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    Theater Critic Picks

    Best of 2018-19 get standing O from Dallas-Fort Worth theater critics

    Lindsey Wilson
    Sep 11, 2019 | 8:55 am

    It was a strong season for women in Dallas-Fort Worth theater, not just acting-wise but also directing, music directing, writing, designing, leading, and playing musical instruments.

    That made it that much harder for the eight critics of the DFW Critics Forum to narrow down our choices for the best of 2018-19. There was much debating, much lobbying, only a little name-calling (kidding), but eventually we finalized our list.

    Not everyone's picks made it through the voting process, which needed either more than 50 percent of the votes or a unanimous decision if only two or three critics had seen the production. Look for personal favorites not included here to pop up in critics' end-of-year lists.

    Without further ado, here are the awards:

    Outstanding Direction:

    • Tim Bond, Sweat, Dallas Theater Center
    • Kelsey Leigh Ervi, Everything Is Wonderful, WaterTower Theatre
    • Joel Ferrell, Sweeney Todd: The Demon Barber of Fleet Street, Circle Theatre
    • Jonathan Fielding and Brenda Withers, Artist Descending a Staircase, Amphibian Stage Productions
    • Alex Organ, Incognito, Second Thought Theatre
    • Mara Richards Bim and Tim Johnson, Crossing the Line, Cry Havoc Theater Company and Kitchen Dog Theater
    • Christie Vela, What We Were, Second Thought Theatre
    • Ashley H. White, Ghost Quartet, Imprint Theatreworks

    Outstanding New Play or Musical

    • Crossing the Line, ensemble of Cry Havoc Theater Company
    • penny candy, Jonathan Norton, Dallas Theater Center
    • Jo & Louisa, Isabella Russell-Ides, WingSpan Theatre Company
    • What We Were, Blake Hackler, Second Thought Theatre

    Outstanding Performance by an Actor

    • Chad Cline, Raptured, Theatre Three
    • Sonny Franks, The Cake, Uptown Players
    • Blake Hackler, Twelfth Night, Dallas Theater Center; and Drunk Enough to Say I Love You & Here We Go, Second Thought Theatre
    • David Meglino, In the Next Room (or The Vibrator Play), Imprint TheatreWorks; and Angels in America, Part Two: Perestroika, Uptown Players
    • Steven Pounders, Everything Is Wonderful, WaterTower Theatre
    • Christopher Llewyn Ramirez, Sweat and Twelfth Night, Dallas Theater Center
    • Drew Wall, Incognito, Second Thought Theatre

    Outstanding Performance by an Actress

    • Betty Buckley, Hello, Dolly!, Dallas Summer Musicals
    • Sarah Gay, Sweeney Todd: The Demon Barber of Fleet Street, Circle Theatre
    • Ana Hagedorn, Steel Magnolias and The Wolves, Dallas Theater Center; and The Armor Plays: Cinched & Strapped, Theatre Three
    • Lindsay Hayward, Fur, Teatro Dallas
    • Jennifer Kuenzer, In the Next Room (or The Vibrator Play), Imprint Theatreworks
    • Laura Lites, Disaster!, Uptown Players
    • Shannon McGrann, The Cake, Uptown Players; Raptured, Theatre Three; Incognito, Second Thought Theatre; A Doll’s House, Part 2, Stage West
    • Christine Sanders, Artist Descending a Staircase, Amphibian Stage Productions; and Obama-ology, Jubilee Theatre
    • Lucy Shea, Bright Star, The Firehouse Theatre
    • Sally Nystuen Vahle, Sweat and Steel Magnolias, Dallas Theater Center

    Outstanding Performance by an Ensemble Cast

    • Bright Star, The Firehouse Theatre
    • Crossing the Line, Cry Havoc Theater Company
    • Ghost Quartet, Imprint Theatreworks
    • Incognito, Second Thought Theatre
    • Men on Boats, Circle Theatre
    • penny candy, Dallas Theater Center
    • What We Were, Second Thought Theatre
    • The Wolves, Dallas Theater Center

    Outstanding Touring Production

    • Aladdin, Dallas Summer Musicals
    • Hamilton, Dallas Summer Musicals
    • Hello, Dolly!, Dallas Summer Musicals
    • The Play That Goes Wrong, AT&T Performing Arts Center
    • Unveiled, WaterTower Theatre

    Outstanding Design or Creative Contribution

    • Vonda K. Bowling, music direction, The Ballad of Little Jo, WaterTower Theatre
    • Aimee Hurst Bozarth, pianist and musical associate, Sweeney Todd: The Demon Barber of Fleet Street, Circle Theatre
    • Design team, Artist Descending a Staircase, Amphibian Stage Productions
    • Design team, Everything Is Wonderful, WaterTower Theatre
    • John M. Flores, sound design, What We Were, Second Thought Theatre
    • Olivia de Guzman, music, and Justin Locklear, lyrics, Doom McCoy and the Death Nugget, Ochre House Theater
    • Rusty Jones, scenic design, Babette’s Feast, Amphibian Stage Productions
    • Justin Locklear, score, Elwood, and puppet design, Doom McCoy and the Death Nugget, Ochre House Theater
    • Kelly McCain, choreography, Bright Star, The Firehouse Theatre
    • Adam C. Wright, music direction, Ghost Quartet, Imprint Theatreworks

