Broadway Y'all

Texas native brings Broadway to Big D in unprecedented acting classes

Houston native Tyce Green is bringing Broadway to Dallas in a big way. His Straight From New York master classes invite award-winning musical theater actors to dispense industry wisdom and share personal anecdotes while giving feedback to professional and amateur local performers.

The series has been enticing big Broadway names — Mary Testa, Laura Benanti, Hunter Ryan Herdlicka, and Constantine Maroulis — to come teach in New York, and now Green has expanded the series to include Houston and Dallas.

Wesley Taylor (recognizable from NBC's Smash, and who recently appeared in the musical version of Little Miss Sunshine at Second Stage Theatre) will visit Dallas on July 30. The fee for participants at Taylor's workshop is $249, but observing is only $35.

"It's unlike anything you've ever experienced," Tyce Green says. "The people who come consistently say that master classes like these just aren't happening."

Adam Pascal, who created the role of Roger in Rent and starred in the Broadway productions of Memphis, Aida, Cabaret and Chicago, enthralled a group at Rowlett High School on June 25. That night, a group that ranged in age from 12 to 34 sang audition snippets for Pascal and Green, who offered practical feedback in everything from song selection to breath control to physicality choices.

"It was a thrill to work with the talented and dedicated artists of Houston and Dallas," Pascal said. "They are an inspiration to me and remind me why theater is so special."

Green, who is also known as the Audition Consultant, answered a few questions about the history and future of Straight From New York.

CultureMap: How did you get into audition coaching?

Tyce Green: I grew up very early in this industry and have had great opportunities to work with esteemed Broadway stars throughout my career as an actor thus far, and I picked up information very fast. As a Texas native, I split my time between New York and Houston pretty equally, and I devote a lot of my time and resources to bringing the right industry information to students and artists in Texas.

I am actively auditioning as an actor, producing, working with all different levels of industry people, and it's my first-hand experience that people trust. And I do it because I love it, which is the most important factor, in my opinion.

CM: How did Straight From New York come about?

TG: Funny story. About two years ago, I was visiting my really good friend Nancy Opel (you remember her for her Tony-nominated turn as Pennywise in Urinetown, or as the original Eva replacement in Evita), at her apartment right near Times Square, gorgeous location, and she mentioned that she has started privately coaching students out of her apartment. I was floored.

Nancy is Juilliard-trained, Tony-nominated and working on Broadway eight shows a week, and yet she still had time to devote her energy and attention to the next generation of artists. Long story short, I asked her to come do a workshop in Houston, she stayed in my friend's garage apartment, I paid her with love and the rest is history.

CM: What can people expect at these master classes?

TG: Every artist is different. As you saw with Adam Pascal's class, it was really more like a dual-taught class with Adam and myself. Some are like that; others are not. They cover different areas of performance, i.e., audition skills, song choices, song interpretation, technique — it really runs the gamut.

"Dallas basically took a metaphorical battering ram to my door and demanded that I bring the series to them," Green says.

People can expect to come and have an insightful look into a high-level artist's perspective based on their experience. And of course enjoy a couple of songs and maybe sing a little.

CM: Whom are the classes aimed at?

TG: Participants should be singers who are interested in in-depth coaching on singing styles, performance technique and audition skills. All levels and ages are encouraged; we do this because we believe everyone at all levels should have these great opportunities.

Observers can be friends, parents, teachers or students who love musical theater, singing, performing — or just love the artist!

CM: What do observers get out of it?

TG: I always joke about observing being the better "gig" because you get to learn without having any stakes in being coached. Don't get me wrong; it's an amazing experience to sing, but observing takes away the nerves and the judgment the singer might have on themselves and allows them to still receive all the helpful information that they can apply to their work without the stress of "Omgsh, I'm singing for a star."

Then, of course, teachers and parents who observe get to see firsthand just what their students are learning, which is one of our big missions.

CM: What made you decide to expand the classes from Houston to Dallas?

