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    Theater Critic Picks

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

    Lindsey Wilson
    Sep 5, 2017 | 10:01 am

    The State Fair of Texas doesn't begin until September 29, so that leaves your September free to catch up on all the new shows opening in Dallas and Fort Worth. Fill your mind and soul with culture before it's time to fill your belly with Corny Dogs and Funnel Cake Bacon Queso Burgers.

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

    So Go the Ghost of Mexico, Part Two
    Undermain Theatre, September 6-October 1
    Matthew Paul Olmos' new work, the second play in a three-part trilogy, focuses on two warring gangs undergoing a power shift. But here's the twist: it's all women. Stephanie Cleghorn Jasso returns after starring in part one last year, though this story doesn't focus on her previous character, a 20-year-old criminology student who became police chief of a small town in Chihuahua.

    Cedar Springs or Big Scary Animals
    Theatre Three, September 7-October 1
    Artistic director Jeffrey Schmidt promised that Theatre Three would devote more resources to nurturing new work from local artists this season, and first up is a new work from Matt Lyle. It centers on an older white couple from the country that unknowingly moves to "the gayborhood" to be closer to their granddaughter in Dallas.

    Ruined
    Echo Theatre, September 8-23
    Dallas favorites Denise Lee and Tyrees Allen star in this Pulitzer Prize-winning play by Lynn Nottage, which follows bar owner Mama Nadi as she gives three young women refuge and an unsavory means of survival in the Democratic Republic of Congo.

    Joseph and the Amazing Technicolor Dreamcoat
    Casa Mañana, September 9-17
    Dallas native Olivia Sharber, who later performed as a Dallas Cowboys cheerleader and danced in the Christmas Spectacular Starring the Radio City Rockettes, made her Casa debut in Joseph in 2010. Now she returns — along with DFW performers Alexandra Cassens, Emmie Kivell, Jacob Rivera-Sanchez, Michael Anthony Sylvester, and Seth Womack — in this dramatized parable of (you guessed it) Joseph and his dazzling coat of many colors.

    Beautiful: The Carole King Musical
    Performing Arts Fort Worth, September 12-17
    This bio-musical makes extensive use of Carole King's song catalog, telling the story of the songwriter and performer's early life in jukebox fashion. Chilina Kennedy plays the iconic King, who penned such hits as "One Fine Day," "Will You Love Me Tomorrow," and "(You Make Me Feel Like a) Natural Woman."

    Fun Home
    AT&T Performing Arts Center Broadway Series, September 13-24
    The Tony Award-winner for best musical in 2015 is based on Alison Bechdel’s bestselling graphic memoir, and explores her complicated family relationships and sexual self-discovery. Former Miss America Kate Shindle stars as Alison, and if you're lucky you might see former DFW performer Anthony Fortino, who's touring with the show as an understudy.

    In the Tall Grass
    TeCo Theatrical Productions, September 14-24
    Incredibly timely and still terribly sad, Paul Kalburgi's play was written in response to the murder of Shade Schuler, a 22-year-old transgender woman whose decomposed body was found dumped in a field in the Medical District of Dallas in July 2015. It's told through verbatim first-hand testimonies of transgender women of color in Dallas. This replaces the PlayPride LGBT Competition, which will return in 2018.

    Deferred Action
    Cara Mía Theatre Co., September 14-29
    Cara Mía's 2016 collaboration with Dallas Theater Center gets another life on tour, traveling first to Southern Methodist University (September 14-17), then University of North Texas in Denton (September 21-23), and then to Cara Mía's home at the Latino Cultural Center (September 27-29). The powerful play sheds light on the reception immigrants receive when entering and living in America, focusing here on one man's experience as he grows up undocumented.

    Titus Andronicus
    Shakespeare Dallas, September 20-October 15
    Believed to be Shakespeare's first tragedy, this violent tale follows Titus (played by executive director Raphael Parry), a general in the Roman army who is engaged in a cycle of revenge with Tamora, Queen of the Goths. A warning: Don't bring a pie as part of your al fresco picnic at the Samuel Grand Amphitheatre.

    Hair
    Dallas Theater Center, September 22-October 22
    Beanbags. Sandwiches. A slide in the Wyly Theatre. A bunch of nude hippies. Kevin Moriarty's immersive staging of this groundbreaking rock musical brings the Age of Aquarius into the 21st century, when the themes of peace, love, and freedom are more relevant than ever.

