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    Family Reunion

    Texas-born director returns to sordid roots with Dallas film premiere

    Kendall Morgan
    kendall Morgan
    Apr 18, 2017 | 2:45 pm

    There’s a lot going on in Winters, Texas. In this Southern-fried hamlet based on writer/director Del Shores’ own hometown, LaVonda (Ann Walker) and her friend, Noleta (Caroline Rhea), are looking for love in all the wrong places. Brother Boy (American Horror Story’s Leslie Jordan) is bringing his drag act to the big city with the help of a bisexual serial killer. And Latrelle (Bonnie Bedelia)’s gay son is headed back to town, while the new fire-and-brimstone preacher is readying an anti-equality rally. Oh, and it all takes place over a dizzy few days leading up to the titular surprise wedding.

    A sequel to Shores’ play-turned-film-turned-TV series Sordid Lives, A Very Sordid Wedding arrives 21 years after the original, which debuted in Los Angeles in 1996 and ran for 13 sold-out months. It received 13 Critic's Choice honors and 14 Drama-Logue Theatre Awards.

    Following up on that success, three years later, Shores wrote and directed the film adaption of Sordid Lives, which starred Beau Bridges, Delta Burke, Olivia Newton-John, Bonnie Bedelia, Leslie Jordan, and Beth Grant, along with most of the cast from the play. Taking in nearly $2 million in its eight-theatre limited release, the movie became a cult phenomenon and won six Best Feature and 13 Audience Awards at various film festivals. Then, in 2008, Sordid Lives: The Series, a 12-episode TV series prequel to the Sordid Lives film, premiered on MTV’s LOGO network.

    Although fans have been clamoring for a Sordid sequel for years, Shores never felt the time was quite right — until the political climate gave him a burst of inspiration.

    “After the [2008 Logo series of Sordid], I said I was done with it, but the fans kept dogging me,” says Shores. “With the backdrop of so much happening in the LGBTQ community, it felt like a hot topic to me. I wrote a draft and it took us a lot longer to raise the money than I thought, but miraculously, the Supreme Court decision [in favor of marriage equality] came in, and it unlocked the whole script. What happens when equality comes storming into Winters, Texas?”

    Shot mostly in Winnipeg, Canada (aside from a few crucial scenes at the Oak Lawn drag bar the Rose Room and the Mitchell Gold + Bob Williams store in Knox-Henderson), Wedding brings most of the ensemble cast back for their original roles, with some new faces peppered in. The film’s producer Emerson Collins, a longtime collaborator with Shores, did double duty in the role of Billy Joe, the serial killer with a heart of gold. Collins managed to pull off the hat trick of playing one of the more layered characters while making sure the film went off without a hitch, including a superstar cameo from Whoopi Goldberg, who performs the movie’s wedding ceremony.

    “She loved the series and wanted to be in the movie, but as the pessimistic producer, I told Del to write one scene that can be done in one day,” recalls Collins. “Her people said she could do it this one Friday evening when she was off from The View, so I built the entire shoot schedule of 24 actors around the idea that Whoopi would be in the film. She doesn’t fly, so she got on her bus Thursday night and pulled into our base camp at 4 pm Friday afternoon. She was brilliant, and by 9:30 pm she was back on the bus and on the way out!”

    The support of stars like Goldberg has helped Sordid get more exposure, the ultimate goal of its director and producer. With strong box office performances in supportive communities like Fort Lauderdale and Palm Springs, and sellout festival screenings, like the April 21 opening of the 47th annual USA Film Festival at Dallas' Texas Theatre, the film’s built-in audience is turning up in droves. But both Shores and Collins want those who might not normally embrace the story to connect with Wedding’s larger message. According to the duo, there’s plenty of people in the buckle of the Bible Belt who could use a little of the movie’s saucy sermonizing.

    “I loved watching it with the audience in Palm Springs because there were eruptions, but we’re going into Texas right now,” says Shores. “ I have family members who haven’t seen my work for a long time, and I reached out and said, ‘I want you to see this movie,’ and every one of them agreed, so I’m hopeful.”

    “I’m more excited about Dallas personally than Palm Springs, because that’s where my family is,” agrees Collins. "[The location] the Rose Room was my first safe place to be myself coming out of my conservative religious upbringing. Wedding is our way to contribute to the conversation, and to bring it home is super exciting.”

    ---

    A Very Sordid Wedding screens Sunday, April 23, at 2:30 pm and 7:30 pm, and Tuesday, April 25, at 7 pm and 9:20 pm at the Texas Theatre with Del Shores and Emerson Collins in attendance. Tickets are available here.

    A Very Sordid Wedding returns to the same Texas family from Sordid Lives.

    A Very Sordid Wedding
    Courtesy photo
    A Very Sordid Wedding returns to the same Texas family from Sordid Lives.
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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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