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    Season Announcement

    Uptown's Theatre Three expands artistic leadership in local-focused season

    Lindsey Wilson
    Mar 14, 2019 | 2:32 pm
    Christie Vela and Jeffrey Schmidt
    Christie Vela and Jeffrey Schmidt.
    Photo courtesy of Theatre Three

    UPDATE: Theatre Three has added a holiday show, Gold, Frankincense, and Credit Card Debt: A Christmas Holiday December Sketch Comedy Show. This production is co-presented by Bootstraps Comedy Theatre and directed by celebrated local playwright Matt Lyle. It is written collectively by Matt Lyle, Nicole Neely, Jim Kuenzer, Jeff Swearingen, Matt Coleman, and Rachel Farmer, and will be performed December 13-28. Tickets are now on sale.

    ---

    Three works penned by Dallasites — two of which are world premieres — are featured in Theatre Three's 2019-20 season, but that's not the only big announcement from the theater-in-the-round in the Quadrangle.

    Local director and actor Christie Vela is joining T3 as its associate artistic director, and is already slated to direct the first show of the company's 58th season.

    "Christie is a longtime colleague and friend," says T3 artistic director Jeffrey Schmidt, who is entering his third year in the role. "Her work both as a director and actor here in the Metroplex as well as regionally is impressive, to say the least. Many will remember when both Norma Young and Jac Alder were the artistic forces behind Theatre Three. I'm thrilled to see where Theatre Three will head by combining our aesthetics and visions."

    Together with Michael Federico, who co-wrote last season's new musical The Manufactured Myth of Eveline Flynn, Vela conceived a new adaptation of Bram Stoker's Dracula, which will kick off the new season. Vela will direct (she also directed Dr. Jekyll and Mr. Hyde from two seasons ago), with Federico writing the well-known Gothic horror tale from the perspective of through the eyes of the count's mysterious mistress, Mina.

    It will play concurrently with The Bippy Bobby Boo Show, a haunting parody of 1960s musical variety shows co-produced by Danielle Georgiou Dance Group. A roster of theatrical ghosts living in the basement Theater Too space bring the works of Pirandello, Pinter, Albee, and Beckett into their acts for an evening of glamorous, ghoulish entertainment. This "double scream Halloween" pairing runs October 10-November 3, 2019.

    Michael Frayn's classic farce Noises Off brings its door-slamming slapstick to the holiday season (seems the beleaguered experiment that was Solstice has been put to rest after two seasons). Kara-Lynn Vaeni directs the onstage comedy that shows the backstage antics of an amateur traveling theater production as it puts the saying "the show must go on" to the test. It runs November 29-December 29, 2019.

    As was hinted last year, Denise Lee's original play Funny, You Don't Act Like a Negro is premiering under Vela's direction. Audience interaction seems like it will be encouraged during this world premiere, while will explore the pre-judgments we make on our neighbors, the biases we inadvertently pass on to our children, and how the simple act of talking to one another is being subverted by social media. It runs February 20-March 15, 2020.

    Schmidt assumes the directing reins for The Elephant Man, Bernard Pomerance's biographical drama about medical marvel and social outcast John Merrick. Shunned by Victorian-era society due to his dramatically deformed body, Merrick finds compassion with a caring surgeon and longs to escape his "sideshow freak" status. It runs April 9-May 10, 2020.

    Theatre Three has its own Hamilton ... Texas, that is. It's the setting for The Immigrant, Mark Harelik's based-on-a-true-story play about his grandfather, Haskell Harelik, and the changes the Russian-Jewish immigrant experiences over his 30 years in the town. Schmidt once again directs, and it runs June 4-28, 2020.

    Noticing the lack of a musical in this lineup? T3 promises there will be one — sort of. A "special fundraising event" musical revue is planned for late January or early February, 2020, and will "scratch your musical itch with an evening jam-packed with Broadway's biggest hits."

    Theatre Too will continue to provide a home for Theatre Three's Monday Playwright series, which provides local writers an opportunity to showcase their works-in-progress.

    Season tickets (which range from $60-$225) will go on sale on May 14, 2019. Single tickets will be available at a later date. For ticket information, call 214-871-3300 or visit www.theatre3dallas.com.

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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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