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    Theater Critic Picks

    Dallas-Fort Worth theater critics applaud the best of 2016-17 season

    Lindsey Wilson
    Sep 12, 2017 | 8:29 am

    Bucking the national trend of diminishing arts coverage, attendance at the annual Dallas-Fort Worth Theater Critics Forum was actually up this year. Nine professional critics gathered to nominate, vote for, and debate our favorites from the 2016-17 season — and was there ever debate.

    In categories spanning new works to stellar performances, the nine critics fought for their favorites. 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, so look out for personal favorites not included here to pop up in those end-of-year lists.

    It was a strong year for women, with female directors earning six of the eight nods (way up from last year's four out of 10). Kitchen Dog Theater had a stellar showing, as did Stage West and Dallas Theater Center, and the majority of theaters stepped up their community involvement thanks to the pioneering spirit of performer, producer, and activist Denise Lee. Some artists scored both on and off the stage, earning nods for their performances as well as directing and/or design contributions.

    Without further ado, here are the awards:

    Outstanding Direction

    • Robin Armstrong, Ripcord, Circle Theatre
    • Emily Scott Banks, Stupid Fucking Bird, Stage West; The Gospel According to Thomas Jefferson, Charles Dickens, and Count Leo Tolstoy: Discord, WaterTower​ Theatre
    • Cheryl Denson, Angels in America, Part One: Millennium Approaches, Uptown Players
    • Marianne Galloway, Stiff, Risk Theater Initiative (Festival of Independent Theatres)
    • Kevin Moriarty, Electra, The Tempest, and Inherit the Wind, Dallas Theater Center
    • Jeffrey Schmidt, The Minotaur, Theatre Three
    • Joanie Schultz, Hit the Wall, WaterTower Theatre
    • Christie Vela, 'night, Mother, Echo Theatre; Straight White Men, Second Thought Theatre

    Outstanding New Play or Musical

    • Br'er Cotton by Tearrance Arvelle Chisholm, Kitchen Dog Theater
    • Hood: The Robin Hood Musical Adventure by Douglas Carter Beane and Lewis Flinn
    • The Necessities, by Blake Hackler, Second Thought Theatre
    • Stiff by Sherry Jo Ward, Risk Theater Initiative (Festival of Independent Theatres)

    Outstanding Touring Production

    • An American in Paris, Dallas Summer Musicals and Performing Arts Fort Worth
    • The Curious Incident of the Dog in the Night-Time, AT&T Performing Arts Center Broadway Series
    • Hedwig and the Angry Inch, AT&T Performing Arts Center Broadway Series
    • Into the Woods, AT&T Performing Arts Center Broadway Series
    • Tina Packer's Women of Will, Eisemann Center Presents

    Outstanding Performance by an Actor

    • Christopher Carlos, Paper Flowers, Kitchen Dog Theater
    • Cameron Cobb, Trevor, Kitchen Dog Theater
    • Blake Hackler, Richard III and Measure for Measure, Trinity Shakespeare Festival; so go the ghosts of méxico, part one: a brave woman in méxico, Undermain Theatre
    • Selmore Haines III, Thurgood, Jubilee Theatre
    • Max Hartman, Trevor, Kitchen Dog Theater
    • Bob Hess, La Cage aux Folles, Uptown Players
    • Alex Organ, The Tempest, Dallas Theater Center
    • Randy Pearlman, Funnyman, Circle Theatre
    • Thomas Ward, Straight White Men, Second Thought Theatre

    Outstanding Performance by an Actress

    • Deborah Brown, Ripcord, Circle Theatre
    • Whitney LaTrice Coulter, The Submission, Proper Hijinx Productions
    • Steph Garrett, The Great Dictator, Audacity Theatre Lab (Festival of Independent​ Theatres); Waiting for Lefty, Upstart Productions
    • Julie Johnson, Mame, Lyric Stage
    • Jenny Ledel, Grounded, Second Thought Theatre
    • Kelsey Milbourn, Richard III and Measure for Measure, Trinity Shakespeare Festival
    • Sally Nystuen Vahle, Electra and A Christmas Carol, Dallas Theater Center
    • Christie Vela, Paper Flowers, Kitchen Dog Theater; The Necessities, Second Thought Theatre
    • Sherry Jo Ward, Stiff, Risk Theater Initiative (Festival of Independent Theatres)

    Outstanding Performance by an Ensemble Cast

    • Angels in America, Part One: Millennium Approaches, Uptown Players
    • Hood: The Robin Hood Musical Adventure, Dallas Theater Center
    • Inherit the Wind, Dallas Theater Center
    • 'night, Mother, Echo Theatre
    • Richard III and Measure for Measure, Trinity Shakespeare Festival
    • Stupid Fucking Bird, Stage West

    Outstanding Design or Creative Contribution

    • Design team, Br'er Cotton, Kitchen Dog Theater
    • Stefany Cambra, properties design, Feathers and Teeth, Kitchen Dog Theater
    • Jay Dias, music direction, Camelot, Lyric Stage
    • John M. Flores, sound design, Feathers and Teeth, Kitchen Dog Theater
    • Pam Holcomb-McLain, musical direction, The Light in the Piazza, Brick Road Theatre
    • Design team, Jesus Christ Superstar, Casa Mañana
    • Brian McDonald, set and sound design, Grounded, Second Thought Theatre
    • Aaron Johansen, lighting design, Grounded, Second Thought Theatre
    • Michael B. Moore, wigs and makeup design, La Cage aux Folles, Uptown Players
    • Lauren Morgan, a season of costume design for Stolen Shakespeare Guild
    • James Ortiz, puppet design, Stefano Brancato, associate puppet design, Hood: The Robin Hood Musical Adventure, Dallas Theater Center
    • Design team, Trinity Shakespeare Festival
    • Sean J. Smith and Rhonda Jones, choreography, Fly, African American Repertory Theater
    • Trigg Watson, magic consultation, Midas, Prism Movement Theater

