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    Getting Kinky Again

    Dallas Summer Musicals stocks 2016-17 season with underwhelming titles

    Lindsey Wilson
    Jun 20, 2016 | 1:15 pm

    When Dallas Summer Musicals president Michael Jenkins was suddenly ousted in May, the board of directors and interim managing director David Hyslop promised a new direction for the 76-year-old institution. Not that new, apparently, as the 2016-17 season has been announced, and it's less than exciting.

    It all begins with a quick stop November 25-27 from Rudolph the Red-Nosed Reindeer. The annual tour has played the Majestic Theatre for its Dallas stops in the past, but this year it's making its way to Fair Park instead. This will be an add-on to the main season, and also one of the four productions co-presented with Bass Hall.

    Next up is "one of the most delightful and enchanting Christmas shows ever," Broadway Christmas Wonderland. The holiday revue promises leggy chorus girls, a dancing Santa Claus, and a song catalog bursting with traditional Christmas tunes. It plays December 6-18.

    Proving that nothing is safe from a stage adaptation, 2017 begins with Cheers Live On Stage, January 6-8. Yes, someone made a live version of the classic sitcom, and no, it does not feature any new storylines or characters. Just reenactments of popular moments from the TV show. This is another add-on to the main season.

    Perhaps the most anticipated of all next season is An American in Paris, the Tony-winning musical that Jenkins and DSM co-produced for Broadway. We knew long ago that this tour was coming, but it's still a bright spot in an otherwise lackluster lineup. Catch it January 31-February 12.

    The stalwart musical Stomp is next, February 14-19, clanging its way to a percussive stop at Fair Park as another add-on. Running in some form or another since 1991, the theatrical experience makes rhythms out of everyday items.

    The final add-on show is the return of The Illusionists, a magic extravaganza that stopped at Fair Park in spring 2015 before heading on to Broadway. Now it boomerangs back here, and the conjurers are actually pretty worthy of the gasps they elicit. If you missed it the first time around, see it February 28-March 5 in 2017.

    Reliving the past seems to be a theme this year, as the next show is a "time capsule" of the Beatles at the height of their popularity. Let It Be is "a reunion that never happened" because of, well, the group's breakup and John Lennon's murder and other unavoidable events. But in this fantasy, the Fab Four is back for one night only and performing all their greatest hits. Wonder what local tribute band A Hard Night's Day thinks of this show, which is playing March 7-19.

    Kinky Boots is back March 28-April 9, so soon after its visit in 2015. The last tour lacked the energy of the long-running Broadway production, but perhaps second time's the charm?

    The oddly named Circus 1903: The Golden Age of Circus doesn't put nearly enough emphasis on its two most important components: Cirque du Soleil and the puppeteers from War Horse. Those two ingredients might mix up a thrilling theatrical experience from May 23-June 4, provided the final product is as pretty and mysterious as the promo shots.

    Even Broadway diva Heather Headley couldn't save the stage adaptation of The Bodyguard when it premiered in London. But in the queasy tradition of Ghost, Flashdance, and Dirty Dancing, DSM is bringing the movie-turned-musical to Dallas July 18-30. This tour is starring Deborah Cox, whom you may remember from the abysmal tour of Jekyll & Hyde that played the Winspear a few years ago and starred Constantine Maroulis. Cox proved then that she's adept at "park and bark" — planting yourself in one spot and singing for all you're worth — so perhaps that'll translate well to some of Whitney Houston's greatest hits.

    Performing Arts Fort Worth's Broadway at the Bass season will include Rudolph the Red-Nosed Reindeer (November 22-23), Cirque Dreams Holidaze (December 3-4), Annie (January 17-22), An American in Paris (February 14-19), Let It Be (March 21-26), Greater Tuna (March 29-30), Matilda (June 13-18), The Bodyguard (August 1-6), Beautiful: The Carole King Musical (September 12-17), Rent (October 17-22), and Irving Berlin's White Christmas (November 14-19).

    Dallas Summer Musicals tickets are available by calling 214-346-3300; visiting the website; or in person at the box office, located at 5959 Royal Ln., Ste. 542 in Dallas.

    Tickets for Broadway at the Bass in Fort Worth are available over the phone at 817-212-4280, online, or in person at the Bass Hall box office.

    Let It Be reunites The Beatles.

    Let It Be Beatles musical
    Photo by Paul Coltas
    Let It Be reunites The Beatles.
    theater
    news/arts

    Final bow

    Dallas Opera CEO steps down and departs for Canada — again

    Stephanie Allmon Merry
    Feb 10, 2026 | 2:50 pm
    Joyce Goss, Ian Derrer, Lynn McBee
    Photo by WJNPHOTO
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    For the second time in a decade, a Dallas Opera CEO is leaving Dallas and heading to Canada: Ian Derrer, who has been the TDO Kern Wildenthal General Director and CEO since 2018, will not renew his contract when it concludes at the end of this fiscal year, TDO announced in a release on February 10.

    Derrer has been named General Director of the Canadian Opera Company (COC) in Toronto and will assume the role on July 1, the release says.

    “This is a bittersweet moment for The Dallas Opera,” said Board Chair Quincy Roberts in a statement. “While we are thrilled for Ian and his new adventure, we’re sorry to lose such a creative and collaborative leader. His tenure with the company has been marked by great successes, including the recent fundraising campaign which has strengthened our fiscal position. We are grateful for his dedication to advancing opera in North Texas, and we wish him well.”

    Derrer, a graduate of the SMU's Meadows School of the Arts, became the eighth general director in TDO's history. It marked a return to Dallas for Derrer (then the general director of Kentucky Opera), who served as artistic administrator of the Meadows School from 2014-16.

    Derrer was named head of TDO in 2018, less than four months after then-CEO and general director Keith Cerny announced his resignation and headed for a post in Canada: as general director and CEO of Calgary Opera.

    Cerny was lured back to North Texas the next year to become CEO of the Fort Worth Symphony Orchestra, a position he still holds.

    Dallas Opera administrators praised Derrer's tenure with the company, including his steady navigating of the pandemic; creating innovative ways to reach worldwide audiences; raising $54.5 million in six months and doubling its endowment; and commissioning and mounting multiple world premieres, the most recent of which garnered worldwide attention and rave reviews: Joby Talbot and Gene Scheer’s The Diving Bell and the Butterfly.

    “I am truly proud of the work that we’ve accomplished here in Dallas, and I know that I leave this great company in a solid position for its future,” said Derrer in a statement. “I am so very fortunate to have been able to work with a board, staff, and community that deeply loves opera, especially our music director, Emmanuel Villaume. While I look forward to this new opportunity with COC, I offer my sincerest gratitude and admiration to everyone at TDO and to the generous arts community in North Texas.”

    TDO has not announced plans for a search for Derrer's replacement.

    dallas operaopera
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