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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.

    theater
    news/arts

    A good listen

    Dallas Symphony and Fabio Luisi release landmark Wagner 'Ring Cycle' set

    Associated Press
    Jun 10, 2026 | 2:00 pm
    Fabio Luisi conducting the Dallas Symphony Orchestra
    Photo courtesy of Dallas Symphony Orchestra
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    Fabio Luisi wanted his Ring Cycle to be heard and not seen.

    Wagner’s four-opera epic Der Ring des Nibelungen, approaching the 150th anniversary of its premiere in 1876, has been reinterpreted and deconstructed by directors finding various meanings in the conflicts among gods, humans, giants and dwarfs.

    While most new recordings are on video, Luisi led his Dallas Symphony Orchestra in concert performances that were released on 13 compact discs by Delos on May 22 and are available on streaming services.

    “Wagner conceived this as a total immersion in visual and acoustic, but I could focus really only on the music, and this was the point actually — not to be distracted by staging and not to have to cope with maybe strange ideas of staging,” Luisi said. “I think the music tells everything.”

    Luisi became DSO music director in 2020 and broached the idea while dining two years later with (the now late) Morton H. Meyerson, a longtime board member.

    “Fabio came back from lunch sort of giddy but sort of sheepishly saying: `Do you think that this would ever be possible?” recalled Kim Noltemy, the Dallas CEO at the time. “So, I said, well, let’s give it a try. So, we called around to see if there were people who wanted to support it and did a budget.”

    After securing a waiver from the orchestra allowing for the needed rehearsals and performance length, recordings were made during four concerts from May 1-5 and six more from Oct. 5-20. Each opera was performed two or three times.

    Americans in cast fill big roles
    American singers featured prominently, with Mark Delavan as Wotan, Lise Lindstrom as Brünnhilde and Sara Jakubiak as Sieglinde, part of a cast that included Christopher Ventris (Siegmund), Daniel Johansson (Siegfried), Deniz Uzun (Fricka), Tómas Tómasson (Alberich), Michael Laurenz (Mime) and Stephen Milling (Hagen).

    Delavan sang Wotan at New York’s Metropolitan Opera in 2013 after Luisi took over from an ailing James Levine in Robert Lepage’s much-maligned production staged on a 45-ton set of 24 rotating planks.

    “We’re accessible and they know that we’re hungry and we have a chip on our shoulders,” Delavan said. “What conductors like about American singers is their technique is sound. Even a European conductor would say: Well, I’m going to give up some of the communication skills, only one degree of separation with the language, but I’m going to get a solid technique, and I’m going to get pretty good acting chops.”

    Lindstrom has been in Atlanta to sing in its production of “Götterdämmerung,” the concluding night of the tetralogy, leading to what is being billed as the first complete Ring Cycles in the America South in 2029.

    “The wonderful thing about it is the intimacy between the orchestra and us, because we’re not separated by a chunk of stage or a chunk a scenery or a chunk of concept,” she said of the Dallas performances. “And for people like me, who have had the opportunity to perform the role before, I have all those iterations to rely on for my portrayal that I can sort of filter myself through.”

    A younger Luisi listened to famous renditions
    Luisi, 67, first heard a Ring recording in Georg Solti’s famous studio set with the Vienna Philharmonic from 1958-65. He also admires Karl Böhm’s live recording from the 1967 Bayreuth Festival and Marek Janowski’s 1980-83 studio version with the Staatskapelle Dresden.

    He first conducted Ring when he was music director of Dresden’s Semperoper from 2007-10. Luisi’s Dallas performances include more legato and softer sound than his rendition a decade earlier at the Met. He tries to keep an arc from the first notes of “Das Rheingold” to the final strains of “Götterdämmerung.”

    “I have a deeper understanding about the meaning of this piece,” he said. “I consider the ring to be a big Bruckner symphony. So we have the introduction, then we have the first movement, this is “Walküre,” which happens to be a slow movement, and then we have the scherzo, which is “Siegfried,” of course, and then the long, long, last movement. There is a unity.”

    dsoluisiringwagnerrecordingconcertsmusicsymphony
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