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    Theater Critic Picks

    These are the 14 can't-miss shows in Dallas-Fort Worth theater for October

    Lindsey Wilson
    Oct 3, 2019 | 9:32 am

    I know, I know, we were all hoping for a scary 13 this month. But each one of these shows looks so good, I couldn't bear to leave any of them out. It's spooky season onstage, with creepy takes on the classics and frighteningly good new works.

    Here are the 14 shows to see in order by start date:

    The Seagull
    Eccentric Bear Theater Co., October 3-6
    Tensions are running high at a sleepy country estate as esteemed actress Irina Arkadina introduces her son to an unexpected new lover in Anton Chekhov's classic play about jealousy, unrequited love, and large birds.

    Macbeth
    Shakespeare Dallas, October 3-13
    While keeping true to Shakespeare's original bloody script, this classic tale of power, ambition, and tragic downfall moves to an alternative near-future Silicon Valley, where tech companies bid for ultimate control in a dynamic and changing industry. Following a prophecy from three witches that he will be king, Macbeth — at the urging of his wife — plots King Duncan's murder to secure the throne.

    Two By Beckett: Footfalls and Not I
    WingSpan Theatre Co., October 3-19
    These hauntingly beautiful plays investigate the "undiscovered country" that Samuel Beckett and his characters yearn for and how we all must go on. Jennifer Kuenzer stars in Footfalls and Susan Sargeant in Not I — Sargeant also directs.

    A Love Offering
    Kitchen Dog Theatre, October 3-27
    Jonathan Norton's newest play follows T'Wana Jepson and Miss Georgia, two nurse's aides who care for patients with Alzheimer's and dementia. It's not a glamorous job, but the women find support in each other — until T'Wana is attacked by the patient in E 204.

    Dracula
    Theatre Three, October 3-November 3
    Vampires, but make it feminist. This fresh adaptation of the Bram Stoker Gothic horror novel takes a deeper look into the Romanian folklore with an update on the undead. You've long heard the story of Dracula, everyone's favorite blood-sucking Transylvanian; but what stories might we learn through the eyes of his mysterious mistress Mina?

    Disturbance
    Sweet Tooth Hotel and Arts Mission Oak Cliff, October 4-26

    Each Friday and Saturday night in October, you can party like it's 1999 at a Y2K New Year countdown with the permanent residents of Sweet Tooth Hotel. This immersive theater experience (that means you're part of the show, too) challenges you to alter the show's ending or become trapped in a never-ending enigma while you solve different pieces of the puzzle.

    Villa
    Teatro Dallas, October 11-November 2
    In this slyly surprising and gripping play, Guillermo Calderon puts the audience in the room with three women charged with deciding the future of the Villa Grimaldi, an infamous detention camp of Chile’s Pinochet government.

    Ann
    Dallas Theater Center, October 15-November 10
    Written by Emmy Award winner Holland Taylor and starring Friday Night Lights' Libby Villari, Ann is a no-holds-barred portrait of Ann Richards, the legendary governor of Texas.

    Bright Colors and Bold Patterns and Cooties
    Uptown Players, October 18-27
    For Gay History Month, Uptown Players is presenting two special shows. The first, Bright Colors and Bold Patterns by Drew Droege, is a solo play starring Paul J. Williams as Gerry. It’s the eve of Josh and Brennan's picture-perfect Palm Springs wedding, and their old friend Gerry arrives car-cranky and a few beers in, furious that the invitation demands that he "refrain from wearing bright colors or bold patterns." The second, Cooties by Alexandrew Recore, is a fast-paced-sitcom-romcom variety show about truly ugly love, examining all the things we'd rather not talk about when it comes to sex, love, and happiness.

    She-Wolf
    Amphibian Stage Productions, October 18-November 10
    Despite being taken prisoner of war, then ransomed off by her father to the feckless king of a foreign country, Margaret of Anjou went on to command armies. Shakespeare was so entranced with her that he included her in four of his plays. Stephan Wolfert used Shakespeare as his inspiration for this play.

    Side Show
    The Firehouse Theatre, October 24-November 10
    Based on the true story of conjoined twins Violet and Daisy Hilton, who became stars during the Depression, Side Show is a moving portrait of two women joined at the hip whose extraordinary bondage brings them fame but denies them love. Told almost entirely in song, the show follows their progression from England to America, around the vaudeville circuit and to Hollywood on the eve of their appearance in the 1932 movie Freaks.

    Sister Act
    WaterTower Theatre, October 24-November 10
    After witnessing a murder, disco diva Deloris Van Cartier is put in protective custody in the one place the cops are sure she won't be found: a convent. Finding herself at odds with a rigid lifestyle and the uptight Mother Superior, Deloris uses her unique flair and singing talent to inspire the choir, breathing new life into the church and community. In doing so, however, she blows her cover and soon her gangster boyfriend and his cronies are giving chase.

    The Bippy Bobby Boo Show
    Theatre Too and Danielle Georgiou Dance Group, October 25-November 2
    Dazzling with glitz and glamour of a 1960s musical variety show, this new work is a two-week haunting of Theatre Too, the delightful downstairs space at Theatre Three. Bippy Bobby, the crooning, cocktail-toting ne'er-do-well, hosts this late-night limited engagement featuring performances by the six ghosts living in the belly of the Uptown basement. Inspired by the plays they saw performed by Norma Young, Esther Ragland, Robert Dracup, and Jac Alder, the ghosts of Theatre Too bring the works of Pirandello, Pinter, Albee, and Beckett into their acts.

    Razz
    Ochre House Theatre, October 26-November 16
    Hot on the heels of Fosse/Verdon's big Emmy win, this season opener follows the life of Bob Fosse, who finds himself fighting for life after his third heart attack. Wrapped in song, dance, vaudeville, and spectacle, Razz explores how artists survive in a fickle world.

    Sister Act sparkles at WaterTower Theatre.

    WaterTower Theatre presents Sister Act
    Photo by Shanna Lockwood
    Sister Act sparkles at WaterTower Theatre.
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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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