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    Theater Critic Picks

    These are the 13 can't-miss shows in Dallas-Fort Worth theater for June

    Lindsey Wilson
    Jun 2, 2022 | 9:15 am
    Shakespeare Dallas presents A Midsummer Night's Dream
    See A Midsummer Night's Dream under the stars at Shakespeare Dallas.
    Photo by Linda Blase

    UPDATE: Kitchen Dog Theater's High Five has new performance dates, June 16-26. Who's Afraid of Virginia Woolf at Theatre Three has been postponed to July 7-17.

    ---

    As summer begins, you are presented with a choice: Escape to the crisp air conditioning of the theater, or pack your blanket, wine, and picnic and head outdoors for Shakespeare Dallas' 50th anniversary season.

    In order of start date, here are 13 local shows to watch this month:

    Marie Antoinette
    Amphibian Stage, June 3-26
    Spun-sugar wigs and a candy-coated sheen can’t cloak the terror bubbling underneath this surreal and witty comedy from Guggenheim Award-winning playwright David Adjmi. Extravagance, artifice, and one neurotically affectionate sheep accompany the queen as the chants of “Liberté, Egalité, Fraternité!” grow too loud to ignore in this modern, satirical spin on the young, doomed Queen of France.

    Pinocchio Commedia
    Hip Pocket Theatre, June 3-26
    Johnny Simons' whimsical adaptation of the Carlo Collodi classic is presented in the style of the Italian commedia dell'arte, replete with character masks, slapstick, and puppetry while featuring a cast of Hip Pocket veterans.

    Under the Moon
    Ochre House Theatre, through June 4
    The fourth and final In the Garden show is about an old wizard who, along with the help of his cuckoo bird apprentice and captive angel, attempts one last work of magic: to marry the moon.

    Newsies
    Casa Mañana, June 4-12
    Based on the 1992 motion picture and inspired by a true story,  this is the rousing tale of Jack Kelly, a charismatic newsboy and leader of a band of teenaged “newsies” in New York City at the turn of the 20th century. When titans of publishing raise distribution prices at the newsboys’ expense, Jack rallies newsies from across the city to strike against the unfair conditions and fight for what’s right.

    Oklahoma!
    Broadway Dallas, through June 12
    Broadway at the Bass, June 21-26

    Stripped down to reveal the darker psychological truths at its core, Daniel Fish’s production tells a story of a community circling its wagons against an outsider, and the frontier life that shaped America. Upending the sunny romance of a farmer and a cowpoke, this Oklahoma! allows the classic musical – and the country – to be seen in a whole new light.

    Broadway Our Way
    Uptown Players, June 9-12
    The Uptown Players divas return for another entertaining weekend of Broadway music with plenty of twists, laughs, and surprises. The evening features many favorite actors from past Uptown Players seasons performing selections from Broadway shows, both past and present, all done with an Uptown Players spin.

    Cabaret
    Lyric Stage, June 9-12
    Set in Berlin as the 1920s draw to a close, Cabaret focuses on the hedonistic nightlife at the seedy Kit Kat Klub while exploring the dark and tumultuous life in Germany as the Third Reich ascends to power. This fully staged concert production is directed and choreographed by Penny Ayn Maas, while the 13-piece, all-female orchestra is led by music director Vonda K. Bowling.

    Into the Breeches!
    Stage West, June 9-July 3
    It’s 1942, and there’s a problem at the Oberon Playhouse. With the director and leading men all off at war, it looks like the season will be cancelled. That is, until a determined group of ladies rally the troops at home to mount an all-female production. The hilariously unexpected team comes together, united by their determination that the show must go on.

    Who's Afraid of Virginia Woolf?
    Theatre Three, June 9-July 3
    Late one evening, after an alcohol-fueled university faculty party, middle-aged couple Martha and George receive an unwitting younger couple, Nick and Honey, as late-evening guests. They draw them into their bitter and frustrated marital love-hate ambivalence and pummel each other senseless in a verbal slugfest. T3 artistic director Jeffrey Schmidt and associate artistic director Christie Vela take on the roles of George and Martha.

    High Five
    Kitchen Dog Theater, June 9-26
    To close its its 31st season, Kitchen Dog Theater is presenting the world premiere of High Five by Midgalia Cruz, Matt Lyle, Allison Moore, Jonathan Norton, and Regina Taylor. These five short plays each shine a spotlight on one of the five senses: taste, touch, vision, hearing, and smell.

    A Midsummer Night's Dream
    Shakespeare Dallas, June 15-July 23
    Four Athenians run through the forest pursuing each other while Puck, a mischievous fairy, helps his master play a trick on the fairy queen. This production plays in repertory with The Tempest.

    Young Frankenstein
    Circle Theatre, June 16-July 23
    From the creators of the Broadway sensation The Producers comes this monstrously mad musical. Frederick Frankenstein reluctantly inherits his infamous family’s estate in Transylvania. Urged on by a hunchbacked sidekick, Igor, and a leggy lab assistant, Inga, Frederick finds himself fulfilling his grandfather’s corpse-raising legacy.

    The Tempest
    Shakespeare Dallas, June 22-July 22
    Prospero, a magician, creates a vast magical storm, wrecking the ship of his enemies and leaving them to wash up on shore. When they wake, they find themselves lost on a fantastical island where nothing is as it seems. Plays in repertory with A Midsummer Night's Dream.

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    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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