    Special Citations

    • To Katherine Owens (1957-2019), co-founding artistic director of Undermain Theatre, for groundbreaking work in experimental theater and excellence in producing modern classics, staging 35 world premieres in 35 years, and seeding the ground for the birth of exciting new companies in North Texas over the past three decades.
    • To Cora Cardona, founder and former artistic director of Teatro Dallas, for introducing North Texas audiences to writers from the Spanish-speaking world, giving emerging theater artists a home, creating the International Theater Festival, and keeping alive the legacy of Teatro Dallas.
    • To Joanie Schultz for her brief but significant contributions during her tenure as artistic director of WaterTower Theatre (December 2016–December 2018), including championing female directors, playwrights of color, and other inclusive initiatives; encouraging new works; and reinvigorating the DFW theater scene.
    • To Mara Richards Bim, Tim Johnson, Cry Havoc Theater Company, and Kitchen Dog Theater for creating Crossing the Line, a thorough and compelling look at the immigration controversy devised through extensive research that included a trip to the border to gather facts and opinions from a wide range of sources. Bim and Johnson edited hundreds of pages of interview transcripts into a narrative that delved deeply into the immigration issue.

    Participating Critics

    • Lindsey Wilson, CultureMap
    • Janice L. Franklin, TheaterJones.com
    • Jan Farrington, TheaterJones.com
    • Martha Heimberg, TheaterJones.com and Dallas Weekly
    • Arnold Wayne Jones, Dallas Voice
    • Mark Lowry, TheaterJones.com
    • Manny Mendoza, Dallas Morning News
    • Jill Sweeney, TheaterJones.com

    Dallas-Fort Worth Theater Critics Forum is an organization of professional, paid critics that recognizes outstanding theatrical contributions in North Texas. Members see 40 or more productions per season (Sept. 1-Aug. 31) and are not practicing theater artists.

    Imprint Theatreworks' immersive Ghost Quartet won a whole bunch of awards.

    Imprint Theatreworks presents Ghost Quartet
      
    Photo by Kris Ikejiri
    Imprint Theatreworks' immersive Ghost Quartet won a whole bunch of awards.
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    Season Announcement

    Dallas Theater Center finds rhythm and rhyme in 2025-26 season

    Lindsey Wilson
    Apr 2, 2025 | 5:31 pm
    Ragtime at City Center Encores
    Photo by Joan Marcus
    "Ragtime" was recently staged in New York by City Center Encores.

    The 2025-26 season for Dallas Theater Center is a mix of classic and new, large and small, and it even raises the curtain on more collaborations with the Tony Award-winning regional theater.

    This season includes the launch of a three-year partnership between Dallas Theater Center and Stage West Theatre in Fort Worth, as well as a multi-year partnership with SMU’s Meadows School of the Arts and the Sexton Institute for Musical Theatre. An ongoing collaboration continues with TheatreSquared in Fayetteville, Arkansas, and DTC will newly partner with Fort Worth Symphony Orchestra on a concert to be performed at Bass Performance Hall featuring FWSO, conducted by Robert Spano, and actors from DTC’s Brierley Resident Acting Company, directed by DTC's executive director Kevin Moriarty.

    “Collaboration is at the heart of DTC’s mission,” Moriarty says. “It’s wonderful to join with TheaterSquared to support Jonathan Norton’s brilliant playwriting and introduce his work to a national audience. Further, by partnering with Stage West Theatre, SMU’s Meadows School of the Arts and the Sexton Institute for Musical Theatre, and the Fort Worth Symphony Orchestra, we are able to expand opportunities for artists, introduce new audience members to the arts, and enrich our artistry. I’m grateful to be surrounded by so many talented, visionary artists and arts leaders here in North Texas and honored to be partnering with them this season.”

    “In curating Dallas Theater Center’s 2025-26 season, I chose to follow my mission as a playwright, which is to break down barriers through the shared joy of great storytelling,” says interim artistic director Jonathan Norton. “And the five shows in our upcoming season will do just that."

    First up is the classic slapstick farce Noises Off by Michael Frayn, directed by Ashley H. White.

    This play-within-a-play plunges you into the chaotic world of Nothing’s On, a fictional touring production tormented by backstage romances and onstage blunders. From flubbed lines to slamming doors, witness the hilarious unraveling of a troupe of eccentric actors. It runs October 3-26, 2025, at the Kalita Humphreys Theater.

    Next is the Pulitzer Prize-winning Fat Ham by James Ijames, a co-production with Stage West that's directed by vickie washington.

