Theater Review

Dallas' Second Thought Theatre invokes Black Mirror with latest play

Drew Wall, Jenny Ledel, and Christopher Llewyn Ramirez in Empathitrax.

Photo by Karen Almond

The idea of a truth serum is terrifying enough, but what about someone being able to read your emotions? That's the core concept in Ana Nogueria's witty and core-shaking Empathitrax, which puts one couple under the influence of drugs designed to promote intimacy.

Not surprisingly, the lovers' high ends up being more scary than feel-good, and in Second Thought Theatre's unrelenting roller coaster ride of a production you're just as trapped as the people who can't untangle from their partner's sensations.

"This is the 'work' of a relationship," justifies Jenny Ledel's Her, a smartly dressed woman whose lightning-quick mind is what first attracted her partner of a decade, Drew Wall's Him. As the couple accepts the five paired doses from the slick "drug sommelier," who makes house calls to their tastefully decorated but slightly bland home (capably designed by MFA student Amelia Bransky), a world of possibilities opens up before them.

After going through a "rough meadow" in their relationship, Him and Her are ready to succumb to Big Pharma's fix-it-all promises. They light a candle, pour water into wine goblets (alcohol is discouraged), and giddily knock one back.

At first, it's exhilarating to watch the two rediscover each other: emotionally, mentally, and physically (Ledel and Wall previously starred together in STT's intense Belleville, so their believable coupledom is born out of prior trust and experience). "You really, really like me," Ledel says with wonder as their hands touch. "I really, really do," Wall answers, his voice hoarse with emotion.

But it quickly turns into a Black Mirror-esque nightmare when Her decides it's time to wean herself off Zoloft and bare her "true self." A montage of tiny scenes, expertly directed by Carson McCain, shows Her determinedly clutching her phone while reciting her decreasing dosage to a rep from the company behind her new medication. The exposed beams that stud the top of her house cast prison-like bars over her face, thanks to Aaron Johansen's effective lighting design.

Once Him gets a taste of how deep and all-consuming his partner's depression is, he can't escape it either. The look of sheer pain and the dawning understanding on Wall's face the first time her experiences Her's emotional baseline is heartbreaking.

To escape, he vapes marijuana and talks it through with his buddy, Matty D. Christopher Llewyn Ramirez, the newest member of Dallas Theater Center's resident acting company, flips effortlessly between the dopey best friend and the slightly robotic Empathitrax rep, providing both messy humanity and too-polished assurance.

Matty's relationship with Him is a little undercooked (could there be some unrequited romance there?), but he serves the story by showing how Empathitrax is infiltrating the black market — and consequently exposing millions of people to emotional invasion without their permission.

Nogueira doesn't delve too deeply into this topic, nor does she fully explore the drug's superhero-like ability to transfer your own emotions to your partner (that's tossed in later, almost as an aside). And when depression becomes all-consuming for both Him and Her, the play gets dragged down with it, until a reaffirming finale injects a little hope back into the story. It's a wise note on which to end, because chances are this play will leave a lasting mark on your own emotions.

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Second Thought Theatre's Empathitrax runs through April 28 at Bryant Hall.

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Dance News

Dallas Black Dance Theatre makes interim artistic director permanent

Photo by Aleah Pilot

Richard A. Freeman Jr. became the new artistic director October 24, 2025.

Dallas Black Dance Theatre (DBDT) has officially named Richard A. Freeman, Jr. as its new artistic director, ushering in a new era of leadership for the dance company as it approaches its 50th anniversary season.

Freeman, a longtime member of the DBDT family, has served as interim artistic director through the company’s recently completed 48th and current 49th seasons. His appointment, effective October 24, 2025, marks a natural progression for the former lead dancer, resident choreographer, and artistic project coordinator, whose career within DBDT spans more than a decade of creative and organizational leadership.

“Richard has been an integral part of Dallas Black Dance Theatre's artistic fabric for years, and his extraordinary leadership during his time as interim artistic director made this decision clear,” says Heidi K. Murray, a member of DBDT’s board of directors, in a release. “His dedication to artistic excellence, his deep understanding of our mission, and his vision for the future of contemporary modern dance make him the ideal person to lead DBDT into this exciting new chapter.”

DBDT founder Ann M. Williams echoed the sentiment, calling Freeman’s appointment a full-circle moment for both artist and company. “Richard embodies everything Dallas Black Dance Theatre stands for: artistry, excellence, and a deep commitment to uplifting our community through dance,” she says in the release. “I have had the privilege of watching him grow from a gifted dancer into an inspiring leader and visionary artist. His dedication to preserving our legacy while boldly charting new artistic territory gives me tremendous confidence in DBDT’s future.”

During his tenure as interim artistic director, Freeman guided DBDT through seasons marked by artistic innovation and expanded community engagement, but also staff shake-ups and legal issues.

In October 2024, accusations of retaliation surfaced after 10 DBDT dancers, its entire main company, were fired following their decision to unionize in May and demand better working conditions. This led to an unprecedented "Do Not Work" order by the American Guild of Musical Artists.

Dallas City Council ultimately voted to withhold $248,000 in city funding due to labor violations, and DBDT later settled for $560,000 with the National Labor Relations Board.

In response, DBDT formed a 17-member advisory stakeholder task force co-chaired by Jennifer Scripps, president and CEO of Downtown Dallas, Inc., and Shawn Williams, vice president of public affairs at Allyn. The group has been working with DBDT leadership to review the organization’s policies and practices, propose changes that foster an accountable environment, and put in place safeguards to prevent future concerns related to talent.

In September 2025, executive director Zenetta Drew announced her retirement after nearly four decades with the company. A national search for her replacement will start in early 2026. Williams retired in 2014.

As artistic director, Freeman will oversee all aspects of DBDT’s artistic operations, from performances to educational initiatives, and continue to expand its reach throughout Dallas and beyond.

“I am deeply honored to accept this role and to continue building on the incredible foundation established by the vision of Ann Williams,” Freeman says. “This company has a unique power to move, inspire, and unite communities through dance. I look forward to working with our talented dancers, staff, and board to create unforgettable artistic experiences and to nurture the next generation of dance artists.”

A native of Washington, D.C., Freeman began his training with the District of Columbia Youth Ensemble and the Washington Ballet before graduating from the Duke Ellington School of the Arts and Virginia Commonwealth University. His performance credits span acclaimed companies and productions, including Elisa Monte Dance, Houston Grand Opera, Porgy and Bess, and The Wiz.

Freeman’s choreographic works have been featured by leading institutions such as Texas Ballet Theater School, Texas Christian University, and Booker T. Washington High School for the Performing and Visual Arts. He has also shared his expertise through master classes and workshops nationwide, reinforcing his commitment to DBDT’s educational mission.

Founded in 1976, Dallas Black Dance Theatre is the oldest and largest professional dance company in Dallas and one of the most acclaimed Black dance institutions in the U.S.

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