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    Season Announcement

    Addison's WaterTower Theatre stacks its new season with new work

    Lindsey Wilson
    Apr 24, 2018 | 12:00 pm
    A Doll's House at WaterTower Theatre
    WaterTower will stage Joanie Schultz's adaptation of A Doll's House.
    Photo by Evan Michael Woods

    UPDATE: New artistic director Shane Peterman has announced that Godspell will replace Origin Story. It will run July 18-28, 2019, and be directed by Aaron Brown with music direction by Adam C. Wright.

    ---

    WaterTower Theatre's artistic director Joanie Schultz is finding her groove, with the 2018-19 season — the second full one she has planned — reflecting her commitment to new work.

    The five mainstage shows and three add-ons include a world premiere, four regional premieres, a new adaptation of a dramatic classic, and the return of both a holiday hit and Detour: A Festival of New Work.

    "One of the things I love about WaterTower Theatre is that it is a place where we come together," says Schultz. "We come to the theater to unite as artists and audiences in events that create unique and inspiring experiences, taking us out of our everyday lives and into the realm of imagination. Our next season is about exactly that: coming together. Be it in celebration, hope, faith, love, perseverance, or risk, the stories of this season are of people reaching out and trying to overcome divides between each other."

    It all starts with a twist on a familiar play. Henrik Ibsen's A Doll's House has been condensed into "90 heart-stopping minutes" by Schultz, who will also direct. This new adaptation stays true to the original time period while showcasing its relevance in today's world, as Nora and Torvald Helmer are confronted with blackmail, secrets, and shame. Ibsen shocked the world in 1879 when A Doll’s House became the first play of its kind, and now Schultz is shaping his immortal words into a powerful thriller. It runs October 12-November 4, 2018.

    The season continues with the regional premiere of Tony Meneses' quirky and heart-filled Guadalupe in the Guest Room. Unlikely housemates Guadalupe and her son-in-law, Steve, connect through shared grief and bond over Mexican soap operas. As Guadalupe translates from English to Spanish the children's books her deceased daughter has written, she discovers that understanding doesn't always require speaking the same language. Christie Vela directs the show, which runs February 22-March 17, 2019.

    Associate artistic director Kelsey Leigh Ervi directs up-and-coming playwright Chelsea Marcantel's newest, Everything is Wonderful. It's the story of Miri, a young woman who finds herself back in the Amish community after having been excommunicated five years earlier. Following a tragic car accident that killed her two brothers, Miri finds that her parents have taken in the car's wayward driver. She struggles with the contradictions of the culture she left behind, while being forced to confront Abram, the young Amish man whose actions drove her away. It runs April 19-May 12, 2019.

    The fourth show of the mainstage season follows the inspiring true story of Josephine Monaghan in The Ballad of Little Jo. With music by Mike Reid; lyrics by Sarah Schlesinger; and book by Sarah Schlesinger, Mike Reid, and John Dias, this lively musical explores the trials and adventures of a Boston-born woman who poses as a man for nearly 20 years in a small mining town in the American West. Schultz will direct, with Vonda K. Bowling serving as music director. It runs June 7-30, 2019.

    The season concludes with the world premiere of Origin Story by Nathan Alan Davis, and directed by Tiffany Nichole Greene. WTT audiences may remember this delightfully angsty play from the 2018 Detour: A Festival of New Work. Margaret’s quarter-life crisis resonates with us all as she trudges through her two monotonous day jobs, seeking to find her own identity. It runs August 2-25, 2019.

    Detour is back for a second year, continuing WTT's investment in new and emerging artists and innovative works in progress. The festival will run January 17-20, 2019.

    Joining Detour as a season extra are two more shows: Back by popular demand, The Great Distance Home is moving to the Canterbury Family Main Stage for an extended run November 23-December 16, 2018. Ervi returns to direct the nearly-wordless devised holiday tale of life, love, and the journey to find a home of one's own.

    In the summer, WTT is presenting an exclusive limited run of Unveiled: A One Woman Play​. Written and performed by Rohina Malik, the critically lauded Chicago-based artist depicts five Muslim women from around the world as they sip tea, talk faith and culture, and break down stereotypes. It runs June 12-30, 2019 in the studio theater.

    "This uplifting season is one that continues to be diverse in our presentation of classics, new work, musicals, comedies, and dramas from different points of view," says Schultz, "and each story examines the possibility of coming together."

    As a special bonus, Dark Circles Contemporary Dance will be a guest company in residence for three series of performances during the season. The acclaimed local troupe, which sold out during last year's Detour festival, will perform January 24-27, March 22-24, and September 12-15, 2019. Individual tickets for these performances go on sale in September.

    Five-show season subscriptions range in price from $100-$185 (Saturday evening), and are available by calling the box office at 972-450-6232. Season renewals can be made over the phone, online at www.watertowertheatre.org, or in person at 15650 Addison Rd. Individual ticket prices range from $25-$42 and go on sale in September. WaterTower Theatre also recently introduced a Flex Pass ($140) and an Under-30 Flex Pass ($99), both of which can be used for a total of five tickets throughout the season.

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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
    undefined

    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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