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    Theater Critic Picks

    These are the 10 can't-miss shows in Dallas-Fort Worth theater for April

    Lindsey Wilson
    Apr 3, 2018 | 11:45 am

    You're not having deja vu — there's a lot that's familiar this month, from encore actor pairings to the return of a blockbuster tour to more than one show that uses vaudeville as its jumping-off point. It's also a strong 30 days for new work, especially from Dallas-area artists and playwrights.

    Here are the 10 shows to see, in order by start date:

    Empathitrax
    Second Thought Theatre, April 4-28
    When Jenny Ledel and Drew Wall get together onstage, bad things — but good performances — tend to happen. The duo that starred in STT's 2015 hit Belleville is back with Ana Nogueira's Empathitrax, an unflinching play in which a couple tests out a new drug that prompts users to experience exactly what another person is feeling. Carson McCain, who assistant directed Belleville, here takes the reins.

    Whither Goest Thou America: A Festival of New Play Readings
    Undermain Theatre, April 12-May 6
    "How did we get here and where are we going?" That's the question Undermain is having four playwrights answer over a period of four weeks, with the playwrights leading a discussion following their final staged reading. The lineup is: A Love Offering by Jonathan Norton (April 12-15), The Light Collectors by Blake Hackler (April 19-22), Visible From Four States by Barbara Hammond (April 26-29), Shakey Jake + Alice by Len Jenkin (May 3-6).

    The Automobile Graveyard
    Teatro Dallas, April 13-May 6
    Fernando Arrabal's play tells of an immigrant musician and other artists who are under the watchful eye of an oppressive state. Panic and humor go hand in hand in the story, which takes place in a hotel-brothel junkyard of old cars. Former artistic director Cora Cardona returns to direct this intimate production, which caps its audience at 45 seats per performance.

    Bread
    WaterTower Theatre, April 13-May 6
    Dallas-born actress and playwright Regina Taylor weaves a compelling family drama of hopes, fears, thwarted dreams, and dark secrets against a turbulent backdrop of racial tension and social upheaval. Just as in her Trinity River Plays, this one is set in Oak Cliff, but late 2016 instead of decades past. The south Dallas neighborhood is on the verge of gentrification, and middle-class couple James and Ruth are planning a bright future for their teenage son and his soon-to-be-born brother. But when James' brother Jeb returns home, buried family tensions resurface and the past casts a troubling shadow across an uncertain future.

    Where Earth Meets the Sky
    Cara Mía Theatre, April 14-29
    Get ready for a new genre: Afro/indigenous sci-fi. This world premiere — written by poet Edyka Chilomé, Cara Mía’s managing director Ariana Cook, and resident ensemble member Vanessa Mercado Taylor — tells the story of Anghared262, who left the earth in the year 2050 on the Omnivessel. She is sent to the once-dying Earth with a mission of scouting for food samples. When she encounters Earthroot, a peaceful matriarchy, she enters her ancestral past and questions her allegiance to Omnivessel.

    Pompeii!!
    Kitchen Dog Theater, April 19-May 6
    KDT artistic company members Cameron Cobb, Michael Federico, and Max Hartman are using the uniquely American art form of vaudeville as a metaphor for the cycles of moral and social decline of both ancient Rome and the Roaring '20s. Expect some modern-day social commentary too, through song, dance, skits, and puppetry performed by a company that includes Hartman, Jeff Swearingen, Steph Garrett, Parker Gray, Ian Ferguson, Marti Etheridge, Dennis Raveneau, and Thiago X Nascimento.

    The Trials of Sam Houston
    Dallas Theater Center, April 20-May 13
    Artistic director Kevin Moriarty commissioned Aaron Loeb to write this play about Texas' former governor, who on the eve of the state's secession in 1861 is torn between loyalty to Texas and loyalty to the United States. Artistic company member Steven Michael Walters, who's been working in California recently, returns to play Houston, alongside Ace Anderson, Kieran Connolly, Liz Mikel, Alex Organ, Charlie Robinson, David Coffee, and Kate Wetherhead as some of America's most famous leaders.

    Les Miserables
    Dallas Summer Musicals, April 24-May 6
    The world's longest-running musical — it's been playing in London since 1985 — has been re-imagined by original director Cameron Mackintosh for this latest U.S. tour. If you haven't seen the international smash hit yet (or just want to experience it's grandeur and lush score), here's your chance.

    The Last One Nighter on The Death Trail
    Theatre Three, April 26-May 20
    You haven't seen the last of vaudeville this month: T3 also has an original work that uses the performance style. A troupe of vaudevillians in the early '30s wait behind a theater in Dallas for their opportunity to go onstage. They're what's known as the "disappointment act," and only go on if someone else cancels. Christie Vela and David Goodwin's story, with songs by Endeavors Theater Collective, questions what is and isn't art and why it is necessary.

    Murder Ballad
    Imprint Theatreworks, April 27-May 12
    Director Ashley H. White is transforming the Margo Jones Theatre in Fair Park into an immersive bar as the setting for this sexy musical about an illicit affair. Kyle Igneczi, Brett Warner, and Aaron C. White form the dangerous triangle, with Laura Lites serving as the narrator. In a cool bit of casting, Jamall Houston and Beth Lipton are not only covering both roles for their gender, but are also alternating pre-show rock performances where they'll get to show off their gritty vocal chops.

    Imprint Theatreworks is turning the Margo Jones Theatre into a bar for Murder Ballad.

    Imprint Theatreworks presents Murder Ballad
    Photo by Kris Ikejiri
    Imprint Theatreworks is turning the Margo Jones Theatre into a bar for Murder Ballad.
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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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