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    Theater Review

    Powerful cast keeps If/Then from getting lost in time

    Alex Bentley
    Jan 28, 2016 | 1:20 pm

    When a musical is successful, it’s usually either because it has an abundance of unforgettable songs or because it has a strong story that just so happens to be propelled by songs. A very special few are able to succeed on both fronts, but those only come along once in a blue moon.

    If/Then, whose national tour will play at Winspear Opera House through January 31, is one of those musicals that works based on the strength of its singers and plot, and not necessarily because you’ll be humming its tunes on the way out.

    Set in New York City in the recent past, it’s a fanciful tale focused on Elizabeth (Jackie Burns), who has recently moved back to the city after a divorce. She meets two friends, one new (Kate, played by Tamyra Gray) and one old (Lucas, played by Anthony Rapp), and the story imagines two different timelines for her depending on whom she follows on one fateful day.

    Follow Kate, and it takes her down a path where she calls herself Liz and she meets perhaps the love of her life, Josh (Matthew Hydzik), but at the expense of a promising job prospect. Follow Lucas, and she calls herself Beth and nabs that job as a city planner, but she also experiences multiple romantic missteps that leave her unfulfilled in her personal life.

    The domino effects of both decisions reverberate in other ways, as the people around her also make different choices in their lives. These choices range from small to large, with the most momentous of them being one character switching sides with his sexuality. That is a curious decision since the other timeline doesn’t even hint at the character being gay. It’s also one of several plot machinations that do harm to the overall production.

    However, the powerful singing of the cast mitigates that harm. Burns, taking over for original star Idina Menzel, is naturally given the majority of the big moments, especially in second act songs like “I Hate You” and “Always Starting Over” that showcase her amazing range.

    But it’s her first act song, “What the Fuck?,” that truly sets the tone for the production, as it marks the point where the split timeline concept finally fully connects. Beth/Liz has encounters with different men at her apartment, and the rotating set, great choreography, and fun yet poignant lyrics of the song combine to realize the emotional stakes of the plot.

    Former American Idol contestant Gray, taking over for original star LaChanze, gives Kate the right amount of spunkiness the character needs as well as the pipes to go toe-to-toe with Burns. Rapp, the lone holdover from the original Broadway production, shows why he’s had such a long theater career, bringing in humor and gravity when needed.

    It’s unlikely that the soundtrack of If/Then will find its way into most people’s musical rotation, but the experience of seeing it performed live and in context makes it memorable as a whole. Don’t let this be a decision you’ll regret; see If/Then if you have the chance.

    Anthony Rapp and Jackie Burns in If/Then.

    Anthony Rapp and Jackie Burns in If/Then
    Photo by Joan Marcus
    Anthony Rapp and Jackie Burns in If/Then.
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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
    undefined

    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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