    In this Dallas premiere of the hit Broadway comedy, Juicy’s got a lot on his plate — his mom just married his uncle. All he wants is to make his own way as a queer Black man in a Southern family. But here’s the rub: his father’s ghost just turned up at a backyard barbecue demanding vengeance. In this delicious and sizzling reinvention of Shakespeare’s masterpiece, a young man vows to break the cycles of violence in service of his own liberation and joy. It runs January 30-February 8, 2026, at the Kalita Humphreys Theater

    The regional premiere of Donnetta Lavinia Grays' Where We Stand, another co-pro with Stage West, follows.

    Directed by Akin Babatunde, Broadway actor and Dallas legend Liz Mikel plays a lone storyteller who weaves a world through music and magic — part fable, part call-and-response. Your town stands at a crossroads. A neighbor — desperate and out of options — has struck a dangerous bargain. Now, their fate lies in your hands. In this interactive play presented as a town hall gathering, the audience must choose: mercy or justice? The future of the town — and the fate of a soul — hang in the balance. This isn’t a game. It’s your choice. It runs February 27-March 22, 2026, at Bryant Hall on the Kalita Humphreys Theater campus.

    The grand, sweeping musical Ragtime will be produced in partnership with SMU and AT&T Performing Arts Center, with direction and choreography by Sexton Institute for Musical Theatre director Joel Ferrell.

    Based on the novel by E.L. Doctorow, with music by Stephen Flaherty, lyrics by Lynn Ahrens, and book by Terrence McNally, the musical tells the intertwined stories of three families from different walks of life, all chasing the American Dream in 1902 New York. It runs March 27-April 19, 2026, at the Wyly Theatre.

    The world premiere of Jonathan Norton's Malcolm X and Redd Foxx Washing Dishes at Jimmy’s Chicken Shack in Harlem closes out the regular season.

    A commission by and co-production with TheatreSquared, which previously supported the development of Norton’s I AM DELIVERED’T, the play will be directed by Dexter J. Singleton. In the sweltering summer of 1943, two young men — Little & Foxy — forge an unlikely bond over leftover fried chicken and dirty dishwasher. But as the world outside erupts in chaos, their friendship is tested by betrayal, ambition, and the call of history. Inspired by a true story. It runs May 8-June 7, 2026, at the Wyly's Studio Theater.

    "There is nothing like the rejuvenating sensation of rollicking laughter spreading through packed houses at Noises Off and Fat Ham," says Norton. "Where We Stand will inspire rich conversations about forgiveness and redemption. Ragtime will send audiences home lifted by the stirring music and feeling ever more hopeful in these changing times. And Malcolm X and Redd Foxx Washing Dishes At Jimmy’s Chicken Shack in Harlem will leave you empowered with the knowledge that true friendship can change the world. I can’t wait for October, when I get to welcome audiences at the start of our new season. We will throw open our doors and become Dallas’ town hall — a place for the community to gather for conversation, celebration, and ultimately, connection.”

    There are also two add-on productions, beginning with the company's annual presentation of A Christmas Carol.

    Based on the novel by Charles Dickens, adapted by Kevin Moriarty, and directed by Alex Organ, with musical direction by Cody Dry, and choreography by Joel Ferrell, DTC's production takes audiences on a magical Christmas Eve adventure with Ebenezer Scrooge, as three otherworldly spirits whisk him away on a breathtaking journey of hope and redemption. From the nostalgic warmth of Christmases past to the stark truths of the present and the ominous shadows of the future, Scrooge's journey is a spectacle of wonder. It runs November 28-December 28, 2025, at the Wyly Theatre.

    Under the direction of Robert Spano and Kevin Moriarty, the Fort Worth Symphony Orchestra and Dallas Theater Center collaborate to bring musical drama and theatrical intrigue center stage in the FWSO's newest "Theater of a Concert" concept: Shakespeare at the Symphony.

    Featuring Mendelssohn's Selections from A Midsummer Night's Dream and Prokofiev's Selections from Romeo and Juliet, interspersed with scenes from Shakespeare, the multi-discipline production brings The Bard to life. It runs February 27-March 1, 2026, at Bass Performance Hall in Fort Worth.

    DTC’s Diane and Hal Brierley Resident Acting Company members will be featured throughout the 2025-26 season. Company members include Christina Austin Lopez, Tiana Kaye Blair, Blake Hackler, Bob Hess, Liz Mikel, Alex Organ, Molly Searcy, Tiffany Solano, Sally Nysteun Vahle, Esteban Vilchez, and Zachary J. Willis.

    “The talent and collaborative spirit of my colleagues in the Brierley Resident Acting Company constantly inspires me,” Norton says. “And later this spring I look forward to announcing a new company member who will further enrich our artistry.”

    Subscriptions are available now and can be purchased at DallasTheaterCenter.org and by phone at 214-522-8499. Single tickets are not yet available.

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