    Shakespeare Dallas is staging Shakespeare's bloodiest play, Titus Andronicus.

    Shakespeare Dallas presents Titus Adronicus
    Photo by Jessica Helton
    Shakespeare Dallas is staging Shakespeare's bloodiest play, Titus Andronicus.
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    A good listen

    Dallas Symphony and Fabio Luisi release landmark Wagner 'Ring Cycle' set

    Associated Press
    Jun 10, 2026 | 2:00 pm
    Fabio Luisi conducting the Dallas Symphony Orchestra
    Photo courtesy of Dallas Symphony Orchestra
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    Fabio Luisi wanted his Ring Cycle to be heard and not seen.

    Wagner’s four-opera epic Der Ring des Nibelungen, approaching the 150th anniversary of its premiere in 1876, has been reinterpreted and deconstructed by directors finding various meanings in the conflicts among gods, humans, giants and dwarfs.

    While most new recordings are on video, Luisi led his Dallas Symphony Orchestra in concert performances that were released on 13 compact discs by Delos on May 22 and are available on streaming services.

    “Wagner conceived this as a total immersion in visual and acoustic, but I could focus really only on the music, and this was the point actually — not to be distracted by staging and not to have to cope with maybe strange ideas of staging,” Luisi said. “I think the music tells everything.”

    Luisi became DSO music director in 2020 and broached the idea while dining two years later with (the now late) Morton H. Meyerson, a longtime board member.

    “Fabio came back from lunch sort of giddy but sort of sheepishly saying: `Do you think that this would ever be possible?” recalled Kim Noltemy, the Dallas CEO at the time. “So, I said, well, let’s give it a try. So, we called around to see if there were people who wanted to support it and did a budget.”

    After securing a waiver from the orchestra allowing for the needed rehearsals and performance length, recordings were made during four concerts from May 1-5 and six more from Oct. 5-20. Each opera was performed two or three times.

    Americans in cast fill big roles
    American singers featured prominently, with Mark Delavan as Wotan, Lise Lindstrom as Brünnhilde and Sara Jakubiak as Sieglinde, part of a cast that included Christopher Ventris (Siegmund), Daniel Johansson (Siegfried), Deniz Uzun (Fricka), Tómas Tómasson (Alberich), Michael Laurenz (Mime) and Stephen Milling (Hagen).

    Delavan sang Wotan at New York’s Metropolitan Opera in 2013 after Luisi took over from an ailing James Levine in Robert Lepage’s much-maligned production staged on a 45-ton set of 24 rotating planks.

    “We’re accessible and they know that we’re hungry and we have a chip on our shoulders,” Delavan said. “What conductors like about American singers is their technique is sound. Even a European conductor would say: Well, I’m going to give up some of the communication skills, only one degree of separation with the language, but I’m going to get a solid technique, and I’m going to get pretty good acting chops.”

    Lindstrom has been in Atlanta to sing in its production of “Götterdämmerung,” the concluding night of the tetralogy, leading to what is being billed as the first complete Ring Cycles in the America South in 2029.

    “The wonderful thing about it is the intimacy between the orchestra and us, because we’re not separated by a chunk of stage or a chunk a scenery or a chunk of concept,” she said of the Dallas performances. “And for people like me, who have had the opportunity to perform the role before, I have all those iterations to rely on for my portrayal that I can sort of filter myself through.”

    A younger Luisi listened to famous renditions
    Luisi, 67, first heard a Ring recording in Georg Solti’s famous studio set with the Vienna Philharmonic from 1958-65. He also admires Karl Böhm’s live recording from the 1967 Bayreuth Festival and Marek Janowski’s 1980-83 studio version with the Staatskapelle Dresden.

    He first conducted Ring when he was music director of Dresden’s Semperoper from 2007-10. Luisi’s Dallas performances include more legato and softer sound than his rendition a decade earlier at the Met. He tries to keep an arc from the first notes of “Das Rheingold” to the final strains of “Götterdämmerung.”

    “I have a deeper understanding about the meaning of this piece,” he said. “I consider the ring to be a big Bruckner symphony. So we have the introduction, then we have the first movement, this is “Walküre,” which happens to be a slow movement, and then we have the scherzo, which is “Siegfried,” of course, and then the long, long, last movement. There is a unity.”

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