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    Divine diva proves that Love Never Dies in Phantom sequel's Dallas premiere

    Tarra Gaines
    Jul 23, 2018 | 9:16 am

    Broadway’s longest running musical, Andrew Lloyd Webber’s Phantom of the Opera, has enthralled audiences for 30 years, but Dallas will soon discover that the Phantom story didn’t end with the crashing of the giant chandelier. In the new musical Love Never Dies, that ultimate bizarre love triangle between the Phantom, the angelic-voiced Christine Daaé, and her protector, Raoul, lives on as they all meet again — this time in the new, strange world of early 20th-century New York.

    As the Love Never Dies tour heads to Dallas Summer Musicals, CultureMap caught up with Meghan Picerno, who stars as Christine, to find out what it takes to bring new life to this iconic role. In this Phantom sequel, 10 years have past. While Christine married Raoul, had a child, and has sung her way into international diva acclaim, the Phantom has found refuge and a new freedom living among the performers, freaks, and geeks of Coney Island.

    A voice for two worlds
    While Picerno hasn’t experienced any theater-haunting, masked maestros in real life, she is a classically trained opera performer in her own right, who finds it easy to move back and forth between opera and musical productions.

    “I am one of those artists who lives in both worlds,” she says of her opera and musical theater experiences. “Both of the worlds really help each other. The colors and tools that I’m using and learning in one, I bring over to the other. They enrich each other.”

    Picerno believes that with her opera training, she brings “a flavor that perhaps wasn’t always there” when tackling a Broadway show, yet when she crosses back to opera, she believes her experience with musical theater helps her bring urgency, and sense of being in the moment in her characters’ development. For Picerno, Love Never Dies, in some ways, merges those two worlds together.

    “Andrew Lloyd Webber is an absolute musical genius of our day, and his music is not too far from the opera world. This score of Love Never Dies is extremely classical. It’s a difficult score to sing and beautiful one.”

    A 20th-century woman with 21st-century problems
    From the first notes to the last, the story in Phantom was always one of heightened emotions and drama, perhaps very like some classic opera, and Picerno finds Love Never Dies offers that same volume of intensity.

    “Particularly in this story and where we find them, to me it is very operatic in the most glorious way. Everything is heightened. Where the story finds them all is in the most insane, extraordinary circumstance, she describes, adding “I do find from my opera training, when you do have larger than life situations and emotions, in order for that to work the foundation has to be completely genuine.”

    At first glance Christine’s story set at the turn of the 20th century might seem very removed from our 21st-century relationship concerns, but Picerno says some of her character’s dilemmas feel somewhat familiar, comparing the situation a bit like being ghosted by a guy or that unsettled situation when an old boyfriend pops back into your life. Above all, she sees aspects of the story having contemporary relevance.

    “Christine is not the 18 years old that we see in Phantom, a little naive and just starting out to discover what life is. This woman has lived, traveled and seen things, and she’s in a marriage that’s not so great,” Picerno describes of Christine’s growth and struggles. “She is the one making the money in her family. Even today, what is it like in our society when a woman is working and has a child. This is still in 2018, in some areas, an issue. For a woman of that strength in 1907, I find her pretty incredible.”

    The new adventures of Christine
    When asked if she tries to find connection with all the previous Christines who have gone before her, including Sarah Brightman who originated the role, while making this older, hopefully wiser woman her own, Picerno says it was conversations with Webber that helped her find her own way.

    “Within the context and constraints of the directing and the flavor of the show, he basically gave permission to make it my own. And that’s really exciting. It’s an honor to portray an iconic role, but again, it’s 10 years later. I want to be true to the role and stay true to her roots but find where she can grow and mature.”

    Whether opera or musical theater, early 20th or 21st-century set situations, Picerno believes there are some aspects of love stories we can all understand.

    “I cry every day onstage. Maybe there’s something wrong with me,” she says with a laugh. “It’s because I’m using my own pain, experiences and joy and then I use the music that Andrew Lloyd Webber writes to communicate that to the audience. Especially in this day and age with everything that’s going on in the world, people need art. They need theater, the human connection and to feel the things on stage.”

    ---

    Love Never Dies runs July 24-August 5 at The Music Hall at Fair Park. For tickets, showtimes, and information, visit the official site.