TG: Dallas basically took a metaphorical battering ram to my door and demanded that I bring the series to them. Haha. The outpouring of support from the Dallas community was so overwhelming that I couldn't say no. We hope it's here to stay.

CM: What's been the most rewarding experience with this series?

TG: For me personally, I am a young actor who is privileged to also be a producer, so the benefit for me is that not only do I get to help pass information alongside esteemed artists, I get to learn from them as well. It's a two-way street, and anyone who's successful will tell you that they never stop learning.

Learning, in this regard, is my job, and that's just the best I could ever ask for.

CM: Where will upcoming classes be held?

TG: What's cool about this series is that the location changes sometimes based on local interest. Dallas, like Houston, is huge, and we are trying to make these classes accessible to everyone. We know that sometimes if it's out in the east 'burbs, the Fort Worth people will not come, but a more central location helps others, etc. So we are exploring different options.

CM: Is there anything else you would like people to know about the workshops?

TG: Look, it's unlike anything you've ever experienced. The people who come consistently say that master classes like these just aren't happening, and the information for singers is so unbiased, unfiltered and 100 percent aimed at their future success.

That comes with laughs, revelations and hard truths, but the reality is that aspiring students deserve just that: the truth. We are very "real" with them when it comes to where they are with their abilities, what they need to grow on and our opinions on the next steps they need to take to reach their performance goals.

CM: What do you consider to be the top five most overdone audition songs?

TG: I love this question. I would like to make this clear for performers: Overdone songs are constantly growing! Don't assume you're safe! If I had to choose a mix, though, it would be these: "Gimme Gimme" from Thoroughly Modern Millie, any song from The Last Five Years, "This is The Moment" from Jekyll & Hyde, "The Beauty Is" from The Light in the Piazza and "So Much Better" from Legally Blonde.

Believe me, though, the list of overdone songs is vast.

Adam Pascal at the Dallas master class in June.

Adam Pascal leads a Straight From New York master class in Dallas

Photo courtesy of Straight From New York

Adam Pascal at the Dallas master class in June.

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Graceful exit

Ben Stevenson, legendary leader of Texas Ballet Theater, dies at 89

Photo courtesy of Texas Ballet Theater

Ben Stevenson, O.B.E.

UPDATE 4-2-2026: Ben Stevenson's memorial service will be held privately, but the public may join the livestream to celebrate his life and legacy. The service will take place at 3 pm Saturday, April 4 (which would have been his 90th birthday). The livestream link will publish to his obituary page, found here, shortly before the memorial begins. Once published, it will be displayed above the "Service Schedule" section.

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Ben Stevenson, OBE, the longtime artistic director of Texas Ballet Theater and a legendary ballet dancer and choreographer, died March 29, 2026 - just days shy of his 90th birthday, which would have been April 4.

"Stevenson’s profound impact on dance spanned decades and continents, shaping countless careers and elevating ballet companies to global prominence," reads a statement from the Ben Stevenson Trust. His cause of death has not been made public.

Stevenson served as TBT artistic director in Dallas-Fort Worth from 2003 to 2022, when he transitioned to a new role as artistic director laureate - a lifetime appointment. He continued to work with North Texas dancers in studio, set the choreography for his legendary ballets, and attend performances; he was spotted in the audience of the company's most recent mixed-rep program just weeks ago.

“Ben Stevenson is one of the great storytellers of ballet who has brought magic to the stages of Dallas and Fort Worth," Anne Bass, then-TBT board of governors chairman, said when his appointment as artistic director laureate was announced in 2022. "It is impossible to overstate his importance in elevating our company to the internationally acclaimed ensemble that it is today.”

Louella Martin, Ben Stevenson, Donna Arp-Weitzman, Betty Jean Willbanks, tutu chic Ben Stevenson with Betty Jean Willbanks, Donna Arp-Weitzman, and Louella Martin at a TBT Tutu Chic Luncheon. Photo by Andy Keye

Tim O'Keefe, who took the reins as TBT artistic director from Stevenson, said of his passing on Sunday, "Ben was more than a mentor to me — he was family. His artistry, his generosity, and his vision shaped not only my own journey as a dancer and leader, but also the very heart of Texas Ballet Theater.

