volunteers at an Oklahoma nursing home, promises laughs and maybe even a little lesson in understanding others. Mikaela Krantz, Pam Dougherty and Elly Lindsay lead the cast, with Susan Sargeant directing.

    Cinderella, June 9-21
    Dallas Summer Musicals

    This princess is having a moment, is she not? In addition to the recent film, the Rodgers and Hammerstein musical has been around since 1957 (it was originally written for TV!), and the Broadway revival only closed earlier this year.

    Even if you think princesses and fairy tales aren't for you, check out those Tony-winning costumes by William Ivey Long — and just wait for that magical moment when Cinderella transforms onstage into her ball gown. It's a jaw-dropper.

    South Pacific, June 12-21
    Lyric Stage

    Janelle Lutz wowed audiences in Lyric's last show, the little-produced Lady in the Dark. Now she's back as the cockeyed optimist Nellie Forbush in South Pacific. Because Lyric is known for its lush orchestra, think of what a treat it will be to hear "Some Enchanted Evening" and "This Nearly Was Mine" played by 38 musicians under the baton of music director Jay Dias.

    This is the last of the "big five" Rodgers and Hammerstein musicals that Lyric will have produced with full orchestra and original orchestrations, and as executive producer Steven Jones says, "With South Pacific we will complete a major chapter in Lyric Stage's mission of preserving the American musical."

    West Side Story, June 12-21
    Garland Summer Musicals

    Speaking of classics, GSM is opening this season with what many consider one of the most perfect musicals ever written. The 1950s version of Romeo & Juliet, set in gritty New York City with rival gangs keeping the star-crossed lovers apart, features a lush score by Leonard Bernstein and Stephen Sondheim.

    This version will also have choreographer Jeremy Dumont re-creating Jerome Robbins' iconic — and notoriously difficult — dances. Can't wait for that dance at the gym.

    Love's Labour's Lost and King Lear, June 11-28
    Trinity Shakespeare Festival
    While Shakespeare Dallas' Romeo & Juliet and The Compleat Wrks of Wllm Shkspr (Abridged) are going on outside at Samuell Grand Amphitheater, two more of the Bard's works are being staged on the TCU campus in Fort Worth with impressive sets, stunning costumes and glorious, glorious air conditioning.

    This year, David Coffee is taking on the daunting role of the aging king, while Joel Ferrell is directing the lighthearted romp that is Love's. Worth the drive.

    The Nance, June 19-July 5
    Uptown Players

    After his many years directing and acting on Dallas-Fort Worth stages, it seems like there's nothing B.J. Cleveland can't do, and that includes following in Nathan Lane's footsteps in this Tony-winning comedy. Headlining as a "nance" (a parody of a gay man) in the twilight era of burlesque, Chauncey Miles navigates the often dangerous world of 1930s New York as a man both hiding and showcasing his sexuality.

    The Kountry Girls, June 25-July 19
    Theatre Three

    Sonny Franks has established his presence onstage as both a performer and musician, and now — with Ken Murchison and Andy Clendenen — he's adding composer to the list. Their world premiere musical about two small-town girls with big-city dreams will close out T3's 53rd season.

    A Midsummer Night's Dream, June 29
    Shakespeare in the Bar
    More Shakespeare, you ask? Yes, but this time it's staged behind the Wild Detectives bookstore in Oak Cliff. Actress Katherine Bourne instigated this "under-rehearsed" series that's quickly gaining in popularity and cult status.

    As of now, more than 3,000 people have RSVP'd on Facebook to this production. Even taking into account no-shows, you might want to get there well before the 9 pm start time (or try for the second showing at Community Beer Co. on July 6). Follow the group on Facebook for updates and info.

    Brigham Mosely in Mo[u]rnin' After at the Dallas Solo Fest.

    Audacity Theatre Lab Dallas Solo Fest
    Photo by Erik Carter
    Brigham Mosely in Mo[u]rnin' After at the Dallas Solo Fest.
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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
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    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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