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    Onstage Love

    10 lusty Dallas shows that bring on the showmance

    Lindsey Wilson
    Jan 30, 2014 | 1:59 pm

    Stages across Dallas-Fort Worth are feeling a little twitterpated. From saucy sex comedies to epic romances to unions that might, um, raise a few eyebrows, the plays and musicals onstage during Valentine's Day are showing us that love, actually, is all around.

    Ghost the Musical
    Dallas Summer Musicals, through February 9
    Performing Arts Fort Worth, February 11-16

    A love so great it can't die, but instead finds a sassy medium to serve as a conduit for all the things left unsaid. The beloved film, starring Patrick Swayze, Demi Moore and Whoopi Goldberg, receives the stage treatment, using special effects by Paul Kieve that are scary good. (The man has received the magic world's version of the Oscar, for goodness' sake.)

    Don't worry, "Unchained Melody" is in there, as is the pottery scene. We can all breathe easy now.

    I Love You, You're Perfect, Now Change
    Theatre Too, through February 16

    The only thing that's been changing about Theatre Three's annual hit is the cast, which year after year gives some of the most talented local performers a fun exhibition for their skills. This year we're presented with Max Swarner, Sonny Franks, Kim Borge and Amy Mills. The musical revue touches on all the different stages of love, from new infatuation to comfortable married life to death do us part (literally).

    On the Eve
    Theatre Three, through February 16

    Huzzah! It extended! This critically acclaimed original musical can do no wrong as far as the critics are concerned, and audiences should take advantage of this fortuitous extension to see what all the fuss is about. Go for the toe-tapping tunes, the electric performances, the wholly original story and the feeling of euphoria. Space and time can't stop Chase Spacegrove, and they can't stop true love, either.

    Cock
    Second Thought Theatre, through February 22

    John is dating a man before he breaks up with him and then finds himself attracted to a woman. Now John is confused. Dating suddenly gets a lot more difficult when you're note even sure which gender you want to pursue.

    Mike Bartlett's provocative play received the Second Thought treatment with a remarkably insightful staged reading during the last Uptown Players Pride Festival. Now it's exploring a full-length production under the direction of Alex Organ.

    Her Song
    Echo Theatre, through February 22

    The Bath House Cultural Center gets transformed into a 1930s-style supper club for Her Song, a collection of tunes by female composers and songwriters from the first part of the 20th century. Danielle Georgiou Dance Group and members of Matt Tolentino’s Big Band help create this immersive (truly, there's a dance floor just waiting for you to cut a rug on it) and multidisciplinary bit of nostalgia.

    Oedipus el Rey
    Dallas Theater Center, through March 2
    One of drama's greatest tragedies is built around a surprisingly tender — albeit gross — love story. Luis Alfaro updates Sophocles' Greek myth to modern-day LA, turning gangs and prison into the fate the characters cannot escape.

    Sabina Zuniga Varela and Philippe Bowgen impress as the doomed lovers, exhibiting a commendable amount of vulnerability in addition to flesh. In case you find their connection just a little too icky, wait a bit and things will turn violent and bloody. This is Greek tragedy, after all.

    Venus in Fur
    Circle Theatre, through March 8

    Thank Fifty Shades of Grey for making domination acceptable dinner conversation. In David Ives' dark sex comedy, a writer-director laments the lack of actresses suitable to play the lead in his new play, based on an Austrian novel from the late 1800s.

    Enter Vanda, a desperate, crude actress who exhibits an almost preternatural understanding of the role. As the action gathers steam, things get steamy. Top-notch actors Chris Hury and Allison Pistorius portray the pair, who engage in a mysterious dance of control and power that quickly veers into erotic territory.

    The Little Mermaid
    Dallas Summer Musicals, February 13-March 2

    The girl. Gives up. Her fins. I mean, really, that's about as sacrificial as one can get for love, no? Some might argue that the message — a girl should change to win her man — is antiquated and a bit dangerous, but then the Academy Award-winning songs start up and the crab is singing and I dare you not to love it at least a little bit.

    Rumor has it that this national tour will include flying effects instead of the Heelys (wheeled shoes) used in the original Broadway production.

    Vanya and Sonia and Masha and Spike
    Uptown Players, February 14-March 9

    Off-kilter playwright Christopher Durang mashes together Chekhov's tragi-comic characters and themes of existential loss and longing. The result is this winner of the 2013 Tony Award for best play.

    Although the plot mainly centers on three siblings and their damaged relationships with each other, there is the introduction of a vapid boy toy named Spike, who's been towed along to Bucks Country, Pennsylvania, by the glamorous if slightly fading movie star Masha. Because it's Uptown Players, expect bawdy hilarity without the slightest hint of self-consciousness.

    The Motherfucker With the Hat
    Kitchen Dog Theater, February 14-March 15

    Jealousy is often an unfortunate side effect of love. In Stephen Adly Guirgis' 2011 play, it's the driving force that convinces Jackie, a former drug dealer recently sprung from prison, to suspect his girlfriend is cheating on him.

    His proof? He finds an unrecognizable hat in her apartment. KDT company members Christopher Carlos, Christie Vela, Michael Federico and Liza Marie Gonzalez are directed by Jaime Castañeda.

    Oedipus el Rey

    "Oedipus el Rey" at Dallas Theater Center
    Photo by Karen Almond
    Oedipus el Rey
    unspecified
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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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