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    Theater Review

    Take a magical journey to hell and back with Hadestown at the Winspear

    Lindsey Wilson
    Jan 20, 2022 | 2:56 pm
    Kevyn Morrow, Nicholas Barasch, and Kimberly Marable.
    Kevyn Morrow, Nicholas Barasch, and Kimberly Marable.
    Photo by T Charles Erickson

    There are several moments in the Tony Award-winning musical Hadestown that feel oddly prescient, from thinly veiled mentions of climate change to a leader building a wall to "protect his people's freedom."

    But creator Anaïs Mitchell first began working on Hadestown in 2006, debuting it as a concept album in 2010 before its New York Theater Workshop premiere in 2016. It finally landed on Broadway in 2019.

    So any Donald Trump parallels or of-the-moment social commentaries are simply a coincidence — though you could argue that domineering leaders and the organic vs. industrial struggle are, in a way, timeless.

    Based loosely around the Greek myths of Orpheus and Eurydice and Hades and Persephone, Hadestown weaves together New Orleans jazz, modern dance, supernatural elements, and the tragic nature of love, all overseen by a fleet-footed narrator whose traditional role is as a messenger who guides souls to the underworld.

    Director Rachel Chavkin, who gained notoriety for her immersive staging of The Great Comet, helps make these abstract figures relatable.

    The young lovers are torn apart by the very real dangers of hunger, poverty, and inattention, while the quarreling gods wrestle with control, personal vices, and jealousy. And surrounding them all is a very talents onstage band (led by music director Cody Owen Stine) and a quintet of workers that symbolize, well, all of us.

    In the national tour that's currently playing the Winspear Opera House, presented by Dallas Summer Musicals, some of these elements are more effective than others.

    Kimberly Marable is effervescent as Persephone, the goddess of fruit, flowers, and abundance. Even when she descends into an alcohol-soaked depression brought on by Hades' sudden obsession with power (and not her), she's scarily chipper.

    Kevyn Morrow, likewise, is smooth as silk in his portrayal of the devilish lord of the underworld. These two have the most complicated relationship onstage, and each strikes just the right balance of entertaining and truthful.

    Morgan Siobhan Green and Nicholas Barasch don't have quite the same electric connection as Eurydice and Orpheus, even though their love is supposedly strong enough to escape death (at least for a little while).

    And commenting on it all as Hermes is Lei Kreis, who previously won a Tony Award for his role as Jerry Lee Lewis in Million Dollar Quartet. There's more than a little Jerry Lee to his performance here, and the overall effect is more enthralled bystander than wise guide.

    The three Fates, however, bring a welcome touch of ethereal bitchiness to the two-and-a-half-hour saga, with Belén Moyano, Bex Odorisio, and Shea Renne baring their teeth in predatory grins and relishing the chaos they cause with the mere flick of a finger or whoosh of breath.

    But still, to go on this magical journey to hell and back after two years of the pandemic (which is its own kind of hell) makes it, at least for a few hours and in Mitchell's own words, "easy to see how the world could be, in spite of the way that it is."

    ---

    The national tour ofHadestown, presented by Dallas Summer Musicals, plays at the Winspear Opera House through January 30.

    Kevyn Morrow, Nicholas Barasch, and Kimberly Marable.

    Hadestown national tour
      
    Photo by T Charles Erickson
    Kevyn Morrow, Nicholas Barasch, and Kimberly Marable.
    theaterreviews
    news/arts

    Budget Cuts

    Funding cuts force Dallas Children's Theater to trim 2025-26 season

    Lindsey Wilson
    Jun 3, 2025 | 1:38 pm
    Dallas Children's Theater presents James and the Giant Peach
    Photo courtesy of Dallas Children's Theater
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    The upcoming 2025-26 season for Dallas Children's Theater is shrinking, according to a new communication from its leadership.

    A June 2 email signed by executive director Samantha Turner, board president Leah Mora, and recently appointed artistic director Emily Ernst informs supporters that due to "the significant financial challenges of the current environment," DCT will be reducing the upcoming season from five mainstage shows to three.

    The email doesn't specifically call out the government's cuts to arts funding, but it is heavily implied, especially since other theaters have recently experienced financial difficulties due to the federal cuts.

    "We remain deeply committed to artistic excellence and to the 90,000 young people and families we serve annually," reads the email. "Though we will have fewer performances, we will continue to provide meaningful theatrical experiences that inspire children, nurture their imagination, and encourage connection with the world around them."

    The 2025-26 will retain the previously announced world premiere of The Pigeon Gets a Big Time Holiday Extravaganza! (November 22-December 21, 2025), as well as The Very Hungry Caterpillar Show (January 24-February 22, 2026) and Moon Mouse: A Space Odyssey (March 27-29, 2026), and add a new developmental workshop envisioned by Ernst.

    The Musical Adventures of Flat Stanley and Jungalbook will no longer be produced, and ticket-holders will be receiving instructions on ticket options.

    DCT Academy classes, a vital part of the theater’s work, will continue through the summer, concluding August 8. After that, Academy sessions will be temporarily paused. Families enrolled for the fall semester will receive a separate email with next steps.

    "Although our performances are well attended and our community support is strong, ticket sales cover only a small portion of the true cost of producing theater," the email explains. "At the same time, our operating costs have steadily increased while funding levels have remained flat. This financial pressure requires immediate action to keep DCT viable — not just for this season, but for the years ahead."

    Tickets for the 2025-26 season are on sale now.

    childrenfamiliesdallas childrens theaterchildrens theaterarts fundingtheater
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