Actor Spotlight

DFW actor John S. Davies reveals penchant for cheap wine and guitars

In Bruce Graham’s exploration of late-life loneliness, Stella & Lou, it takes a zesty woman to shake up one man’s staid existence. That man is portrayed by John S. Davies in Circle Theatre’s production, which runs at the Fort Worth theater from August 21 through September 20.

If Davies looks familiar, it’s because he’s no stranger to Dallas-Fort Worth stages — or film and TV screens, for that matter. Recent seasons have found him onstage at Theatre Three (Other Desert Cities), WaterTower Theatre (Black Tie) and One Thirty Productions (Finishing School). But he can also be spotted on screen in Robo-cop, Magnolia, JFK and The Alamo.

As a director, he’s led productions for Shakespeare Dallas, Circle Theatre and the winners of the prestigious screenwriting competition, Ballroom Marfa, in Marfa, Texas.

Before tending bar as Lou at Circle, Davies took the time to fill out our survey of serious, fun and sometimes ridiculous questions.

Name: John S. Davies. Yes, I use the middle initial.

Role in Stella & Lou: Lou

Previous work in the DFW area: I’ve worked at most of the professional theaters in the DFW area and some that are, sadly, no longer with us. Somewhere north of 60 professional productions.

Hometown: I was born in Regensburg FRG (Federal Republic of Germany) and grew up around the world. When we lived in the U.S., it was in various suburbs of Washington, D.C. So, basically, I don’t have a hometown.

Where you currently reside: Carrollton

First theater role: In R.U.R. by Karel Capek at Westminster School, Simsbury, Connecticut. I don’t remember which one of the scientists I played.

First stage show you ever saw: It may well have been the first one I was in, which probably doesn’t count.

Moment you decided to pursue a career in theater: Probably the first time I worked with professional actors as the Musician in Twelfth Night at the California Actors Theater in Los Gatos, California.

Most challenging role you’ve played: Maybe Willy Brandt in Democracy

Special skills: Guitar, dialects, charm

Something you’re REALLY bad at: Working in an office

Current pop culture obsession: Allison Tolman in Fargo

Last book you read: The Moving Target by Ross MacDonald

Favorite movie(s): I’m not a big movie fan.

Favorite musician(s): Bob Dylan, Eric Clapton, Robert Johnson, my son Rees

Favorite song: "Crossroads"

Dream role: Lear

Favorite play(s): August Wilson’s, but I don’t really have favorites.

Favorite musical(s): A Chorus Line

Favorite actors/actresses: Phillip Seymour Hoffman, Allison Tolman, Cliff Stephens

Favorite food: Key lime pie

Must-see TV show(s): The Wire, Breaking Bad

Something most people don’t know about you: I didn’t live in the U.S. until I was 6 years old.

Place in the world you’d most like to visit: Wales

Pre-show warm-up: Coffee and a cigarette

Favorite part about your current role: It’s funny and it’s in Philly.

Most challenging part about your current role: It’s funny and it’s in Philly.

Most embarrassing onstage mishap: I did a terrible play called Ancestors many years ago. The whole experience was embarrassing, but at one point we had an onstage sword fight with cheap ceremonial sabers. My opponent’s blade broke off at the hilt and I had to chase him offstage.

Career you’d have if you weren’t a performer: Drinking cheap wine in a gutter.

Favorite post-show spot: Whatever’s close to the theater.

Favorite thing about Dallas-Fort Worth: My grandchildren

Most memorable theater moment: So many, but when I was in grad school as an apprentice at the Dallas Theater Center under Paul Baker, we did a three-hour adaptation of War and Peace. I understudied the role of Prince Andrei, the lead, and played a small role as his servant.

I attended all the rehearsals and learned the lines but never actually rehearsed the entire role. Then one Wednesday, I was working in the scene shop before a matinee when the call came in that the actor playing the Prince had thrown his back out and couldn’t get out of bed.

I was hustled up to the dressing room and hastily tried on all his costumes — including tight riding breeches and fitted military jackets — while lines were fired at me by the ASM. I went on, was led around the stage by the other actors, dropped a line here and there, but ended up in a bed center stage (the Prince dies at the end) thinking, “I did it. I don’t know how but I did it.”

The other actor never recovered, and I ended up playing the last three-and-a-half weeks of the run.

John S. Davies stars at Lou in Circle Theatre's Stella & Lou, opening August 21.

Photo by Leah Layman

John S. Davies stars at Lou in Circle Theatre's Stella & Lou, opening August 21.

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Dance News

Dallas Black Dance Theatre makes interim artistic director permanent

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.

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