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    Musical Magic

    Dallas audiences will leave Newsies singing its praises

    Alex Bentley
    May 4, 2015 | 10:12 am

    With all the ways in which musicals have evolved over the years, it’s almost refreshing to see an old-fashioned song-and-dance production. And Newsies (playing through May 10 at Winspear Opera House), the Tony Award-winning musical based on the 1992 Disney movie musical flop, is a throwback in more ways than one, as it’s set in New York City in 1899.

    The story follows a group of newsboys, or “newsies,” who hawk editions of Joseph Pulitzer’s New York World on the street every day. The newsies are actually forced to pay for the papers before they sell them, and when Pulitzer decides to up their fee, the group, led by Jack Kelly (Dan DeLuca), decides to go on strike in protest.

    Jack and his ragtag group are helped in their quest by cub reporter Katherine (Stephanie Styles), who works for a rival newspaper and views their quest as a noble one.

    Despite the somewhat dismal circumstances in which the newsies find themselves, epitomized by their dull and nearly colorless outfits, the music is overall pretty upbeat. Although only a few of the songs – “Seize the Day,” “King of New York,” “Watch What Happens” – actually stand out, the music by Alan Menken maintains a theme throughout that keeps things hopping.

    What’s worth the price of admission is the dancing. The production essentially stops multiple times in both acts for extended dance breaks, and the cast impresses with every turn. Utilizing modern dance, ballet and tap, among others, the actors flip and twirl their way into the audience’s hearts. The choreography by Christopher Gattelli has its own unique flavor but still finds a way to pay homage to the style of classic musicals.

    Although the dancing and music are showstoppers, almost equally as impressive is the set design by Tobin Ost. Three massive multistory staircases and landings serve multiple purposes during the show, including as a backdrop for projected imagery. But the myriad ways in which Ost configures the structures, twisting and turning them in every direction, is a spectacle in and of itself.

    DeLuca is a natural in the lead role, possessing both the voice and acting chops needed to make Jack into the leader he needs to be. Other standouts include Styles, Zachary Sayle as Crutchie and Angela Grovey as Medda Larkin.

    Newsies may not have you humming specific tunes as you leave the theater, but the overall consistency of the music, the eye-popping dancing and the ingenious sets will have you singing the musical’s praises.

    Dan DeLuca (center) leads the ragtag group of newsboys in Newsies, playing at Winspear Opera House through May 10.

    Dan DeLuca and cast of national tour of Newsies
    Photo by Deen van Meer
    Dan DeLuca (center) leads the ragtag group of newsboys in Newsies, playing at Winspear Opera House through May 10.
    unspecified
    news/arts

    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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