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    Must-See Theater

    These are the 12 can't-miss shows in Dallas-Fort Worth theater for October

    Lindsey Wilson
    Oct 4, 2016 | 4:19 pm

    It may be the month of pumpkin spice and ghastly ghouls, but you'd never know it from the theater lineup.

    Instead of spooky offerings, Dallas-Fort Worth theater companies are concentrating on a wide range of dramas, comedies, musicals, and solo shows. Everyone is saving the scary for November, it seems.

    Here are the 12 shows to see, in order by start date:

    Ann
    Stage West, October 6-November 6

    It's no coincidence that Stage West is presenting Holland Taylor's one-woman play about Ann Richards, the second female governor of Texas, right before this historic presidential election. Richards was known for being outspoken, witty, and fiercely passionate about causes she believed in, right up until her death in 2006. Stage West is actually the first theater to be granted production rights since the Broadway and touring production, and Linda Kay Leonard stars.

    Breadcrumbs
    WingSpan Theatre Company, October 6-22
    Fairy tales were often born out of real-life fears, and this play by Jennifer Haley is no exception. Hansel and Gretel getting lost in the woods is here translated to Alida (Stephanie Dunnam) and Beth (Catherine D. DuBord) trying to find their way out of the tangled branches of Alida's mind. The regional premiere plays at the Bath House Cultural Center.

    A Stain Upon the Silence: Beckett's Bequest
    Kitchen Dog Theater, October 7-29
    This will be KDT's last production in a temporary space, as the good news just broke that an anonymous donor has made it possible for the company to purchase its own building in the Design District. Before they begin work on that, however, they are presenting a series of rarely performed short plays by Samuel Beckett, Joseph Chaikin, Will Eno, Abe Koogler, Suzan-Lori Parks, and Sam Shepard, all celebrating Beckett's lasting influence.

    Midas
    PrismCo, October 7-23
    The movement company is back at it, exploring another well-known tale through unconventional means. This time it's Midas, whose touch turns everything to gold. At the Oak Cliff Cultural Center, audiences walk through Midas' house in a tour of grief, viewing the family and friends he's lost due to uncontrollable greed.

    Ring of Fire: The Music of Johnny Cash
    WaterTower Theatre, October 7-30
    It was only a matter of time before the Man in Black's song catalog was stitched together into a musical — and in the mid-2000s, it was. But don't go into this jukebox show expecting to see Cash's life story. Rather, just get ready for some strumming and singing, and a whole lot of fiddle playing.

    The Incident
    The Drama Club, October 10-29
    DFW Critics Forum Award-winner Terry Vandivort gets a one-man showcase with a script of his own making. And it sounds like a doozy: "A hot, drug-fueled, one-night stand became a collision course with a deadly stranger." It also sounds like a mystery, with Vandivort the detective at the heart of it all.

    Wild, Wicked, Wyrd: Fairytale Time
    The Drama Club, October 15-29
    Running in repertory with The Incident is a new work from the team that brought about last year's wonderfully creepy Faust. This is actually four short plays by Michael Federico, Maryam Obaidullah Baig, and John Flores adapted from fairy tales and folklore around the world, accompanied by Dallas band JimJohn Make Noise.

    Smart, Pretty, Funny
    Amphibian Stage Productions, October 20-November 13
    A world premiere comedy by artistic director Kathleen Culebro, the premise is that everyone in the world receives a letter identifying their soul mate — except one girl, played by Vanessa DiSilvio.

    Ruined
    Bishop Arts Theatre Center, October 20-30
    Lynne Nottage's Pulitzer Prize-winning play is tough to swallow at times, but that's partially why it's so important. During the Democratic Republic of Congo's civil war, one businesswoman gives three young women refuge through an unsavory means of survival.

    The Phantom of the Opera
    Performing Arts Fort Worth, October 20-30
    Reimagined and redesigned — but still with that famous falling chandelier — this Phantom is new to even the most devoted audience member. It's also mammoth, with a cast and orchestra totaling 52 (the musicians' strike is not affecting this tour), and new set pieces to go along with the original Tony-winning costumes.

    Funnyman
    Circle Theatre, October 20-November 19
    Circle's 35th season has been the "year of the playwright," so it's only fitting that it closes out with a script from Bruce Graham. This is the seventh play of Graham's that Circle has produced, and it centers around a fading vaudeville comic in 1950s Los Angeles who's trying to stage a comeback.

    The Light in the Piazza
    Brick Road Theatre, October 21-30
    This is only the second time this musical has been presented in DFW, which is surprising given its Tony Award cred and cult status among musical theater fans. Its score, by Richard Rogers' grandson Adam Guettel, is operatic and offers lovely songs for its two female leads, Margaret Johnson (here played by Noelle Chesney) and her daughter, Clara (Janelle Lutz), who are spending the summer in Italy when love intervenes.

    The cast of Wild, Wicked, Wyrd: Fairytale Time at The Drama Club.

    Wild, Wicked, Wyrd
    Photo courtesy of The Drama Club
    The cast of Wild, Wicked, Wyrd: Fairytale Time at The Drama Club.
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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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