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    Season Announcement

    Dallas' Uptown Players gets the beat — and Broadway hits — for 2019-20 season

    Lindsey Wilson
    Jun 20, 2019 | 9:00 am

    Broadway, regional premieres, world premieres, old favorites — Uptown Players has it all for the 2019-20 season. There are several big "gets" in the lineup, among them the recent Broadway cult favorite Head Over Heels (which features the music of The Go-Go's) and the landmark musical Fun Home, a coming-of-age memoir about lesbian graphic novelist Alison Bechdel.

    But first it's time for Nuncrackers A-men!, Dan Goggins' Christmas musical that's guaranteed to make your yuletide gay. It stars the nuns you love from Nunsense, this time played by men, plus Father Virgil and four of Mount Saint Helen's most talented students. Featuring all new songs, including "Twelve Days Prior to Christmas," "Santa Ain't Comin' to Our House," "We Three Kings of Orient Are Us," and "It's Better to Give Than to Receive," this show follows the sisters as they tape their first TV special in the cable access studio built by Reverend Mother in the convent basement. It runs December 6-15, 2019.

    The Uptown Players divas return for another entertaining weekend of Broadway music with plenty of twists, laughs, and surprises at Broadway Our Way. The evening features many of your favorite actors from past Uptown Players seasons performing selections from Broadway shows, both past and present, all done with an Uptown Players twist. The annual fundraiser moves back to the Kalita Humphreys Theater this year, and for the ninth straight year will be written and directed by B. J. Cleveland. It runs January 16-19, 2020.

    Fun Home is the winner of five Tony Awards (including Best Musical), and was adapted by Lisa Kron and Jeanine Tesori from Alison Bechdel's 2006 graphic memoir. When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family's Bechdel Funeral Home, her growing understanding of her own sexuality, and the looming, unanswerable questions about her father's hidden desires. It runs April 10-26, 2020.

    John Guare's Six Degrees of Separation was a 2017 Tony nominee for Best Revival of a Play, having originally premiered in 1990. Inspired by a true story, the play follows the trail of a young black con man who insinuates himself into the lives of a wealthy New York couple, claiming he knows their son at college. Paul tells them he is the son of actor Sidney Poitier, and that he has just been mugged and all his money is gone. After they discover him in bed with a young male hustler from the streets, the picture begins to change. One of the greatest American plays of our time, Guare's script examines the threads of chance that link one person to another. It runs May 29-June 7, 2020.

    For the final mainstage production of its 2019-2020 season, Uptown Players presents the regional premiere of the recent Broadway musical Head Over Heels. Coming from the visionaries that rocked Broadway with Hedwig and the Angry Inch and Avenue Q, this laugh-out-loud love story is set to the music of the iconic 1980s all-female rock band The Go-Go's. It includes the hit songs "We Got the Beat," "Our Lips Are Sealed," "Vacation," Belinda Carlisle's "Heaven is a Place on Earth," and "Mad About You." A hilarious, exuberant celebration of love, Head Over Heels follows the escapades of a royal family on an outrageous journey to save their beloved kingdom from extinction. It runs July 10-26, 2020.

    The group's 19th season closes with a limited-run presentation of the world premiere of Del Shores' new play A Very Sordid Wedding. It's 2015, 17 years after Peggy tripped over G.W.'s wooden legs and died in Sordid Lives, and life has moved into the present for the residents of Winters, Texas. Based on the 2017 hit film of the same name, A Very Sordid Wedding explores the questions, bigotry, and fallout of what happens when gay marriage comes to communities and families that are not quite ready to accept it. It runs August 21-30, 2020.

    Individual ticket prices for all shows range from $25-$60. All performances will take place at the Kalita Humphreys Theater. Four-, five-, or six-show season ticket flex packages are available and include great discounts on both premium and regular seating. Season tickets can be purchased online or by phone at 214-219-2718.

    A scene from Head Over Heels on Broadway.

    Head Over Heels on Broadway
    Photo by Joan Marcus
    A scene from Head Over Heels on Broadway.
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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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