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    Theater Critic Picks

    These are the 13 can't-miss shows in Dallas-Fort Worth theater for October

    Lindsey Wilson
    Oct 1, 2021 | 4:47 pm
    Kitchen Dog Theater presents Good Latimer
    Kitchen Dog Theater presents the world premiere of Good Latimer.
    Photo by Matt Mrozek

    I didn't plan it, but somehow we ended up with a list of 13 shows for this spooky month. So in order not to anger the spirits, perhaps you'd better go see all 13 — just to be safe.

    In order of start date, here are 13 local shows to watch this month:

    Disclosure
    Pizza Chapel Theatre Company, October 1-9
    The truth is out there and Noah is looking for it. Camping in the Texas desert and hoping that the stars at night will shed light on personal matters, Noah is surprised by unexpected visitors and a few manipulations of the space-time continuum. Pizza Chapel will use nontraditional staging techniques and storytelling methods to create an original theater piece that blends the familiar and strange in a manner both immersive and DIY. Audiences are invited to join in on the fun and bring their own camping chair or picnic blanket to gather together around the campfire.

    Fabulation or, the Re-education of Undine
    Jubilee Theatre, October 1-24
    Written by Lynn Nottage and directed by Ayvaunn Penn, Fabulation tells the saga of Undine Barnes Calles, an ambitious and extremely confident (perhaps over-confident) socialite, businesswoman, wife, and mother-to-be who has climbed her way to the pinnacle of success. When a major cold dose of betrayal and reality hits her smack in the face, she plummets all the way to the bottom, in despair. To repair her life, Undine must return to her urban roots: Brooklyn’s hard-knock Walt Whitman projects.

    Little Shop of Horrors
    Theatre Three, October 6-31
    A deliciously devious Broadway and Hollywood sci-fi smash musical, Little Shop of Horrors has devoured the hearts of theatre goers for over 30 years. The meek floral assistant Seymour Krelborn stumbles across a new breed of plant named "Audrey II" — after their co-worker crush. As the plant grows, Seymour begins to realize how the plant that gave them everything desires to take everything (and everyone) in return. Performed at the Samuell-Grand Amphitheatre.

    In The Heights
    The Firehouse Theatre, October 7-17
    If you caught the movie, now's the time to see Lin-Manuel Miranda's pre-Hamilton musical about a community at the top of Manhattan performed live and onstage. It’s a community on the brink of change, full of hopes, dreams and pressures, where the biggest struggles can be deciding which traditions you take with you, and which ones you leave behind.

    JQA
    Stage West, October 7-31
    John Quincy Adams lived his life backwards: brilliant diplomat in his youth, fervent congressman as a man, ineffectual president in his prime. This unique and timely play — a regional premiere — imagines a kaleidoscope of confrontations between JQA and some of his key contemporaries.

    Good Latimer
    Kitchen Dog Theater, October 8-24
    A world premiere by Dallas native playwright Angela Hanks, the play follows Dallasites Ravinia and Good as they reach a crossroad in their 35-year relationship. Ravinia has had a sudden epiphany: she is no longer in love with Good. And Good? Far from accepting his fate, he is determined to win her back, even if it means overcoming a sky that rains armadillos, a rare North Texas earthquake, and Dallas's maddeningly ever-evolving landscape.

    The Taming
    WaterTower Theatre, October 13-24
    A patriotism obsessed Miss Georgia has kidnapped a Republican Senator’s campaign manager & a liberal activist who is fighting to save the endangered pandashrew and is holding them hostage in her hotel room the night before the big Miss America Pageant. In this hilarious, raucous, all-female “power-play” inspired by Shakespeare’s The Taming of the Shrew, contestant Katherine has political aspirations to match her beauty pageant ambitions.

    The Hairy Ape
    The Classics Theatre Company, October 13-November 6
    Adapted and directed by Joey Folsom, with an original score created and performed live by Braden Socia and Petra Milano, the ensemble cast tackles O'Neill's take on expressionism in this work that directly challenges the underlying rags-to-riches mythology of America and powerfully examines the effects of alienation in the modern world.

    Come From Away
    Broadway at the Bass, October 19-24
    On 9/11, the world stopped. On 9/12, their stories moved us all. Come From Away is the true story of the small town that welcomed the world. The musical takes audiences into the heart of the remarkable true story of 7,000 stranded passengers and the small town in Newfoundland that welcomed them.

    St. Nicholas
    Undermain Theatre, October 20-November 7
    Undermain brings its most widely-viewed and nationally acclaimed streaming production back for live performances with a vivid soundscape and lighting design. A cynical and jaded drama critic falls for a beautiful young actress. On a drunken bender one weekend he pursues her to London, where he falls in with a coven of modern-day vampires. Is it a drunken fairytale or his own vision of a higher truth? Storytelling at its spooky best comes to life in this haunting solo story performed by Undermain artistic director Bruce DuBose.

    The Glass Menagerie
    Circle Theatre, October 28-November 20
    From her cramped St. Louis apartment, Amanda Wingfield dreams of her days as a Southern debutante while worrying about the future of her aimless son Tom and unmarried daughter Laura. With their father absent and the Great Depression in motion, the siblings find comfort in their foibles — alcohol, movies, and writing for Tom and a collection of glass animals for Laura — which only heightens Amanda’s anxiety. When a gentleman caller arrives for dinner, the Wingfields are flooded with hope. But it’s unclear if his presence will change things for the better or shatter their fragile illusions.

    The Merit System
    Teatro Dallas, October 29-November 13
    Edwin Sanchez's play, the second production in the Latino Cultural Center’s new blackbox theater, centers on Ray Rivers (Danny Lovelle), a young Puerto Rican man on the way up. Everything is going great for him except he doesn’t believe he deserves it. Struggling with the cost of assimilation, he walks a tightrope both at the factory where he has been recently promoted to management, and with his fiancée. When a recently divorced Cuca (Dolores Godinez) joins the assembly line, with the sole purpose of making enough money to return to her beloved Puerto Rico, an unexpected friendship between Ray and Cuca develops and allows him to finally accept the part of himself that he’s long denied.

    Egress
    Amphibian Stage, October 29-November 14
    This world premiere is a psychological thriller examining the way spaces can protect or trap us. Picture this: You’re an architecture professor specializing in modes of egress. You try to teach your students to care about safe passage through spaces and they write about doors and windows. They write about transparent open spaces versus closed systems with no entrances or exits. You don’t sleep soundly at night because you startle awake wondering what had just been in the room with you. You know it was something big and cold and damp and it just walked in like it owned the place. What do you expect to come find you? How do you get away?

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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
    undefined

    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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