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    Debut-iful Dance Season

    New TITAS Presents season guarantees dance moves Dallas has never seen

    Alex Bentley
    Mar 29, 2015 | 10:59 am

    The forthcoming 2015-2016 TITAS Presents season at AT&T Performing Arts Center is full of Dallas debuts and legendary choreographers. Dubbed "Breaking Normal," it features 10 regular season shows and one special event.

    Of the 10 regular season performances, nine of them are new to Dallas, providing some fresh blood for performing arts patrons to enjoy. Everything takes place at Winspear Opera House or Dallas City Performance Hall.

    The season kicks off September 18 and 19 with the previously announced Twyla Tharp Dance 50th Anniversary Tour. It was co-commissioned by TITAS Presents and debuts in Dallas. No particulars have emerged, but because it's coming from the dance legend, it's sure to be spectacular.

    Kyle Abraham/Abraham.In.Motion makes its Dallas debut on October 29 and 30. Labeled as "urban funk meets modern dance," this is a world premiere for the troupe, choreographed by MacArthur "Genius" Award recipient Kyle Abraham.

    Akram Khan Dance Company comes to Dallas City Performance Hall on November 6 and 7. The British-born Khan, whose family is from Bangladesh, is known for choreographing work that takes the audience to new and unexpected places through human themes and exploration. This performance, titled "Kaash," is a collaboration with famed artist Anish Kapoor and composer Nitin Sawhney.

    BodyTraffic, performing January 22, 2016, at Winspear Opera House, starts the new year in style. In just three short years, the troupe has garnered much attention in the dance world thanks to its stylized and confident performances, not to mention work by some of the world's most sought-after choreographers.

    Cloud Gate Dance Theatre of Taiwan debuts on February 5, 2016, at Winspear Opera House in a collaboration with the Crow Collection of Asian Art. The performance, titled "Rice," features dancers trained in Qi Gong and internal martial arts enacting a human drama parallel to the life cycle of rice.

    All-male company BalletBoyz puts on a debut performance on February 13, 2016, at Winspear Opera House. Their work has been hailed as original and innovative, and their founders, Michael Nunn and William Trevitt, have been credited with making dance accessible to a wider audience through their stage and television work.

    The French duo Mr. & Mme Revé, aka Mr. & Mrs. Dream, debut a dreamlike performance on March 18 and 19, 2016, at Dallas City Performance Hall. The two dancers use virtual reality backgrounds, like a claustrophobic home or a mountain landscape, to create a 3D environment that morphs before your eyes.

    March will be French month, as La Compagnie Hervé Koubi Dance makes its debut on March 25 and 26, 2016, at Dallas City Performance Hall. As choreographed by Koubi, the performance by 12 male Algerian and West African dancers combines capoeira, martial arts, urban and contemporary dance to seemingly defy gravity.

    Canadian troupe Kidd Pivot Dance Company debuts a new work on April 21 and 22, 2016, at Dallas City Performance Hall. Using movement, original music, text and rich visual design, their newest work, "Betroffenheit," is said to be an innovative, boundary-stretching hybrid of theater and dance.

    TITAS' annual Command Performance Gala takes place May 7, 2016, at Winspear Opera House. Twelve artists from leading companies command the stage in a night that also showcases newly commissioned works created specifically for the gala performance.

    Complexions Contemporary Ballet, comprising 16 dancers of different ethnic and dance backgrounds, wraps up the season on May 21, 2016, at Winspear Opera House. The performance features new works and complex, rich choreography.

    Tickets for TITAS Presents regular season performances begin at $12. Performance tickets to TITAS Presents Command Performance also begin at $12. TITAS Presents subscribers receive discounted pricing depending on the number of shows they purchase and priority seating.

    Currently, patrons may purchase either the full season subscription or a minimum of six titles on a flex-subscription plan. Individual tickets, should they remain available after subscription sales, will be made available at a later date.

    Tickets can be purchased online at www.attpac.org/titas, by phone at 214-880-0202 or in person at the AT&T Performing Arts Center information center at 2353 Flora St.

    BodyTraffic is part of the 2015-2016 TITAS Presents season, performing at Winspear Opera House on January 22, 2016.

    BodyTraffic
    Photo by Tomas Z. Rossa, courtesy of AT&T Performing Arts Center
    BodyTraffic is part of the 2015-2016 TITAS Presents season, performing at Winspear Opera House on January 22, 2016.
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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
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    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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