    Special Citations

    • Dallas Theater Center, for engaging the city with its Public Works production of The Tempest, which used 200 members of the community in its cast, and for committing to continue the program in future seasons.
    • Denise Lee, for starting Community Conversation, following the Dallas Police shootings, as an ongoing, free, inclusive program that gives theater audiences an opportunity to discuss tense issues and create fellowship across different cultures, races, orientations, and/or social-economic statuses in a safe, judgment-free setting. The program is held every fourth Monday at Dallas Children's Theater, alternates every other month at Circle Theatre and Stage West in Fort Worth, and has been offered after Second Thought Theatre's Straight White Men, Kitchen Dog Theater's Br'er Cotton, and WaterTower Theatre's Hit the Wall.

    Participating Critics
    Lindsey Wilson, CultureMap
    Alexandra Bonifield, CriticalRant.com
    Nancy Churnin, Dallas Morning News
    Jan Farrington, TheaterJones.com
    Janice Franklin, TheaterJones.com
    Martha Heimberg, TheaterJones.com and Dallas Weekly
    Arnold Wayne Jones, Dallas Voice
    Mark Lowry, TheaterJones.com and Fort Worth Star-Telegram
    Punch Shaw, Fort Worth Star-Telegram

    Dallas-Fort Worth Theater Critics Forum is an organization of professional, paid critics that recognizes outstanding theatrical contributions in North Texas. Members see 45 or more productions per season (Sept. 1-Aug. 31) and are not practicing theater artists.

    Kevin Moriarty was recognized for directing three outstanding Dallas Theater Center shows, including Inherit the Wind.

    Kieran Connolly, Liz Mikel, and Ace Anderson in Dallas Theater Center's Inherit the Wind
      
    Photo by Karen Almond
    Kevin Moriarty was recognized for directing three outstanding Dallas Theater Center shows, including Inherit the Wind.
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    Elon News

    Dallas bookstore and publisher gets federal arts funding axed

    Luciana Gomez
    May 7, 2025 | 12:17 pm
    Deep Vellum stack of books
    Deep Vellum
    Stack of books at Deep Vellum

    A Dallas arts organization got its budget chopped by the federal government: Deep Vellum, the bookstore and publisher at 3000 Commerce St., lost a National Endowment for the Arts (NEA) grant due to federal government budget cuts.

    According to owner Will Evans, the award, which is granted annually, has been terminated as of May 31. The bookstore had received $20,000 for the past six years.

    Deep Ellum started as a publisher in 2013 and opened their bookstore in Deep Ellum in 2015. Since then, they have become a center for literature lovers. Evans is a translator whose mission has been to translate the world’s best novels into English for American audiences.

    Evans was notified on May 2 via an email that was reportedly sent to grant recipients nationwide. The note read:

    "The NEA is updating its grantmaking policy priorities to focus funding on projects that reflect the nation's rich artistic heritage and creativity as prioritized by the President. Consequently, we are terminating awards that fall outside these new priorities."

    The new priorities included projects that elevate the Nation's HBCUs and Hispanic Serving Institutions, celebrate the 250th anniversary of American independence, foster AI competency, empower houses of worship to serve communities, assist with disaster recovery, foster skilled trade jobs, make America healthy again, support military and veterans, support Tribal communities, make the District of Columbia safe and beautiful, and support the economic development of Asian American communities.

    The Grants and Public Affairs departments at NEA did not respond to a request for comment. On Monday May 5, the Literary Staff was laid off, and the agency is facing possible elimination entirely, as part of the 2026 Discretionary Budget Request presented to Congress on May 2.

    This year's grant to Deep Vellum was earmarked to fund the translation, publishing, and marketing costs of four books:

    • Carapace Dancer by Natalia Toledo, translated from Zapotec, published trilingually with Spanish and English translations alongside the original, translated by Clare Sullivan
    • Juvenilia by Hera Lindsay Bird of New Zealand, making her US debut, illustrated by Dallas artist Gino Dal Cin
    • Schattenfroh by Michael Lentz, translated from the German by Max Lawton, a 1001-page masterpiece and English-language debut
    • The Ruins by Ye Hui, translated from Chinese by Dong Li, the English-language debut from one of China's most distinguished and independent poets

    The National Endowment for the Arts is an independent federal agency established by Congress in 1965 as a funder of the arts and arts education in communities nationwide anxd a catalyst of public and private support for the arts with the goal of advancing opportunities for arts participation and practice, according to their website.

    In their last stats document updated in November 2024, their FY’24 budget was outlined as $207M (representing 0.03 percent of the total federal budget), with 80 percent of their budget supporting grants and awards to organizations and individuals across the country. They typically offer over 2,000 grants each year.

    "It’s been a strange few days for us, and for countless other nonprofit publishers, magazines, and arts organizations," Evans said.

    Despite the cut, Deep Vellum plans to continue to promote literacy through unique books translated to the English language.

    “This is not going to imperil our future but it’s something we need to consider as we move forward. These books are extraordinary, and they add so much for readers and culture. We just need to find additional revenue to fund them," Evans said.

    Evans was first to reveal the funding cut but a number of organizations across Dallas and Texas have seen similar cuts including Ballet North Texas, Flamenco Fever, Dallas Theater Center, and Bishop Arts Theatre Center, as well as a number of groups in Austin.

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