"I will miss his wisdom, his humor, and his boundless passion for storytelling through dance. While my heart is heavy with grief, I am profoundly grateful for the decades of inspiration and love he shared with me and with this company. His spirit will live on in every performance, every dancer, and every audience moved by his work."

Before his tenure with TBT, Stevenson served as artistic director of Houston Ballet, beginning in 1976. Over 27 years, he transformed the company into one of the world’s leading ensembles and founded Houston Ballet Academy.

A ballet giant, Stevenson's choreography, from Cinderella to Dracula, is performed by companies around the globe.

Texas Ballet Theater's annual presentation of Ben Stevenson's The Nutcracker is a holiday tradition across Dallas-Fort Worth. The company's next performance will be Ben Stevenson's Swan Lake, May 1-3 at Winspear Opera House in Dallas and May 15-17 at Bass Hall in Fort Worth. "Ben Stevenson O.B.E.’s masterful two-act production offers an elegant yet approachable retelling filled with passion, drama, and grandeur," reads the description.

Texas Ballet Theater presents The Nutcracker Texas Ballet Theater annually presents Ben Stevenson's The Nutcracker at Bass Performance Hall and Winspear Opera House. Photo by Amitava Sarkar

TBT's announcement of Stevenson's death on social media Sunday night brought hundreds of comments, many of whom were from former dancers in his productions who underscored the impact he'd had on their life and careers.

Details on memorial services will be announced at a later date.

Below is the full obituary prepared by the Ben Stevenson Trust:

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BEN STEVENSON, OBE, decorated and acclaimed ballet dancer, teacher, choreographer, and artistic director, passed away March 29, 2026.

A native of Portsmouth, England, Stevenson was born April 4, 1936. As a child, Stevenson received his dance training in London, England, at Arts Educational School. Upon graduation, he was awarded the prestigious Adeline Genee Gold Medal, the highest award given to a dancer by the Royal Academy of Dancing. At the age of 18, he was invited by Dame Ninette de Valois to join the world-famous Sadler’s Wells Royal Ballet (currently The Royal Ballet), where he worked with Sir Frederick Ashton, Sir Kenneth MacMillan, and John Cranko. At Sir Anton Dolin’s invitation to London Festival Ballet as a principal dancer, Stevenson performed leading roles in all the classics.

In London’s West End, Stevenson performed the juvenile lead in ”The Music Man”, and appeared in the original casts of ”Half a Sixpence” and ”The Boys From Syracuse”. On British television’s “Sunday Night at the Palladium,” Stevenson danced in musical numbers 52 weeks a year with Judy Garland, Ella Fitzgerald, Shirley Bassey, and Cleo Laine.

In 1967, he staged his first ballet for English National Ballet, a triumphant production of “The Sleeping Beauty” starring Dame Margot Fonteyn. His arrival in the United States one year later marked the beginning of a journey spanning the remainder of his life. Rebecca Harkness appointed him as the Director of the Harkness Youth Dancers in New York City where he created two of his most celebrated works: “Three Preludes” and “Bartok”. After Harkness, Stevenson’s next position was as the Co-Artistic Director with Fredrick Franklin of National Ballet, in Washington, D.C. where he choreographed “Cinderella” and a new production of “The Sleeping Beauty” for the inaugural season of The John F. Kennedy Center for the Performing Arts.

After a brief association with Ruth Page's Chicago Ballet, Stevenson was appointed Artistic Director of Houston Ballet in 1976. During his tenure of 27 years, Houston Ballet grew from a small provincial ensemble to one of the largest and most respected ballet companies in the world. At Stevenson’s invitation, Sir Kenneth MacMillan and Christopher Bruce joined the Houston Ballet in 1989 as Artistic Associate and Resident Choreographer respectively, thereby establishing a permanent core of choreographers whose works contribute to the diversity of the Houston Ballet’s repertory.

