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    Theater Critic Picks

    These are the 9 can't-miss shows in Dallas-Fort Worth theater for March

    Lindsey Wilson
    Mar 5, 2019 | 9:15 am

    Shows are springing up right and left in Dallas-Fort Worth, bringing fresh premieres and beloved classics in with the (slightly) warmer weather. You can travel to the Appalachian Mountains or Harlem, hop aboard a floating disco or catch a ride on the Trans-Continental Express, and even drop in on a girls' soccer team (don't worry, you don't have to bring your old cleats).

    Here are the nine shows to see, in order by start date:

    Grease
    Casa Mañana, March 2-10
    Calling all T-Birds and Pink Ladies: Everyone's favorite rock-and-roll musical is back. Put on your dancing shoes and hand-jive to electrifying hits like "You're the One that I Want," "Summer Nights," "Greased Lightnin'," and more.

    Fool For Love
    The Classics Theatre Project, March 6-30
    Sam Shepard's play focuses on May and Eddie, former lovers who have met again in a motel in the desert. It also asks, "How can love feel so right when you know it's so wrong?" A surrealist, romantic, darkly comic, full-length one-act, the play was the winner of the 1983 Pulitzer Prize and Obie Award.

    The Wolves
    Dallas Theater Center, March 6-April 14
    Produced in association with the Meadows School of the Arts at Southern Methodist University, this production of Sarah DeLappe's Pulitzer Prize finalist play plunks its audience right in the middle of an elite squad of teenage soccer players. They meet every Saturday to stretch before their games, and high school gossip rapidly evolves into mature meditations on the girls' understanding of themselves and their place in the world.

    Death Express!
    Pegasus Theatre, March 14-23
    It’s "all aboard!" for murder in this Kurt Kleinmann original, which takes place on the Trans-Continental Express from Los Angeles to New York. Inept but endearing detective Harry Hunsacker and his paid-by-the-hour friend and assistant, Nigel Grouse, (along with Lt. Foster of the real police) find themselves trapped on a train headed for murder. Presented in RadioVizion, an alternative technique devised by Pegasus Theatre for the presentation of the Living Black & White series of Harry Hunsacker adventures, the show does not employ the trade-secret makeup but instead focuses on evoking the experience and glamour of being in a live radio studio of the 1930s and 1940s.

    Foxfire
    Theatre Three, March 14-April 7
    Annie Nations, an indomitable Appalachian widow of 79, lives on her North Georgia mountain farm with her husband, Hector. Her tranquility is threatened by a brash real estate developer who wants to turn her land into a vacation resort, and by concern over her son Dillard, a country singer who has come home with two stranded children because his wife ran away. Susan Cooper, Hume Cronyn, and Jonathan Brielle's play with music draws on the oral history, traditions, and folklore of the dwindling Appalachian Mountain descendants.

    Down for #TheCount
    Bishop Arts Theatre Center, March 22-April 7
    Back for a fourth year, Down for #TheCount features six dynamic female playwrights from diverse social and ethnic backgrounds, including nationally recognized playwrights Emily Mann, France-Luce Benson, Kiana Rivera, and Kat Ramsburg, as well as North Texas playwrights Gabrielle Denise Pina and Blue McElroy. Less than 29 percent of all theatrer produced in America is written by women, with only 6 percent of that by women of color. This festival breathes life into their compelling, hilarious, and heartbreaking stories.

    Disaster! The Catastrophic '70s Musical
    Uptown Players, March 22-April 7
    It's 1979, and New York's hottest A-listers are lining up for the opening of a floating casino and discotheque. What begins as a night of boogie fever quickly changes to panic as the ship succumbs to multiple disasters, including earthquakes, tidal waves, and infernos. This hilarious homage to the disaster movies of the '70s was written by Seth Rudetsky and Jack Plotnick, with concept by Rudetsky and Drew Geraci. Rudetsky himself will be at the Kalita for a post-show talk-back on March 28.

    Bubbling Brown Sugar
    Jubilee Theatre, March 22-April 28
    Journey back in time to the Harlem Renaissance, when audiences flocked to the area's popular nightclubs to see the greatest talents entertain. Artists like Cab Calloway, Duke Ellington, Benny Goodman, and Billie Holliday created a golden age of music with their exciting sounds and glamorous shows. You'll jam, jump, and jive to this exuberant, three-time Tony-nominated musical revue.

    The Higher Love
    WingSpan Theatre Company, March 29-30
    Adrian Godinez, Barrett Nash and Diana Gonzalez Yager star in this staged reading of Germaine Shames' new play, which follows two impressionable actors as they land the roles of a lifetime: poet Khalil Gibran and his patron, Mary Haskell. As the rehearsals progress, the actors grapple with their unpredictable characters, the meaning of love, and the stage kiss to end all. Offstage, a tragedy strikes the play's director, casting into doubt Gibran’' and Haskell's lofty, if unrealized, ideals.

    It's every kind of Disaster! you can imagine at Uptown Players (including bell-bottoms).

    Uptown Players presents Disaster! The Catastrophic '70s Musical
    Photo by Mike Morgan
    It's every kind of Disaster! you can imagine at Uptown Players (including bell-bottoms).
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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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