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    Stranger Than Fiction

    No amount of rehearsal could prepare Dallas actress for this real-life role

    Elaine Liner
    Feb 24, 2016 | 1:31 pm

    The first neurologist to examine Dallas actress Sherry Jo Ward last year dismissed her with advice to “Google 'psychiatrist.'” The second neurologist was baffled by her symptoms: excruciating headaches, sudden muscle cramps, back and neck pain, numbness in her arms and legs. Tests were ordered for multiple sclerosis, Parkinson’s, and hepatitis. All came back negative.

    Whatever was going on had come on suddenly. At 40, Sherry says, she was healthy and active, keeping up with her sons (now 6 and 10) and performing onstage in demanding roles. (She had played the lead in WaterTower Theatre’s production of August: Osage County.)

    “I never had any vices,” she says, “or did anything to abuse my health.”

    Throughout late 2014 and early 2015, however, Sherry was getting more and more unsteady. “I’d be walking the dog and my arms would go numb,” she recalls. “I had twitches and tremors, vision problems. I was falling a lot. But the MRI came back showing nothing wrong.”

    Sherry and her husband, playwright and drama teacher Thomas Ward, had recently moved back to Dallas from Minnesota, where Sherry worked at the Minneapolis Children’s Theatre Company. In good weather up there, she rode her bike five miles to the job she recalls as “stressful and demanding.”

    Her new position in marketing for Dallas Children’s Theater (Thomas teaches elementary school in Keller) was “perfect,” Sherry says. “I couldn’t dream of a better environment. I could feel stress rolling off of me.”

    But her health problems persisted. She fell at work and again outside her home. Her legs, she says, would feel as if they were filling with wet cement.

    Neurologist No. 3 nailed the diagnosis only because he’d seen one other patient with it: stiff person syndrome (SPS). The rare neurologic disorder begins with the symptoms Sherry experienced, followed by progressively more serious rigidity, spasms, and stiffness in the torso and limbs. Only about 300 people in this country have it.

    There is no treatment, just physical therapy and pain management with prescription opiates and muscle relaxers. Sherry has joined the small community of SPS sufferers who communicate with each other through a Facebook group. (Throughout our interview, Sherry, nestled into the corner of a soft brown sofa, massages her left leg, which she says is in constant pain.)

    “When I finally had that one doctor look at me and say, 'You are not crazy,' I just started weeping,” she says. “I’ve found that it’s not uncommon among people with this disorder to be told that it’s all in your head.

    “I was lucky that it only took three doctors. It takes an average of seven years to get a correct diagnosis and only after 13 or 14 neurologists.”

    In the months since her diagnosis, there have been “good days and bad days,” she says. Sherry pulls up her shirt to show a thick black “X” inked onto the square inch of her lower back she calls her “don’t-touch-Mommy spot.” The slightest touch triggers blinding pain from inflamed nerves, she says. She can no longer walk without a cane and relies on a wheeled seat she can also push as a walker when she’s standing.

    The Wards moved out of their three-story townhouse and into a more navigable one-level, ranch-style home in Fort Worth. Sherry gave up driving and quit her job at DCT. But she hasn’t quit acting.

    Last year she starred in the critically praised Precious Little, an Echo Theatre production at the Bath House Cultural Center. She used her cane for the role, and director Kelsey Leigh Ervi made sure there were “resting spots” for her all over the stage.

    Thomas Ward also writes good roles for his wife. They co-starred together in his two-person, one-act International Falls, which debuted at last year's Out of the Loop Festival and was revived at Fort Worth’s Stage West. The Wards will co-star again in Thomas’ latest play, I Love You Honey Bunny, at this year’s Out of the Loop, which begins February 25.

    Sherry calls it a “caper comedy” about a couple who go on a crime spree because they’re so broke they can’t afford a date night. “I thought the idea of making a quick getaway with me on a walker was a really funny visual,” she says.

    So far her ability to memorize lines hasn’t been affected. “Just my stamina,” she says. “I could still do voiceovers.”

    One of the first people Sherry reached out to after her diagnosis was longtime Dallas theater director René Moreno, who has used a wheelchair since an accident in the 1990s. “One of the things René told me was 'Your dramatic life does not have to end because of this. You’ll find a way to make this play out dramatically.’

    “I’m already taking notes,” she says. “But I would rather play it out as comedy.”

    ---

    I Love You Honey Bunny starring Sherry Jo and Thomas Ward plays the Out of the Loop Theatre Festival at 7:30 pm, February 25; 7:30 pm, March 2; and 2 pm, March 5, in the Studio Theatre.

    Sherry Jo Ward and her dog, Savannah.

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    Dance News

    Dallas Black Dance Theatre makes interim artistic director permanent

    Lindsey Wilson
    Nov 4, 2025 | 11:41 am
    Richard A. Freeman, Jr.
    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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