The Dallas-Fort Worth theater community lost a legend on May 22, when Jac Alder passed away from respiratory failure at age 80. Alder was the co-founder, executive director and producer of Theatre Three, which he formed in 1961 with his future wife, Norma Young, who died in 1998.
At the time of his passing, Alder was the longest-serving artistic director of any regional theater in the United States. Theatre Three announced its 54th season on May 12.
Besides his contributions with acting, designing, directing and producing, Alder will also be remembered for his pre-show welcome speeches, in which his excitement for the theater's current and upcoming shows was palpable. His presence — and look — was so iconic that when Theatre Three produced its long-running Avenue Q in the Theatre Too basement space, a Jac Alder puppet was constructed to deliver the speech on video.
"Jac Alder was a friend to me, as he was to so many of us in the Dallas theater community," said Dallas Theater Center artistic director Kevin Moriarty in a statement. "His death is a cause of great sorrow for everyone who loved him, but it is also an opportunity for us to reflect upon his life. Because of Jac's remarkable leadership, Theatre Three has provided outstanding art for our community for more than 50 years. He is irreplaceable."
Many took to Facebook to express their sorrow and share memories of working with and knowing Alder.
T3's current production, The Liar, will continue through May 31. According to the theater's Facebook page, a celebration of Alder's life is in the works.
"His final wish was the for the continued success of Theatre Three," the post read. "And, as Jac would say, 'See you at the theatre!'"
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 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."
Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin