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    In Memoriam

    Katherine Owens, co-founder of Dallas' Undermain Theatre, has passed away

    Lindsey Wilson
    Jul 23, 2019 | 10:43 am
    Katherine Owens
    Undermain Theatre artistic director and co-founder Katherine Owens.
    Photo by Stephen Webster

    A light has gone out for the Dallas theater scene, as Undermain Theatre co-founder and artistic director Katherine Owens has passed away.

    One of Dallas' most fearless and pioneering theater artists, Owens turned what many would consider an impossible space — a subterranean theater underneath Main Street, complete with low ceiling and giant, immovable concrete pillars — into a home for avant garde storytelling.

    "She helped spark the alternative theater scene in Deep Ellum," says Kateri Cale, actor and artistic director of Echo Theatre. Cale was a member of the Undermain ensemble for 10 years, and worked closely with Owens and co-founder Raphael Parry (who now runs Shakespeare Dallas).

    Over the past 35 years, Owens built a reputation that extended far beyond Dallas. She and husband Bruce DuBose — who would become the theater's executive producer and star in many of its shows — took several shows to New York, and Owens also directed in Macedonia and Yugoslavia.

    In 2018, she directed the world premiere of Lonesome Blues, a play about legendary blues singer Blind Lemon Jefferson, that ran Off Broadway at the York Theatre. In all, she directed well over a hundred productions in her career.

    New, and especially risky, work was a specialty. Owens maintained a relationship with playwright Len Jenkin that resulted in Undermain producing many of his world premieres, and in recent years, Undermain debuted a reading series devoted to new American plays called Whither Goest Thou America?. The last show Owens worked on was the final installment of Matthew Paul Olmos' so go the ghosts of méxico trilogy in April.

    Of Owens and Undermain, Jenkin has said, "I love their work, and I think they are a great American theater. Kat Owens is a marvelous director. She runs on a powerful combination of great theatrical instinct and a wonderfully wide and deep knowledge of literature and human nature, and she loves and understands actors and directors, which is best of all."

    In 2014, Undermain premiered Gordon Dahlquist's trippy sci-fi play Tomorrow Come Today, which went on to win a major international drama prize. Dahlquist returns this September with another world premiere, Red Chariot.

    "Katherine Owens was one of the great visionaries in Texas theater history," says Dallas Theater Center artistic director Kevin Moriarty. "Her work had international impact and will live on in Deep Ellum at Undermain Theatre, which so perfectly housed Kat's vision and artistry. She was also one of the most warm, open-hearted theater leaders I've ever known. All of us at Dallas Theater Center are heartbroken by her passing. She will be dearly missed."

    Personally, it will be difficult to visit Undermain and not see Owens making her rounds before a show, shaking the hands of subscribers and new patrons alike, and welcoming everyone to whichever magical world she had constructed this time: a Chekhovian forest, a tropical beach, a New England family home, or a setting we couldn't even yet imagine.

    Owens passed away on July 21, after battling lymphoma for the past five months. She was 61. She is survived by DuBose, her sister Kimberley Owens, and her brother Carl Owens. DuBose will continue their work at Undermain as producing artistic director, and lead Undermain in accordance with her artistic vision.

    Throughout Undermain's 2019/2020 season, there will be a celebration of Owens' work in an exhibition of her watercolor paintings, drawings, and photographs, as well as her notebooks in the Undermain lobby.

    "She was and is the heart and soul of the Undermain Theatre and will be greatly missed," the theater says in a statement announcing her death. "We dedicate this and all of our seasons to her."

    Owens' funeral will be held at Church of the Incarnation, 3966 McKinney Ave. in Dallas on Wednesday, August 7, at 11 am. Flowers can be sent to the Church of the Incarnation beginning August 6.

    A statement from Undermain Theatre reinforces that "Undermain was Katherine's passion and life's work. If you would like to send a donation in her memory to the theater where her legacy will continue, please go to www.undermain.org. Bruce and the Undermain family are continually grateful for your ongoing love and support."

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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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