Theater Shocker

WaterTower Theatre's artistic director unexpectedly resigns after 2 years

After only two seasons, Joanie Schultz has resigned as artistic director of WaterTower Theatre. The Addison theater company announced on November 5 that she tendered her resignation to the board of directors on October 23, and will remain in her position through December 31, 2018.

Former longtime WaterTower Theatre artistic director Terry Martin, who resigned in 2016 to head up the fine arts department at Greenhill School, will help with the transition.

"In my two years as artistic director, we have developed award-winning world premieres, produced regional premieres, and presented work that highlights voices of women, people of color, and Texas natives," says Schultz in the release. "WaterTower is a theater with robust community support and is full of promise, and I have decided at this time it is best that I step aside so that the board can reorganize in a way that is best for WTT's future. I am incredibly proud of my leadership, which resulted in the support of diverse artists creating innovative work that speaks to our community. I am thankful for the time I've had here in Addison and I'm grateful to theater practitioners of DFW, as I have cherished my collaboration with the inspiring artists and theaters here in this community."

Schultz's departure is not without controversy. Some supporters found the two seasons that she planned for WaterTower to be too different from the theater's traditional programming.

She began by replacing Stephen Sondheim's Sunday in the Park with George with Ike Holter's Hit the Wall, about the 1969 Stonewall Riots, at the end of the 2016-17 season. Her 2017-18 season included Robert Askins' Hand to God, which according to TheaterJones was the last straw for the Canterbury family, who were the named presenting sponsors of the main stage prior to Schultz's appointment. The theater was renamed the Terry Martin Main Stage at the beginning of October.

At the end of August, managing director Nicholas Even also resigned; he had begun his position shortly after Schultz took up hers. This followed the departure of longtime WaterTower employee Gregory Patterson, who had been the first to fill the newly created MD position after serving as director of development and marketing.

"We as a board have made a commitment to continue building on and protecting the theater's legacy, established in part by former producing artistic director Terry Martin," says board president Grace Daniels in the release. "Martin has graciously extended his willingness to offer guidance during the transition and to help us honor relationships with our long-standing supporters all while continuing to introduce the theater to new audience members. I would also like to thank the leadership of the town of Addison who continue to provide invaluable support and words of advice as we work through this time of transition."

Schultz's own adaptation of Henrik Ibsen's A Doll's House, the first production of her 2018-19 season, closed on November 4.

On her Facebook wall, Schultz wrote, "Nothing is permanent, everything changes, that is the only constant. Every relationship has a lifespan. It turned out that the amount of time I was meant to be Artistic Director of WaterTower Theatre was two years. That doesn’t mean it was a failure, my friends. NOT AT ALL. I’m quite proud of the successes of my time at WTT. Not only did we develop world premieres, new works, regional premieres, we highlighted the work of women and people of color on the WaterTower stage. We developed a community engagement program and a new work festival.

"We created a supportive environment for theatre artists, and the work on our stage reflected that creative energy. And most importantly, I was introduced to the DFW Theatre Community, a well-kept secret of incredibly inspiring artists who are brave, dedicated, and people that I’m proud to call my collaborators and friends. Thank you to my old friends, my new friends, and everyone who have supported me through this journey from beginning to end. I’m grateful to be a theatre artist in this crazy world, to expand my theatre family, and for the adventures I am sure to encounter next!"

Up next at WaterTower Theatre is the return of The Great Distance Home, a movement-based, ensemble-devised work that premiered during the 2017 holiday season.

Joanie Schultz will leave WaterTower Theatre at the end of 2018.

WaterTower Theatre artistic director Joanie Schultz

Photo by Joe Mazza

Joanie Schultz will leave WaterTower Theatre at the end of 2018.

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Dance News

Dallas Black Dance Theatre makes interim artistic director permanent

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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