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Theater Review

Geeks unite for a monster-laden fantasy quest at Dallas' Theatre Three

Lindsey Wilson
Mar 21, 2018 | 1:38 pm
Theatre Three presents She Kills Monsters
Kennedy Waterman, Bree Redmond, and Aaron Jay Green
Photo by Jeffrey Schmidt

Like Easter eggs in superhero movies, it's the details that delight in She Kills Monsters at Theatre Three. The way a trio of insect-bear creatures bop in place while waiting to battle the play's heroines, calling to mind the distinctive movement patterns of early video game opponents, or how their masks are styled to resemble basic eight-bit animation. Focus enough on these facets from co-directors Jeffrey Schmidt and Katy Tye, and the play's bigger holes won't seem so glaring.

Qui Nyguen's script is, on the whole, packed with solid-gold geekery. A young woman who lost her parents and younger sister in a car crash finds solace in a notebook the teen left behind. As Agnes (Bree Redmond) delves deeper and deeper into the world of Dungeons & Dragons — where her sister, Tilly (the always dependable Kennedy Waterman), was a local legend — she discovers how little she really knew the girl.

Griffin Hammel is endearingly dorky as Chuck, the Dungeon Master who guides Agnes through the game Tilly built. It's through him that Agnes speaks to her lost sister, and he's especially tender when he has to pull her out of the therapeutic reveries with reminders that he's only re-enacting what Tilly left behind.

The metaphor that high school is a war zone is rendered through colorful villains (Alle Mims and Sam Schneider-Behen have great fun as cheerleader harpies, while Chandra Rees sparkles in a brief turn as a homicidal fairy) and clever boss fights (Lydia Mackay's guidance counselor is a Karen Walker-like treat).

A huge chunk of this show's joy comes from seeing what sci-fi creature might appear next, and Ryan Schaap (costumes), Raul Luna (assistant costumes), and Karina Branson (makeup) raise the stakes with each monster. Amanda West's effective lighting has to sometimes fight against choppy and unnecessary animation, played on mounted TVs that partially obscure the perch of the Narrator (Beth Lipton, mellifluous-voiced and a dead ringer for Cate Blanchett as Galadriel).

The fights are whimsical with a realistic edge, thanks to Jeff Colangelo's choreography and excellent sound design from John Flores. Filling out Agnes' scrappy D&D team is the ethereal elf Kaliope (Carine Rice), a slacker orc named Orcus (Seth Monhollon), and Lilith (Bear Campbell) the dominatrix demon. Somewhat joining in is Agnes' boyfriend Miles, an underwritten role that's nevertheless gamely played by Aaron Jay Green.

When Nyguen's script is pitting everyday kids (like Christopher Lew's intrepid loner) against fantastic beasts and throwing in grade-A nerd references, it's a adrenaline-fueled quest. But when it tries to linger too long on human emotions, the artificiality of its world begins to seep through. Forcing loose ends into a neat little bow also causes the loss of a few hit points, but not every game can last forever.

---

She Kills Monsters runs at Theatre Three through April 1.

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Theater News

Dallas' Kitchen Dog Theater unveils powerful 2026-2027 season lineup

Alex Bentley
Aug 12, 2026 | 10:01 am
Kitchen Dog Theater in Dallas
Photo by Cameron Cobb
Kitchen Dog Theater in Dallas will put on three mainstage productions for their 2026-2027 season.

Kitchen Dog Theater in Dallas has revealed the lineup for the 2026-2027 season, featuring a slate of plays that boasts power players like kings, prime ministers, space force commanders, and would-be presidents.

According to a release, the theater company's 36th season — their "most powerful yet" — will consist of three mainstage productions at its new permanent home in the Design District, as well as the annual New Works Festival, featuring a readings series and the 26th annual D-PAC PUP (Playwrights Under Progress) Fest.

The season will start with The Absentee by Julia Doolittle, running September 10-October 4, 2026. The play was the winner of the 2019-2020 Woodward/Newman Drama Award.

Far out in the Milky Way, “Beacons” serve as lighthouses for warping spaceships around the galaxy. When a U.S. Space Force ship explodes in the galaxy, the Operator finds herself alone in deep space, with only her ship’s AI for companionship. That is, until a persistent canvasser calls, desperate to convince her to vote absentee in the 2088 election.

As the Operator waits for the clean up to be over, she finds she has to come to terms with her isolation, grief, and her political voice.

The season's second production comes four months later, with Equivocation by Bill Cain, running February 4-28, 2027. In 1605 England, a terrorist plots to assassinate King James I and blow Parliament to kingdom come. Shagspeare (after a contemporary spelling of the Bard's name) is commissioned by the prime minister, to write the “true historie” of the plot. And it must have witches — the king wants witches.

But as Shag and the acting company of the Globe investigate the plot, they discover that the king's version of the story might, in fact, be a coverup. Shag and his actors are confronted with the ultimate moral and artistic dilemma. Speak truth to power and perhaps lose their heads? Or take the money and lie? Is there a third option? Equivocation?

A high-stakes political thriller with contemporary resonances, Equivocation gallops from the great Globe to the Tower of London to the halls of Parliament to the heart of Judith, Shag's younger daughter, who finds herself unexpectedly at the very heart of the political, dramatic and — ultimately — human mystery.

The final mainstage production of the season comes at the 2027 New Works Festival with Black Republican by KDT Artistic Company Member Jamal Gibran Sterling, running June 3-27, 2027.

Originally featured as a Staged Reading in the 2026 New Works Festival, the ambitious first play by Sterling centers on a Black Republican candidate on the national stage who finds his campaign threatened by an activist who challenges everything he claims to stand for. Their battle exposes uncomfortable truths about race, politics, and the stories we tell ourselves.

In addition to Black Republican, the 2027 New Works Festival will showcase four staged readings of some of the newest and most exciting Texas-based playwrights. Each reading will feature accomplished Dallas-Fort Worth actors and directors to highlight the breadth of talent in the area.

The final part of the festival is D-PAC PUP (Playwrights Under Progress) Fest, featuring six staged readings of jury-selected plays written by Dallas-Fort Worth high school students and featuring student actors directed by area professionals. PUP Fest is the culmination of Dallas Playwriting Arts Collective (D-PAC), a partnership with Dallas ISD and Junior Players.

Kitchen Dog Theater offers two season subscription packages for their inaugural season in their new facility. The Kitchen Dog package includes a ticket to all three mainstage productions for any performance date for $90+ $8 fees for adults and $75 +$8 fees for students and seniors (ages 65+). The Saver Dog package includes a ticket to all three mainstage productions for Thursdays, Fridays, and Sundays only. It is $60 + $8 fees for adults and $45 + $8 fees for students and seniors.

Both packages grant full access to the Staged Reading Series and PUP Fest. Subscribers also receive premium reserved seating for in-person performances, as well as subscriber-only discounts on additional single tickets, 2026 special events, and KDT merchandise.

Subscription packages are on sale now, and single tickets for each show will go on sale on Monday, August 24, at kitchendogtheater.org.

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