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    Ice Man on Stage

    Val Kilmer talks Citizen Twain, legacy and love for Dallas theaters

    Lindsey Wilson
    Apr 15, 2013 | 11:34 am

    “I was born modest, but it didn’t last.”

    “If you can’t get a compliment any other way, give yourself one.”

    “I’m not an American, I’m the American.”

    Val Kilmer is laughing while he says these quotes, the folksy Southern drawl of Mark Twain replacing the voice known to many as Jim Morrison, Doc Holliday or Batman. When the actor talks about Twain, a classic American figure he has spent more than 10 years researching, it’s hard for Kilmer not to slip into character.

    When he brings his one-man show Citizen Twain to the Wyly Theatre beginning April 18, Kilmer will inhabit more than simply Twain’s voice. It’s a total transformation, complete with a prosthetic nose, bushy beard and full Colonel Sanders suit.

    “Two of my favorite theaters in the whole country are there in Dallas — the Kalita Humphreys and the Wyly — so I’m very excited to go there,” Kilmer says.

    After first workshopping the show in Los Angeles, Kilmer selected Dallas as the second of only four cities to receive the new work, which in addition to headlining he also wrote and directed. The play is a constantly changing piece of art, he explained over the phone from LA, and Dallas seemed like a place that would be receptive to the give-and-take Kilmer expects from his audiences.

    “Theater is all about the audience, and Dallas is just the right combination of intellect and Southern hospitality,” he says. “It felt like the right place to start doing the play and touring around. Two of my favorite theaters in the whole country are there in Dallas — the Kalita Humphreys and the Wyly — so I’m very excited to go there.”

    But how did this deep fascination with “America’s narrator” come about? While diving into research for a movie project centering on the intellectual battle between Twain and Mary Baker Eddy, the founder of Christian Science, Kilmer was struck by the famous humorist’s wholly original view of the world.

    “He doesn't shy away from our faults and flaws, like dealing with greed and racism,” says Kilmer. “In his book The Adventures of Huckleberry Finn, he probably did as much or more as a private citizen. ... It's really hard to imagine someone who contributed more to coming to grips with such an important, crucial subject as racism. He's very grand, and very petty, and very funny, and mean. He really represents America.”

    In addition to exploring Twain’s view on everything from politics to death, love, money, watermelons, God, racism and cats during the solo play, Kilmer also participates in a post-show talk-back while his extensive makeup is being removed. Those, he admits, started out as a happy accident.

    “We were running late one night [for a meet-and-greet, the proceeds of which allow Kilmer to donate show tickets to veterans], and I said to my brother, ‘I don't know what to do,’ and he said, ‘Just take your makeup off onstage.’ So it was kind of a lark the first time,” Kilmer explains.

    “The play is a lot about identity, because Mark Twain is this pen name for Samuel Clemens, and I am using that as a convenience to talk about the difference between the two personas. This is a guy who loved being famous, but he was also a very devoted family man. So this part about duality ended up being a really fun moment onstage when I — and I haven't thought about how to say this yet — when I ‘unbecome’ Mark Twain,” Kilmer says.

    “I love talking to people, I'm always trying to make the play better and improve my craft, so I like asking questions and the talk-backs have just been fantastic.”

    Kilmer is also aware of his own public persona. An explosive early career — Top Gun, Real Genius, Willow — gave way to more offbeat and experimental projects as Kilmer searched for the right roles with which to challenge himself. This return to the stage allows him to give back to veterans while exploring the life and thoughts of a man he so obviously holds in high regard.

    “My whole reason for doing the play is because I care very much about America, and I care about the legacy that I'll leave my children, and the dialogue that comes out of conversations centered around Mark Twain is really honest. There's a particular attitude Mark Twain has about viewing life positively yet realistically that's very healthy.”

    ---

    Citizen Twain plays the Wyly Theatre April 18-21.

    Val Kilmer takes on a new challenge in Citizen Twain, playing at the Wyly Theatre April 18-21.

    Val Kilmer at Art of Film
    Photo by Sylvia Elzafon
    Val Kilmer takes on a new challenge in Citizen Twain, playing at the Wyly Theatre April 18-21.
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    Dance News

    Dallas Black Dance Theatre makes interim artistic director permanent

    Lindsey Wilson
    Nov 4, 2025 | 11:41 am
    Richard A. Freeman, Jr.
    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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