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    Theater Review

    Dallas Theater Center's walking fairytale tangles itself up in too many mediums

    Lindsey Wilson
    Mar 19, 2021 | 1:30 pm

    A new walking fairytale called Something Grim(m) has landed at Dallas Theater Center, and like most fables, it reminds you to be careful what you wish for.

    That applies to both the story and the experience. We're all anxious for performances to start back up, and while DTC has developed an innovative way to present a piece of multimedia theater, it doesn't always satisfy.

    But it does add "walk-through" to the list of safe workarounds for experiencing theater. Small groups of masked audience members depart every 20 minutes from the Lexus Silver parking garage underneath the Wyly Theatre, listening to the Narrator (Sally Nystuen Vahle) spin the tale of a Gardener and his Maid and their desperate wish for a child.

    They visit a magic Wishing Well and are blessed with a child, but the well also prophesizes that their offspring will have the ability to grant wishes. A Farmer overhears, and rushes to tell his friend the Cook.

    Through voiceovers and a giant comic strip, we see the Child begin to grow up and then transform their parents into the King and Queen. Then the tour begins, heading through a haze-filled hallway into the Wyly's courtyard, where videos (filmed against green screens that, happily, don't look cheesy or disjointed) project the next part of the story from large screens inside the theater's lobby.

    The jealous Farmer (Blake Hackler) is irritated that his old friends are now stuffy royals who aren't sharing their wealth with him, so he decides to play a prank. He steals their child and makes it look as though the Queen (Tiana Kay Blair) murdered it, prompting the King (Alex Organ) to banish her to a tower to die.

    Instead of giving the Child back when the "joke" is over, the Farmer keeps the magic babe and threatens the Cook (Molly Searcy) to never reveal what they did.

    From there, you take a quick jaunt around the Wyly's exterior with more videos, some pop-up storybook illustrations, and even an interactive graveyard to continue the tale. There are no live performers, nor guides other than signs and arrows pointing the way.

    Though the experience is a short 40 minutes, it's entirely outside so be prepared for chilly and windy weather. There are also several tripping hazards that are difficult to see in the dark (though the show's staff was seen hastily adding reflective tape to the ground after one in our group took a tumble).

    Devised by the DTC's resident acting troupe — Liz Mikel, Christopher Llewyn Ramirez, Tiffany Solano, and Blair, Organ, Hackler, Searcy, and Vahle — Something Grim(m) is ultimately an engaging story that's unevenly presented.

    Some aspects, like the hand-painted characters that wind up the Wyly's zig-zagging front ramp, are utterly enchanting. The sound, by Kyle Jensen, is also excellent and can be heard despite the downtown traffic and airplanes crossing overhead. And the actors look phenomenal throughout, thanks to Michael Heath Waid's romantic costumes.

    But other aspects feel rushed or only half-thought through. There were several spots when our group was unsure of when and where to travel next. DTC provides a large printed map but it's a) unwieldy to consult, especially when it's windy, and b) confusing if you're not already familiar with the Wyly's layout.

    Audiences are also encouraged to download the new Dallas Theater Center app for "additional info," but that too is awkward to pause and scan through during the show. Simply letting this charming fairytale be told instead of tangling it up in too many mediums might be my greatest wish.

    ---

    Dallas Theater Center's Something Grim(m)runs at the Wyly Theatre through April 4.

    Molly Searcy as the Cook.

    Something Grim(m) at Dallas Theater Center
      
    Photo by Imani Thomas
    Molly Searcy as the Cook.
    reviewstheater
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    Budget Cuts

    Funding cuts force Dallas Children's Theater to trim 2025-26 season

    Lindsey Wilson
    Jun 3, 2025 | 1:38 pm
    Dallas Children's Theater presents James and the Giant Peach
    Photo courtesy of Dallas Children's Theater
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    The upcoming 2025-26 season for Dallas Children's Theater is shrinking, according to a new communication from its leadership.

    A June 2 email signed by executive director Samantha Turner, board president Leah Mora, and recently appointed artistic director Emily Ernst informs supporters that due to "the significant financial challenges of the current environment," DCT will be reducing the upcoming season from five mainstage shows to three.

    The email doesn't specifically call out the government's cuts to arts funding, but it is heavily implied, especially since other theaters have recently experienced financial difficulties due to the federal cuts.

    "We remain deeply committed to artistic excellence and to the 90,000 young people and families we serve annually," reads the email. "Though we will have fewer performances, we will continue to provide meaningful theatrical experiences that inspire children, nurture their imagination, and encourage connection with the world around them."

    The 2025-26 will retain the previously announced world premiere of The Pigeon Gets a Big Time Holiday Extravaganza! (November 22-December 21, 2025), as well as The Very Hungry Caterpillar Show (January 24-February 22, 2026) and Moon Mouse: A Space Odyssey (March 27-29, 2026), and add a new developmental workshop envisioned by Ernst.

    The Musical Adventures of Flat Stanley and Jungalbook will no longer be produced, and ticket-holders will be receiving instructions on ticket options.

    DCT Academy classes, a vital part of the theater’s work, will continue through the summer, concluding August 8. After that, Academy sessions will be temporarily paused. Families enrolled for the fall semester will receive a separate email with next steps.

    "Although our performances are well attended and our community support is strong, ticket sales cover only a small portion of the true cost of producing theater," the email explains. "At the same time, our operating costs have steadily increased while funding levels have remained flat. This financial pressure requires immediate action to keep DCT viable — not just for this season, but for the years ahead."

    Tickets for the 2025-26 season are on sale now.

    childrenfamiliesdallas childrens theaterchildrens theaterarts fundingtheater
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