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    Actor Spotlight

    How this bottle-slinging Dallas actress fits into a world premiere musical

    Lindsey Wilson
    Apr 27, 2017 | 3:16 pm

    She may have been in Dallas only a few short years, but in that time Brett Warner has established herself as every DFW theater's must-have actress. Not only can she move from children's theater to bawdy vaudeville with ease, the triple threat can even play a hobbit.

    For the world premiere musical Quanah, about Comanche chief Quanah Parker, Warner joins writer, composer, and star Larry Gatlin at Lyric Stage to portray Parker's grandmother, Lucinda.

    Before Warner takes up residence at Lyric Stage from April 28-May 7 with the Grammy Award-winning duo of Gatlin and David Phelps (who plays Quanah), she took the time to fill out our survey of serious, fun, and sometimes ridiculous questions.

    Name: Brett Warner

    Role in Quanah: Lucinda Parker

    Previous work in the DFW area: A Charlie Brown Christmas, Seussical, Junie B. Jones is Not a Crook (Dallas Children’s Theater); The Nance, The Boy From Oz, Soho Cinders (Uptown Players); Fix Me, Jesus, The Hot Mikado (Theatre Three); Fellowship! The Musical (Circle Theater); Seussical Jr., The Three Little Pigs, Frosty the Snowman, Pinkalicious, The Sound of Music (Casa Mañana); The Rivals (Stage West); The Human Comedy, Desert Song (Lyric Stage); Edges (PFAMily Arts).

    Hometown: Houston, Texas

    Where you currently reside: Dallas

    First theater role: The first show I ever did was Finian’s Rainbow, and I was in the ensemble. I think my first actual role was Rosemary in How to Succeed In Business Without Really Trying at theater camp.

    First stage show you ever saw: Oliver

    Moment you decided to pursue a career in theater: I saw a touring production of La Cage aux Folles in Houston back in 2013, and when I heard "A Little More Mascara" and "The Best of Times," I instantly knew that I had to start performing again. I put in my notice at my job the next day.

    Most challenging role you’ve played: Annabelle Armstrong in Fix Me, Jesus at Theatre Three.

    Special skills: Bartending and booty shaking. Seriously, give me a tail.

    Something you’re REALLY bad at: Juggling. Catching anything on stage.

    Current pop culture obsession: Snapchat filters.

    Last book you read: Yes, Please by Amy Poehler

    Favorite movie(s): How to Marry a Millionaire, Stardust, When Harry Met Sally

    Favorite musician(s): Old 97s, G. Love & Special Sauce, Adele

    Favorite song: "Proud Mary"

    Dream role: Fanny Brice (Funny Girl)

    Favorite play(s): The Complete Works of William Shakespeare (Abridged)

    Favorite musical(s): The Music Man

    Favorite actors/actresses: Jane Krakowski, Christopher Guest, Jessica Walters, Benedict Cumberbatch, Catherine O’Hara

    Favorite food: Sushi, sweet potatoes

    Must-see TV show(s): 30 Rock, Grace & Frankie, Arrested Development

    Something most people don’t know about you: I’m secretly nice.

    Place in the world you’d most like to visit: Stonehenge.

    Pre-show warm-up: Stretching, vocal trills, listening to show-appropriate music to get in the right head space.

    Favorite part about your current role: Well, I really love the music, but my favorite part about playing Lucinda is that I am challenged to develop her character and her story extremely quickly. I feel a sense of urgency, because I know exactly how long I have to show the audience who she is, and because of that, I have no choice but to be raw and absolutely honest. It’s humbling.

    Most challenging part about your current project: Remembering to be patient and flexible. It’s a new work and is still developing and growing.

    Most embarrassing onstage mishap: Forgetting the words to “Summer in Ohio” when I did The Last Five Years. I had a good laugh with the audience and then got right back on track.

    Career you’d have if you weren’t in theater: Dog and/or goat rescuer, wedding dress consultant, lounge singer, craft brewer.

    Favorite post-show spot: Village Burger Bar in West Village.

    Favorite thing about Dallas-Forth Worth: There are so many opportunities for performers.

    Most memorable theater moment: Performing The Nance at Uptown Players on the day that the Supreme Court legalized gay marriage. I will never forget the feeling of community, love, and solidarity that we shared onstage as a cast/crew and with the audience. It was electric.

    Dallas performer Brett Warner.

    Dallas actor Brett Warner
    Courtesy photo
    Dallas performer Brett Warner.
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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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