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    Male Bonding

    Bromance takes center stage at two Dallas theaters

    Lauren Smart
    Mar 28, 2013 | 12:30 pm

    Current productions at two Dallas theater companies cast the spotlight on male bonds, exploring the good, the bad and the awkward. Dallas Theater Center plays it safe with the classic Neil Simon comedy The Odd Couple, while the diamond-in-the-rough company Upstart Productions premieres Apartment Plays, two one-act plays by local director and playwright Bruce Coleman.

    Oscar and Felix have one of the most ubiquitous stage bromances of all time. The warm-and-fuzzy story about two recently divorced men who move in together and strike up a push-me, pull-you relationship remains one of the most highly produced works of contemporary theater nearly 50 years after its debut.

    Director Kevin Moriarty gives the piece a quick-witted treatment, conducting the actors into comedic unison. Not a single moment on stage is wasted. J. Anthony Crane as the masculine, slobby Oscar and Michael Mastro as the OCD, effeminate Felix form a spirited juxtaposition, but the characters to watch are in the supporting cast.

    In The Odd Couple, J. Anthony Crane and Michael Mastro form a spirited juxtaposition. But the characters to watch are in the supporting cast.

    The title character’s poker buddies — played here by Brierley Resident Acting Company members Hassan El-Amin, Chamblee Ferguson and Lee Trull — have enough dynamism to carry the entire show. In the play’s first act, these actors deliver more punch lines than allows an average person to catch a breath, and the entertainment continues for the entire two hours and 15 minutes. Tiffany Hobbs and Mia Antoinette Crowe, who come over for a double date with the boys, also deserve praise.

    Like most Simon plays, The Odd Couple caps off an entertaining night at the theater with a sincere message about humanity. When Oscar throws out Felix, there is a moment in which he seems to understand the value of their human connection — nothing sappy, but a quiet salute to the friendship.

    In the first installment of his Apartment Plays, Coleman attempts a similar moment of catharsis. In A Conversation with a (Potentially) Naked Man, Coleman contemplates a friendship between a gay artist and his straight, but dashingly handsome, nude subject. Although the dialogue is littered with touching moments of vulnerability, it’s overwhelmingly awkward to sit through.

    Actors Aaron Roberts and Marcus Stimac work through the stilted language valiantly, but they are directed at a meandering pace. There is also an inappropriate amount of physical distance between them for such an intimate space.

    By far the stronger piece of the evening, Larry Kramer Hates Me playfully explores gay relationships with a Dickensian twist. Actors Angel Velasco and Gregg Gerardi are at the center of this story of past relationships and social progress. Two weeks into a new relationship, ex-boyfriends begin literally popping up behind couches, like Scrooge’s “undigested bit of beef.”

    While more ex-boyfriends pop out of back rooms and closets, the most compelling character to show up on the scene is LGBT rights activist Larry Kramer (a smart performance by Rick Espaillat). His well-crafted character is given the most insightful monologue of the night, calling attention to the need for ever-more progress on the issues of civil rights.

    The night of plays ends with a beautiful moment between Gerardi and Velasco, where they dream of the life they will share. Although the dialogue in Coleman's plays lacks the polish and wit of Simon's Odd Couple, the underlying message bears as much weight. Both nights of theater explore the importance of friendships, human connection and learning to live with one another.

    ---

    The Odd Couple runs through April 14 at Wyly Theatre. Apartment Plays runs through April 6 at the Green Zone.

    J. Anthony Crane and Michael Mastro in The Odd Couple at Dallas Theater Center.

    The Odd Couple at Dallas Theater Center
    Photo courtesy of Dallas Theater Center
    J. Anthony Crane and Michael Mastro in The Odd Couple at Dallas Theater Center.
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    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.”

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