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Big Theater News

Backstage drama ensues as Dallas Summer Musicals fires longtime president

Lindsey Wilson
May 2, 2016 | 1:30 pm
Michael Jenkins, former Dallas Summer Musicals president
Michael Jenkins with a few of his awards.
Photo courtesy of Dallas Summer Musicals

UPDATE: Since this article published, Dallas Summer Musicals has issued another statement. "For some," says Ted Munselle, volunteer chairman of Dallas Summer Musicals, in the release, “this announcement is difficult to accept, but DSM’s executive committee believed that it was clear that it’s time for a change.” Munselle also cited that the committee was concerned with DSM's financial state, as the organization has suffered losses every season except one since 2008.

---

Michael Jenkins, who has been president and managing director of Dallas Summer Musicals since 1994, has been suddenly terminated.

The man who many in Dallas regarded as the backbone of Dallas Summer Musicals, which is currently celebrating its 76th anniversary season, was confirmed to be out Monday morning by the DSM board's public relations specialist, Lisa LeMaster.

According to a press release from DSM, David Hyslop has been named the interim managing director. Hyslop was interim president of the Dallas Symphony Orchestra in 2011 (Jonathan Martin was given the permanent title in 2012, but Hyslop stayed on in an advisory capacity). The release calls Monday’s change the beginning of “a new generation of leadership.” Hyslop, it should be noted, is 73.

In an interview with Dallas Morning News, Jenkins, 74, claims DSM ousted him due to "age discrimination." News reporters Nancy Churnin and Michael Granberry said they had been presented with a copy of the complaint Jenkins filed with the federal Equal Employment Opportunity Commission.

“DSM now is attempting to manufacture a pre-textual reason for firing me because I refuse to retire,” he told the News. Jenkins also cites a loan in the amount of $390,000 that he made to DSM that showed up as “deferred compensation” on DSM’s tax filing for fiscal year ending in October 2014. His contract was previously set to expire on January 2, 2017.

When the News reporters asked Jenkins to name who was most involved in getting rid of him, he said: “There are too many to name just one. It’s a palace coup.”

The DSM board hinted at reasons for Jenkins' release, saying that the Music Hall at Fair Park had been an underutilized asset to the city. Hyslop says in the release that the Music Hall has “huge unrealized potential to have a bigger regional presence for both the entertainment dollars from theater-goers as well as financial support from the community. There’s a lot of work to be done by all stakeholders of the DSM family.”

Hyslop met with DSM staff on the morning of May 2 and outlines their goals in the release. They “want to focus on a turnaround for DSM," the release says. "I saw a group of people dedicated to the principle that ‘the show must go on,’ and I am confident this will be a seamless transition for theater-goers.”

Part of Jenkins' DSM lore is that he grew up attending shows at the Music Hall, even working there as an usher in his teen years. He built a family-friendly image for Dallas Summer Musicals, refusing to bring in such edgy shows as The Book of Mormon and Spring Awakening — both of which were then booked into the competing Broadway series at the AT&T Performing Arts Center. “I’m about family entertainment," he told the News. "I’m not about having sex on stage.”

Though the 2016-17 season has not been announced, Jenkins had previously hinted that the hit musical An American in Paris, which he and Dallas Summer Musicals helped produce, would be included on the bill. Wicked is currently playing at the Music Hall through May 22.

Jenkins’ departure, the release says, “is effective immediately.”

theater
news/arts

Arts in Fort Worth

DFW museum debuts landmark exhibition about Statue of Liberty

Alex Bentley
Jul 30, 2026 | 9:15 am
Amon Carter Museum of American Art presents "The Statue of Liberty from Bartholdi to Warhol"
Frédéric-Auguste Bartholdi (1834–1904), Early View of the Statue of Liberty, n.d.,, watercolor, Musée Bartholdi, Colmar, 2005.0.16.3, © Musée Bartholdi, Colmar, Photo Chr. Kempf
"The Statue of Liberty from Bartholdi to Warhol" opens at the Amon Carter Museum of American Art on August 15.

The Amon Carter Museum of American Art will celebrate the United States' 250th anniversary with a major exhibition examining one of the country's most recognizable symbols: "The Statue of Liberty from Bartholdi to Warhol" will open Saturday, August 15 for a nearly five-month run.

The exhibition, co-organized by the Denver Art Museum, is an examination of the Statue of Liberty’s enduring relevance in American visual culture and the evolution of its image from the 1870s to the present.

According to a release, it will bring together nearly 100 artworks and objects from more than 70 artists, exploring the statue’s varied manifestations - from artistic marvel and pop culture icon to symbol of immigration, patriotism, and resistance.

Successive generations of artists who have represented the statue's iconic form over the past 150 years will be included in the exhibition, including Pacita Abad, Benny Andrews, Edward Moran, Norman Rockwell, Nari Ward, and Andy Warhol.

The exhibition is anchored by a rare cast of French sculptor Frédéric Auguste Bartholdi’s bronze sculpture Liberty Enlightening the World (Statue of Liberty) (1894-1901), one of only five domestic-scale bronze reductions made during the artist’s lifetime.

The exhibition will be broken up into four distinct sections:

  • Creating a Monument, which focuses on the statue’s origins and initial public reception in the tumultuous decades between the American Civil War and World War I.
  • A National Monument, which showcases the way society and visual culture were inundated with Statue of Liberty imagery between World War I and the 1950s. The installation of newspapers, advertisements, lithographs, images, films, and paintings demonstrate the turning point in the statue’s transformation into a dominant American icon.
  • Reimagining an Icon, which explores pop art and reproductions of the statue’s imagery, demonstrating its increasing detachment from its original image and malleability as an American symbol.
  • The Statue of Liberty Today, which closes the exhibition with a selection of works by living artists who have continued to investigate the Statue of Liberty’s meaning in the 21st century.

“This monumental exhibition tells the story of how our nation has interpreted the Statue of Liberty not only as a national icon, but also as a reflection of American values, creativity, and identity throughout our collective history,” said Scott Wilcox, Interim Director of the Carter, in a statement. “Premiering 'The Statue of Liberty from Bartholdi to Warhol' in Fort Worth on the occasion of the 250th anniversary of our nation’s founding invites our community to see this emblematic statue in new dimensions.”

"The Statue of Liberty from Bartholdi to Warhol" will remain on display through January 3, 2027.

It will then travel to Denver for a presentation from March 14-July 4, 2027. The exhibition will also travel to the Munson Museum of Art in Utica, New York, from August 5-December 5, 2027.

The Amon Carter Museum will celebrate the opening with a special event called "Liberty Talks" on August 15 from 11 am-3 pm, featuring gallery talks, live music, poetry, treats, and more. A second event, "Second Thursdays: Monuments & Martinis," will take place September 10 and include Statue of Liberty-inspired flash tattoos by Fort Worth artist Joseph Ayala of Panther City Tattoo.

Admission to the Carter is free.

amon carter museum exhibitions-visual-arts museums statue of liberty
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