    Meghan Picerno (Christine Daaé) and Gardar Thor Cortes (The Phantom) star in Love Never Dies.

    Love Never Dies
    Photo by Joan Marcus
    Meghan Picerno (Christine Daaé) and Gardar Thor Cortes (The Phantom) star in Love Never Dies.
    musictheater
    news/arts

    Dance News

    Dallas Black Dance Theatre makes interim artistic director permanent

    Lindsey Wilson
    Nov 4, 2025 | 11:41 am
    Richard A. Freeman, Jr.
    Photo by Aleah Pilot
    Richard A. Freeman Jr. became the new artistic director October 24, 2025.

    Dallas Black Dance Theatre (DBDT) has officially named Richard A. Freeman, Jr. as its new artistic director, ushering in a new era of leadership for the dance company as it approaches its 50th anniversary season.

    Freeman, a longtime member of the DBDT family, has served as interim artistic director through the company’s recently completed 48th and current 49th seasons. His appointment, effective October 24, 2025, marks a natural progression for the former lead dancer, resident choreographer, and artistic project coordinator, whose career within DBDT spans more than a decade of creative and organizational leadership.

    “Richard has been an integral part of Dallas Black Dance Theatre's artistic fabric for years, and his extraordinary leadership during his time as interim artistic director made this decision clear,” says Heidi K. Murray, a member of DBDT’s board of directors, in a release. “His dedication to artistic excellence, his deep understanding of our mission, and his vision for the future of contemporary modern dance make him the ideal person to lead DBDT into this exciting new chapter.”

    DBDT founder Ann M. Williams echoed the sentiment, calling Freeman’s appointment a full-circle moment for both artist and company. “Richard embodies everything Dallas Black Dance Theatre stands for: artistry, excellence, and a deep commitment to uplifting our community through dance,” she says in the release. “I have had the privilege of watching him grow from a gifted dancer into an inspiring leader and visionary artist. His dedication to preserving our legacy while boldly charting new artistic territory gives me tremendous confidence in DBDT’s future.”

    During his tenure as interim artistic director, Freeman guided DBDT through seasons marked by artistic innovation and expanded community engagement, but also staff shake-ups and legal issues.

    In October 2024, accusations of retaliation surfaced after 10 DBDT dancers, its entire main company, were fired following their decision to unionize in May and demand better working conditions. This led to an unprecedented "Do Not Work" order by the American Guild of Musical Artists.

    Dallas City Council ultimately voted to withhold $248,000 in city funding due to labor violations, and DBDT later settled for $560,000 with the National Labor Relations Board.

    In response, DBDT formed a 17-member advisory stakeholder task force co-chaired by Jennifer Scripps, president and CEO of Downtown Dallas, Inc., and Shawn Williams, vice president of public affairs at Allyn. The group has been working with DBDT leadership to review the organization’s policies and practices, propose changes that foster an accountable environment, and put in place safeguards to prevent future concerns related to talent.

    In September 2025, executive director Zenetta Drew announced her retirement after nearly four decades with the company. A national search for her replacement will start in early 2026. Williams retired in 2014.

    As artistic director, Freeman will oversee all aspects of DBDT’s artistic operations, from performances to educational initiatives, and continue to expand its reach throughout Dallas and beyond.

    “I am deeply honored to accept this role and to continue building on the incredible foundation established by the vision of Ann Williams,” Freeman says. “This company has a unique power to move, inspire, and unite communities through dance. I look forward to working with our talented dancers, staff, and board to create unforgettable artistic experiences and to nurture the next generation of dance artists.”

    A native of Washington, D.C., Freeman began his training with the District of Columbia Youth Ensemble and the Washington Ballet before graduating from the Duke Ellington School of the Arts and Virginia Commonwealth University. His performance credits span acclaimed companies and productions, including Elisa Monte Dance, Houston Grand Opera, Porgy and Bess, and The Wiz.

    Freeman’s choreographic works have been featured by leading institutions such as Texas Ballet Theater School, Texas Christian University, and Booker T. Washington High School for the Performing and Visual Arts. He has also shared his expertise through master classes and workshops nationwide, reinforcing his commitment to DBDT’s educational mission.

    Founded in 1976, Dallas Black Dance Theatre is the oldest and largest professional dance company in Dallas and one of the most acclaimed Black dance institutions in the U.S.

    dallas black dance theatredance
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