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    Theater Critic Picks

    These are the 10 can't-miss shows in Dallas-Fort Worth theater for July

    Lindsey Wilson
    Jul 1, 2019 | 10:33 am

    Things have calmed down a bit from last month, so if you're heading out of town on vacation, you needn't feel quite so guilty about missing all the theatrics Dallas and Fort Worth have to offer. But if you're still here, put these shows on your calendar and experience something new and exciting.

    Here are the 10 shows to see in order by start date:

    Sex Ed
    Cry Havoc Theater Company, July 3-14
    In the wake of the #MeToo movement, conversations about sexual impropriety are front and center in our collective consciousness. Yet we seem to have collective amnesia when it comes to our own teenage years and the lack of honest, accurate information we received about our bodies. Cry Havoc Theater Company's devised work discusses the birds and the bees and the flowers and the trees ... and how "the talk" has become so politically divisive in our culture.

    Festival of Independent Theatres
    July 12-August 3
    Founded in 1998 in an effort to aid local theater companies without a permanent performance space, this festival presents eight one-act shows, paired in two-show blocks and performed in rotating repertory. There will also be two brand new cabaret performances by two divas of the Dallas music scene, Jodi Crawford Wright and Kathryn Taylor Rose.

    Gutenberg! The Musical!
    Amphibian Stage Productions, July 12-August 18
    Anthony King and Scott Brown's two-man musical spoof follows a pair of aspiring playwrights who perform a backers' audition for their new project: a big, splashy musical about printing press inventor Johann Gutenberg. With an unending supply of enthusiasm, Bud and Doug sing all the songs and play all the parts in their historical epic, with the hope that one of the producers in attendance will give them a Broadway contract — fulfilling their ill-advised dreams.

    Hello, Dolly!
    Dallas Summer Musicals, July 17-28
    The bold and enchanting Dolly Gallagher Levi is a widow, matchmaker, and professional meddler. When she decides the next match she needs to make is for herself, she weaves a web of romantic complications for her newest client, the cantankerous "half-a-millionaire" Horace Vandergelder, his two clerks, a pretty hat maker, and her assistant. Fort Worth native and Tony winner Betty Buckley comes home to star in this national tour.

    Crossing the Line
    Kitchen Dog Theater and Cry Havoc Theater Company, July 18-August 4
    Based on interviews conducted in Dallas, via Skype, and at the border, this original documentary-style performance focuses on the immigration debate and the situation at the border.

    Godspell
    WaterTower Theatre, July 18-28
    Stephen Schwartz’s beloved musical is inspired by parables taken from the Gospels of Matthew and Luke. The fun, modern take on classic stories is mixed with a vibrant score of pop, folk, and gospel music.

    A Bronx Tale
    Broadway at the Bass, July 23-28
    Broadway's hit crowd-pleaser based on the one-man-show by Chazz Palminteri takes you to the stoops of the Bronx in the 1960s, where a young man is caught between the father he loves and the mob boss he'd love to be.

    Lungs
    Stage West, July 25-August 18
    The world is getting hotter, there's unrest overseas — actually, the seas themselves aren't very calm either — and in an IKEA, a man suggests to his partner that they should have a child. What if it grows up to solve the world's problems? What if it becomes a mass murderer? What about its carbon footprint? They leave with nothing they went in for in Duncan Macmillan's play, but come out with a full set of self-assembly dilemmas that they spend a life cycle trying to construct.

    John Leguizamo: Latin History For Morons
    AT&T Performing Arts Center, July 26
    Inspired by the near total absence of Latinos from John Leguizamo's son's American history books, this one-man show take audiences on an outrageously funny, frenzied search to find a Latin hero for a school history project. From a mad recap of the Aztec empire to stories of unknown Latin patriots of the Revolutionary War and beyond, Leguizamo breaks down the 3,000 years between the Mayans and Pitbull into 110 irreverent and uncensored minutes above and beyond his unique style.

    Sistas the Musical
    Jubilee Theatre, July 26-August 25
    After a matriarch's death, the women in the family clean Grandma's attic and find love and old memories packed away, underscored by hit tunes that trace the history of black women from the trials of the 1930s through the Girl Groups of the '60s to the empowerment of the '90s.

    Kitchen Dog Theater and Cry Havoc Theater Company's co-production of Crossing the Line examines the crisis at the border.

    Crossing the Line
    Photo courtesy of Kitchen Dog Theater
    Kitchen Dog Theater and Cry Havoc Theater Company's co-production of Crossing the Line examines the crisis at the border.
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    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
    undefined

    It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.

    During the onstage conversation at the University of Texas at Austin, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."

    Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.

    Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.

    In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.

    "Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."

    All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org.

    Ballet Austin Marie Antoinette: Vampire Queen of Versailles Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin

    Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.

    Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.

    Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.

    As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to a press release. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.

    "For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."

    If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in.

    And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."

    ---

    Stephanie Allmon Merry contributed to this story.

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