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    Campy Delight

    DTC's raucous Rocky Horror Show shakes Wyly Theatre to its sexy core

    Alex Bentley
    Sep 22, 2014 | 1:12 pm

    The minute you walk into Wyly Theatre for Dallas Theater Center’s 2014-2015 season opener, you’ll likely notice a different vibe. Most obviously, various audience members of both genders will be dressed in bustiers, garter belts, fishnet stockings, high heels and other assorted nontraditional theater attire.

    Welcome to the Rocky Horror Show experience.

    Since debuting on stage in 1973, and especially following its adaptation into the Rocky Horror Picture Show in 1975, Rocky Horror has earned a nonpareil cult following. So much so that it is virtually impossible to see the stage musical or film without your viewing being influenced by the legion of fans who take great glee in making themselves a part of the show through props and responses to the actors’ dialogue.

    DTC’s version of Rocky Horror Show is one of the most unusual and flat-out fun times you’ll ever have in a theater.

    All of this is to say that DTC’s version of Rocky Horror Show is one of the most raucous, unusual and flat-out fun times you’ll ever have in a theater. Utilizing Wyly’s flexibility to its utmost, director Joel Ferrell and his team have created a theater-in-the-round featuring a rotating circular platform that ensures every audience member, including two sections on stage, gets maximum entertainment.

    DTC also uses an inspired technique in which a videographer follows the actors around, broadcasting images of the characters in action to screens on both sides of the stage. The video isn’t necessary — everyone in the audience is close enough to see everything perfectly — but it adds a certain extra element to the campy proceedings.

    If you happen to be a Rocky Horror virgin and worry that everything going on will distract you from the story, take this advice: As long as you know the basics — Brad (Alex Organ) and Janet (Morgan Mabry Mason) get lost on a dark and stormy night and look for refuge at a castle, only to find it full of a host of odd characters, led by the sweet transvestite from Transylvania, Dr. Frank-n-Furter (Dan Domenech) — you’re pretty much set.

    Enjoying Rocky Horror isn’t so much about understanding the particulars of the plot as it is about letting the feeling of the show overtake you. In fact, the responses of audience members to the dialogue are so fast and furious, especially during the first act, that worrying about the plot is an exercise in futility.

    Instead, just bask in all of the show’s off-the-wall parts, from the gloriously amusing songs like “Time Warp,” “Sweet Transvestite” and “I Can Make You a Man” to ludicrous props like water guns, confetti and toilet paper rolls used by the audience throughout. (DTC sells prop kits, including all of that and more, for $10 in the lobby.)

    And that’s not to mention all of the overt risqué elements in the show, making it as sexual as possible without any actual nudity. If you couldn’t already tell, it’s best to leave your inhibitions at home with this one; anyone who can’t risks not only being offended unnecessarily, but also missing out on a great party.

    None of this would be nearly as enjoyable, of course, unless the actors were as fully committed to the insanity as they are. Domenech is a worthy successor to Tim Curry as Dr. Frank-n-Furter, performing the role with abandon. Organ and Mason make their straight-laced characters undergo a transformation that has to be seen to be believed.

    Other standouts include Chamblee Ferguson as Riff Raff, Liz Mikel in dual roles of Eddie and Dr. Scott, and J. Brent Alford as the narrator. Also hugely important to the show is the performance of the band Foe Destroyer, last seen making DTC’s Fly By Night the success it was. They’re as much a part of the show as any actor, and it wouldn’t be the same without them.

    That Dallas Theater Center is capable of staging stellar versions of shows as disparate as A Raisin in the Sun, Les Miserables and Rocky Horror Show proves yet again that we are lucky to have this company in our city. Calling Rocky Horror Show a can’t-miss production does not do it justice.

    Dan Domenech anchors a stellar cast as Dr. Frank-n-Furter in Dallas Theater Center's Rocky Horror Show.

    Dan Domenech in Dallas Theater Center's The Rocky Horror Show
    Photo by Karen Almond
    Dan Domenech anchors a stellar cast as Dr. Frank-n-Furter in Dallas Theater Center's Rocky Horror Show.
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    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
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    It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.

    During the onstage conversation at the University of Texas at Austin, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."

    Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.

    Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.

    In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.

    "Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."

    All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org.

    Ballet Austin Marie Antoinette: Vampire Queen of Versailles Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin

    Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.

    Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.

    Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.

    As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to a press release. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.

    "For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."

    If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in.

    And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."

    ---

    Stephanie Allmon Merry contributed to this story.

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