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    Make An Impression

    New Dallas theater company debuts with provocative first season

    Lindsey Wilson
    Aug 29, 2017 | 12:36 pm
    "The Revolutionists" at Cincinnati Playhouse in the Park
    Lauren Gunderson's The Revolutionists is part of Imprint Theatreworks' inaugural season.
    Photo courtesy of Mikki Schaffner, Cincinnati Playhouse in the Park

    Dallas is getting a new theater company, and its first season is an ambitious mix of regional premieres, new works, and unfamiliar (to the general population) musicals.

    Co-artistic directors Ashley H. White and Joe Messina first announced Imprint Theatreworks via video in June, and on August 28 they revealed the company's inaugural season. Titled "Built For Longing," the season was introduced by a large company of local performers at a bash held at the lake level of the Bath House Cultural Center. That "underground" and open-air setting overlooking White Rock Lake, which saw some use during the recent Festival of Independent Theatres but hasn't been used often otherwise, also will be the setting for two of Imprint's shows.

    “We all think about lives that are not our own," says Messina in a release. "That fundamental human trait is what we are exploring in our first season. We will begin and end with two modern masterpieces focusing on the hopes of those who feel the world is ignoring them and passing them by. Then, in the middle, are two area premieres that deal with the unbridled passion and drive that forces us to do both good and evil."

    It starts with David Mamet's American classic Glengarry Glen Ross, running January 12-27, 2018. The unrelenting examination of high-pressure sales culture and those who get lost in it will be re-imagined by director White, and staged at the Bath House Cultural Center.

    Next is the First Impressions Festival for Local Playwrights, happening February 21-24, 2018, at the Bath House's lake level. Not just a performance showcase for local playwrights, the festival also promises to offer panels, talk-back sessions, cocktail hours, and networking opportunities for writers, actors, directors, producers, and audiences. Submissions will be accepted beginning in September.

    The DFW-area premiere of Murder Ballad is next on the bill, playing April 27-May 12, 2018. Conceived and with book by Julia Jordan and music and lyrics by Juliana Nash, the sexy and violent rock opera, about a tragic love triangle set in modern-day New York City, will transform the lake level into a fully immersive experience. White again directs.

    Hot, hot playwright Lauren Gunderson makes an appearance with her play The Revolutionists, running July 20-August 5, 2018, at a location yet to be announced. The historical comedy — co-directed by White and Messina — is about four women who made the ultimate sacrifice in their fight for art, feminism, and freedom, and is another regional premiere.

    Closing out the season is one of the West End's longest-running musicals: Willy Russell's Blood Brothers. The show explores class divide and nature-versus-nurture with the tale of twins separated at birth who meet later in life. Messina directs solo here, at a location that has yet to be announced, from October 26-November 11, 2018.

    “We chose to focus on four shows that are not only extremely relevant to today’s audiences but tell very real, powerful, and intense stories," says White. "These ensemble-driven pieces are powerful, truthful, and fresh, and we can’t wait for our audiences to see them."

    Imprint has already attained nonprofit status, and operates with a four-person board of directors. Joining White and Messina on the administrative side are business manager Benjamin Bratcher, strategic development manager Billy Betsill, and company manager Jessie Wallace.

    Tickets start at $25 and season passes are $80. Both are on sale now.

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    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.

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