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    Actor Spotlight

    See what — besides cheese and wanderlust — fuels this Dallas-Fort Worth actor

    Lindsey Wilson
    May 25, 2017 | 4:13 pm

    Though she's a familiar face at Fort Worth's Jubilee Theatre, Whitney LaTrice Coulter has also been known to pop up on stages around Dallas (a turn as a sassy pirate in Undermain Theatre's Jonah in 2016 was particularly memorable). This time she's in Addison, playing Emilie in the regional premiere of Jeff Talbott's play The Submission.

    Produced by Proper Hijinx Productions and being performed in the studio space at Addison Theatre Center, The Submission centers around a white male playwright, Danny, who has finally written a meaningful, visceral play — and submits it for a play festival under the pen name of an African American woman. Enter Emilie, a black actress who Danny asks to pose as his alter ego for the festival.

    Before The Submission plays May 25-June 4, Coulter took the time to fill out our survey of serious, fun, and sometimes ridiculous questions.

    Name: Whitney LaTrice Coulter

    Role in The Submission: Emilie

    Previous work in the DFW area: So many to name, but I recently performed in Parade with WaterTower Theatre and in Her Song with Echo Theatre. I’ve done several shows with Jubilee Theatre, so I consider that my theater home. Getting cast as Marta in Company there is actually what prompted me to move to DFW in 2012.

    Hometown: Waco, TX

    Where you currently reside: North Dallas

    First theater role: Ensemble in Bye Bye Birdie

    First stage show you ever saw: Annie Get Your Gun

    Moment you decided to pursue a career in theater: I can’t remember exactly, but sometime in 2007 before high school graduation. My family wanted to me to go into nursing and/or join the Air Force. I hate hospitals and, though disciplined back then, I was not cut out for combat. In high school, theater and band were huge parts of my identity, and I can’t imagine myself doing anything else. I hope to be a full-time artist in the future.

    Most challenging role you’ve played: I would definitely have to say Nina in Dominique Morisseau’s Sunset Baby. Her issues with her father really hit home for me, and some rehearsals were so draining that I would cry on my way home.

    Special skills: Cooking and procrastinating.

    Something you’re REALLY bad at: Not procrastinating…

    Current pop culture obsession: I don’t really keep up with pop culture or current stuff! I’m always behind on the "cool kid" trends and memes, so I just obsessively watch AlmazanKitchen on YouTube. I also love watching cute videos of my great-nephews or kids on Instagram. I got that baby fever!

    Last book you read: Do plays count? It’s been over a year, but The Tenth Insight by James Redfield.

    Favorite movie(s): What’s Love Got To Do With It, Beasts of the Southern Wild, Inside Out.

    Favorite musician(s): Nina Simone , Michael Jackson, and Whitney Houston.

    Favorite song: I have a favorite in every genre, so this could go on for days but "Proud Mary," the Ike and Tina version, is my go-to karaoke jam, and I love to dance to it! I hope to have arms and legs as great as Tina and Angela when I’m older.

    Dream role: Celie or Shug in The Color Purple, Velma or Roxie in Chicago.

    Favorite play(s): Sunset Baby by Dominique Morisseau and Ruined by Lynn Nottage.

    Favorite musical(s): The Color Purple, Next to Normal, and Chicago.

    Favorite actors/actresses: Viola Davis, Angela Bassett, Samira Wiley (#RIPPoussey).

    Favorite food: CHEESE!!! I love more traditional Mexican food and I get random cravings for shrimp (any kind) at least once a week.

    Must-see TV show(s): Orange Is The New Black, Grace and Frankie, and Chewing Gum. Netflix has great original content.

    Something most people don’t know about you: My big sister and I are 15 years apart, and I already have great-nephews. Also, I worked my way through college serving and on the costume shop payroll sewing, draping, and doing alterations, and I used to do some dope watercolor renderings. I miss the shop very much.

    Place in the world you’d most like to visit: I have to choose one?! I’ve never left the States, so generally I want to backpack all over Europe and then visit Africa. Seeing Machu Picchu is also a dream of mine!

    Pre-show warm-up: It depends on the show and my mood that day. For really intense shows, either mentally or physically, vocal warm-ups in a hot shower with peppermint and eucalyptus oils. I also like to do push-ups before big confrontation scenes. Is that weird?

    Favorite part about your current role: Her fire and potty mouth. (Sorry fam, but I swear like a sailor at times.) She reminds me of myself in some ways.

    Most challenging part about your current project: The subject matter, definitely. Being the only female and black person in the cast has been very different, but I adore these guys and the crazy conversations we have. Also not knowing the play within this play is frustrating. I would love to read the show that the character Danny writes.

    Most embarrassing onstage mishap: During Jubilation (Jubilee's Christmas show), my strapless bra slipped down and I had three full song and dance numbers before I could go backstage to fix it. One more number and it would have been around my hips! Also missing an entrance because my hips/butt busted the back seam of a dress.

    Career you’d have if you weren’t in theater: Massage therapist or art teacher.

    Favorite post-show spot: I really like to explore new bars wherever I’m performing, but Pizza Lounge in Deep Ellum and People’s Last Stand at Mockingbird Station are some of my faves.

    Favorite thing about Dallas-Forth Worth: The variety of restaurants and eateries. I love food!

    Most memorable theater moment: I was in New York for a class trip in college, and I saw the revival of Hair. Even though we were in the balcony, I was so immersed in the show and when they came to dance with us, it was electric! I was on a huge post-show high afterwards and I wasn’t even in it. Crying like an idiot during Next to Normal was memorable too.

    Ryan Maffei and Coulter in The Submission.

    "The Submission" play
    Photo courtesy of Proper Hijinx Productions
    Ryan Maffei and Coulter in The Submission.
    interviewqatheater
    news/arts

    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.

    dallas black dance theatredance
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