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    The Mort News

    Dallas City Council readies Meyerson Symphony Center handoff to DSO

    Micah Moore
    May 21, 2019 | 1:37 pm
    Morton H. Meyerson Symphony Center
    The Mort will get a new boss.
    VisitDallas

    The city of Dallas is preparing to turn over management and operations of the Morton H. Meyerson Symphony Center to the Dallas Symphony Association in a deal that is hoped to bring millions to be used for critical maintenance needs.

    The Dallas Symphony Association is the administrative arm of the Dallas Symphony Orchestra.

    This follows similar recent moves to delegate city facilities to private management, including the Kay Bailey Hutchison Convention Center and the Kalita Humphreys Theater.

    The deal still requires approval by the Dallas City Council, which will vote at its meeting on May 22. The lease has been hashed out since January in several meetings and a public hearing that included arts organizations that perform there.

    The agreement has received support from Arts and Cultural Affairs Advisory Commission and the council's Quality of Life, Arts and Culture Committee, as well as the arts community.

    It will direct the Office of Cultural Affairs to lease the Meyerson to the DSA for $1 a year for 99 years. DSA will raise $5 million for capital improvements required by 2025.

    Under the current agreement, the DSA has been the Meyerson's primary user, leaving the city responsible for operation and management. But the city has long deferred maintenance. Designed by I.M. Pei and constructed in 1989, the building will require up to $11.9 million in critical repairs.

    “The Meyerson needs a lot of love from everyone involved,” says DSA VP of facilities Debi Peña.

    Peña recently led a group that included Arts and Commission member Cannon Flowers and Preservation Dallas Board Joanna Hampton on a tour to show problem areas, some in non-public spaces such as the rehearsal rooms and the reverb chamber located directly behind the Lay Family Concert Organ on stage.

    One big problem has been water. It leaks into the building through the glass pavilion rooftop encasing the lobby and collects in pools across the floor. According to Peña, whenever it rains, staff must scatter buckets and tubs across the mezzanine loge to prevent flooding.

    Walls in the lobby and backstage are stained with rainwater that flows heavily in through dozens of leaks throughout the concert hall.

    The famed Kelly Ellsworth panels, worth millions of dollars in the public art collection, now have discreet gutters redirecting stormwater seeping in from above. Granite is marred with water stains.

    There are also accessibility issues. There is only one ADA-compliant bathroom in the building. And elevators have a tendency to get stuck. On several occasions, patrons have been unpredictably trapped inside elevators for hours after a show waiting for the fire department to come to the rescue.

    Sometimes when a pipe bursts, maintenance crews simply cut the water off, which means an upper level backstage bathroom is closed. Sinks in the conductor's Green Room, which hosts donors and special guests, haven't worked in months.

    Inside the McDermott Concert Hall, lighting and sound system upgrades need a $1.2 million retrofit. The original carpet needs to be replaced, as do 26 of the 77 reverb doors.

    The last improvement was in 2014 when new heat and air conditioning systems were installed as part of a citywide facility efficiency upgrade.

    Another big change will be scheduling of the venue. Up until now, scheduling was handled by the city and done in advance, with priority given to DSA events. Under the new deal, the DSA will oversee all booking, including performances and private venue rentals.

    There are 10 legacy organizations including the Dallas Winds, Dallas Bach Society, and the Black Academy of Arts and Letters, that are grandfathered with rental and other fees locked in for 10 years.

    The new agreement will also affect 37 city employees, including ushers, sound technicians, and stage technicians. They'll be offered positions with the DSA or reassigned in the city for those wanting to hold onto their pension and other benefits.

    After approval May 22, the Symphony would take over management and operations July 1. Renovations will begin after that with a bulk of improvements slated for summer 2020.

    The city will pony up its share for improvements, with an added $3.85 million in 2017 bonds. Cultural Affairs will continue funding operations at the Meyerson for five years, winding down its annual investment each year. By year four of the five-year wind-down, it is hoped that the city will begin saving money.

    museums
    news/arts

    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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