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    Theater Review

    White Rabbit Red Rabbit injects mystery into theater-going experience

    Alex Bentley
    Jun 1, 2018 | 2:48 pm
    Liz Mikel in White Rabbit Red Rabbit
    Liz Mikel was the opening night actor in Dallas Theater Center's White Rabbit Red Rabbit, playing at Wyly Theatre through July 1.
    Photo courtesy of Dallas Theater Center

    How does one review a play that you’re not supposed to talk about? That is the conundrum facing this critic and others after seeing White Rabbit Red Rabbit, a play that's unlinke any other performance piece.

    Written by Iranian playwright Nassim Soleimanpour, it is a one-act, one-person play so shrouded in secrecy that not even the person performing has read a word of it prior to stepping onstage. That person — on opening night, it was Brierley Resident Acting Company member Liz Mikel — is handed the script in a sealed envelope and told to perform whatever is written to the best of her ability.

    What follows is billed as "theater entertainment meets social experiment," and it is that and more. Both the actor and the audience go on a journey of discovery, never quite sure what’s going to happen next. Since she was reading the script throughout, Mikel was never performing in the usual sense. Instead, she was forced to react to any new developments as best she could, with results that were expectedly mixed.

    Unlike most other plays, audience participation is key to the proceedings, and the willingness of those chosen to go along with what they’re asked to do impacts the effectiveness of the show. Full disclosure: I was randomly chosen by Mikel to participate, and without giving anything away, there is a vast difference between watching someone perform from 10-20 feet away and having them do it directly in your face.

    Without delving into specifics, the play is full of questions, but relatively few answers. When Soleimanpour wrote it in 2010, he was living in Iran and obviously curious about the rest of the world, as well as wanting to share his life perspective beyond his country’s borders. The script reflects those desires, even if he has no way of finding out the information revealed over the course of the play.

    Ultimately, the play’s success lies in the confidence the actor brings to the material. Mikel did well, but she displayed a tentativeness throughout. She still earned plenty of laughter and applause, but a different approach might have garnered even more. Results will differ, of course: 39 more actors are scheduled to perform the play, including each member of the Brierley Resident Acting Company except for Chamblee Ferguson, and local standouts like Kelsey Leigh Ervi, Julie Johnson, Drew Wall, and Tina Parker. (DTC will announce each performer on Facebook the day before he or she performs).

    While perhaps not the most profound experience you will have at the theater, White Rabbit Red Rabbit is unique, and something that must be seen to be fully understood. With so much else that is spoon-fed to us with our entertainment, it’s great to experience a little mystery.

    -----

    White Rabbit Red Rabbit plays in the Studio Theater at Wyly Theatre through July 1.

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    Museum News

    2 Dallas museums partner on landmark Roy Lichtenstein acquisition

    Teresa Gubbins
    Nov 12, 2025 | 12:51 pm
    Roy Lichtenstein
    Courtesy
    Roy Lichtenstein

    The Dallas Museum of Art (DMA) and the Nasher Sculpture Center will present works from the joint acquisition of more than 50 artworks generously gifted by the Roy Lichtenstein Foundation in 2024, showing prints, drawings, and sculptures by the groundbreaking American artist at the two neighboring institutions in the Dallas Arts District.

    According to a release, the installations will be on view from January 31 to August 16, 2026 at the Nasher and from January 1 to July 5, 2026 at the DMA.

    The joint gift made by the Roy Lichtenstein Foundation to the DMA and the Nasher in Celebration of the Centennial of Roy Lichtenstein is comprised of a selection of prints, drawings, maquettes, and sculptures by Roy Lichtenstein (1923–1997), a leading figure in twentieth-century American art and a pioneer of the Pop Art movement.

    The works were specifically selected by the curatorial staff of both institutions and relate to objects already in their respective collections including sculptures, works on paper, and maquettes, along with tools and study objects.

    Organized by the Nasher Sculpture Center’s Senior Curator Dr. Catherine Craft, The Nancy and Tim Hanley Assistant Curator of Contemporary Art at the DMA Ade Omotosho, and The Allen and Kelli Questrom Assistant Curator of Prints and Drawings at the DMA Dr. Emily Friedman, the presentation is divided according to each institution’s strengths and will be shown in combination with objects by Lichtenstein already in their respective permanent collections.

    At the Nasher, works relating to three sculptures from the Raymond and Patsy Nasher Collection—Head with Blue Shadow, Peace through Chemistry, and Double Glass—will be accompanied by a selection from the Foundation's gift of more than two dozen drawings and maquettes associated with Lichtenstein’s Brushstroke sculptures.

    At the Dallas Museum of Art, the presentation features a set of Brushstroke sculptures carved from wood alongside various prints and studies that reveal the artist’s eclectic imagery.

    Events
    In addition to the exhibition, the DMA and the Nasher will co-host a Study Day focused on the artist on March 28, 2026, sponsored by the Roy Lichtenstein Foundation. This scholarly event will bring together a variety of curators, academics, and conservators to discuss Lichtenstein’s studio practice and the fabrication and conservation of his sculptures.

    Concluding the Study Day will be a public conversation held at the DMA between Nasher Director Carlos Basualdo and artist Alex Da Corte, regarding Da Corte’s work on the forthcoming Lichtenstein retrospective at the Whitney Museum of American Art.

    “In bestowing this generous gift, the Roy Lichtenstein Foundation established Dallas as a center for the study and display of Lichtenstein’s work,” Basualdo says in a statement. “This collaborative presentation of the gift and the corresponding programming is an important step in the direction of pursuing that goal, deepening the understanding of an artist who remains immensely influential to contemporary art and its relationship with mass media and today’s culture.”

    Roy Lichtenstein is made possible by support from the Roy Lichtenstein Foundation and the Dallas Tourism Public Improvement District (DTPID).

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