Houston Ballet, Sara Webb, The Sleeping Beauty, chor. Ben Stevenson Sara Webb and artists of the Houston Ballet in The Sleeping Beauty, choreographed by Ben Stevenson. Photo by Amitava Sarkar

One of Stevenson’s proudest accomplishments was establishing the Houston Ballet Academy. In touch with his own inner child, Stevenson focused on developing children’s expression through movement, connecting their bodies and feelings to music. Through the Ben Stevenson Houston Ballet Academy, he provided nourishment and education for such artistic expression to grow young dancers who would ultimately become his dancers in the Houston Ballet.

By establishing a school where he could hone his skills as a teacher to develop dancers, his vision was to build a company from the ground up. As a result, Stevenson trained several generations of world-renowned dancers including Lauren Anderson, Janie Parker, Carlos Acosta, and Li Cunxin. In 1990, Stevenson’s promotion of Lauren Anderson to principal dancer was an important milestone in American ballet, making her one of the first Principal African American ballerinas in history.

As part of a cultural exchange program in 1978, Stevenson was among the first to gain entrance into China on behalf of the U.S. government, thus beginning a mutual love affair between China and Stevenson. He returned almost every year to teach at the Beijing Dance Academy. To expose the Chinese students to Western dance forms, Stevenson brought with him teachers of jazz and modern dance, including Gwen Verdon. In 1985, he was instrumental in the creation of the Choreographic Department at the Beijing Dance Academy. Stevenson is the only non-Chinese citizen to have been made Honorary Faculty Member there and at the Shenyang Conservatory of Music. In 2018, he was acknowledged by the Chinese government as one the most influential Foreign Experts in the 40 years since China initiated its policy on Reform and Opening Up.

In July 1995, Stevenson led the Houston Ballet, the first full American ballet company to be invited by the Chinese government, on a two-week tour of the People’s Republic of China with performances in Beijing, Shanghai, and Shenzhen. China’s invitation was a direct result of Stevenson's international reputation. Houston Ballet’s opening night performance of “Romeo and Juliet” in Beijing was telecast live and was seen by over 500 million Chinese viewers.

In July 2003, Stevenson became Artistic Director of Texas Ballet Theater in Fort Worth and Dallas. The company began to experience tremendous growth in budget and repertoire, as well as its education programs, all while attracting dancers from around the world. Stevenson remained Artistic Director until 2023–the longest-serving Artistic Director in the company’s history. Under his leadership, TBT flourished. His strong relationships with current and former dancers allowed him to bring world-class choreography to the company, raising the profile not only of TBT, but of the DFW Metroplex as an arts hub. Like he had in Houston, Stevenson recruited dancers to TBT from all over the world.

Legendary for his storytelling, Stevenson has left his mark on stages in London, Munich, Norway, Paris, New York, Santiago, Brisbane, among many others. He is best known for his compelling stagings of “Swan Lake”, “Romeo and Juliet”, “Cinderella”, “The Nutcracker”, “Coppelia”, “Don Quixote”, the original productions of “Peer Gynt”, “Dracula”, “The Snow Maiden” and “Cleopatra”. His wide range of friendships included ballet luminaries and celebrities from across the globe.

For his contributions to the world of dance, Stevenson was named an Officer of the Order of the British Empire (OBE) by Queen Elizabeth II in the New Year’s Honors listed in December 1999. His choreography also earned him numerous awards including three gold medals at the International Ballet Competition of 1972, 1982, and 1986. In April 2000, he was presented with the Dance Magazine Award, one of the most prestigious honors on the American dance scene. In 2005, he was awarded the Texas Medal of Arts.

Devilishly sneaky and intrinsically shy, Stevenson was an introverted extrovert. He shone the brightest in his kitchen, be it at home or a French chateau. Each meal, a feast fit for kings, was a reflection of the importance he placed on communing with dancers, friends and unsuspecting passersby. His generosity knew no bounds. Nourishing body and soul, from the head of his table, he spun tales of his life entrancing all seated around him.

Survivors include Ben’s extended family in Portsmouth, England, and a host of friends and dancers around the world who will never forget him.

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