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    Theater Review

    Dallas theater club tells fractured fairy tales just in time for Halloween

    Lindsey Wilson
    Oct 24, 2016 | 3:26 pm
    Wild, Wicked, Wyrd
    Girls gone Wild, Wicked, Wyrd : Marti Etheridge, Aubrey Ferguson, Nicole Berastequi, Kia Nicole, Delaney Milbourn.
    Photo courtesy of The Drama Club

    The Drama Club is back doing what it does best: adapting existing stories into ghoulish new plays. This time last year it was the supremely creepy Faust, and now the Clubbers have returned with an evening of short plays inspired by folklore from around the globe.

    Like most collections, Wild, Wicked, Wyrd: Fairytale Time is hit and miss. Pieces written by John M. Flores — who also provides the music and sound with Jim Kuenzer, under the moniker JimJohn Make Noise —bookend the production, and while the two plays have their moments, neither transcends its superficial premises.

    Lighter Than Air introduces conjoined sea creatures (Marti Etheridge and Delaney Milbourn) who get waylaid by a smooth-talking pelican (Nicole Berastequi, in an ingenious costume designed by Korey Kent). There's very little tension here, as we are told repeatedly what the outcome will be if the pair follows the pelican "to meet God." The trio valiantly soldiers through, and Jeffrey Schmidt's direction digs out a few interesting moments. But mainly this quick opener allows more time in act one for the second and best play of the bunch.

    Written by Michael Federico, Mother Holly draws on American folk music, Irish lullabies, and the Brothers Grimm for a morality tale that veers in unexpected directions. It's also scary as hell, thanks to costumes from Kent, lighting by Amanda West, and nightmarish vocal manipulation from Flores and Kuenzer.

    Margo (Aubrey Ferguson) sings at her father's nightclub, but she's a pale imitation of her late mother, who used to pack 'em in. While out searching for food to feed her starving father and younger sister, Margo gets lost in the woods and stumbles across the Bread Man (played with eerie suaveness by Kia Nicole). He allows her to feast on him, then directs her to the home of Mother Holly (Berastequi, using body language to its full unnatural effect). The witch promises Margo success and wealth if she spends the next three weeks caring for her home and singing lullabies.

    It would be enough if Federico and director Christie Vela stopped there, for there are several moments where you are absolutely sure something terrible is going to befall the trusting Margo. But the three weeks pass and she thanks Mother Holly for the opportunity, returning home to a boisterous club, an overflowing larder, a grateful father (Etheridge), and a jealous sister (Milbourn).

    The twist that Federico inserts isn't particularly shocking, but the tautness of the production makes each moment feel like life or death for the characters. It's a horror film come to life, and the visage of Mother Holly might very well haunt your dreams.

    Maryam Obaidullah Baig's exotic Jo Chaho Tum opens act two, and while there is some impressive shadow work performed by both humans and puppets, it's difficult to follow the story of forbidden love. The tale also doesn't connect well to the present-day characters, a sullen teenager (Milbourn) and her grandfather (Nicole), ending suddenly and without much resolution.

    Flores' final work, Just Desserts, is deliberately cartoonish, pitting a rabbit against a bear as they vie for the gastronomical approval of a rare visitor (Nicole) at their neighboring restaurants. The animals quickly and grotesquely prove they will do anything to win the woman's approval, even dismembering and disemboweling themselves (behind illuminated screens, thankfully). The premise is amusing at first, mostly due to Milbourn and Etheridge's exaggerated characterizations, but quickly grows tiresome as the script runs in circles. Even a shocker ending can't rescue the carnage.

    This quartet proves once again that the Drama Club is tops at creating a creepy atmosphere, but a few more revisions this time around would have been wildly appreciated.

    ---

    The Drama Club's production of Wild, Wicked, Wyrd: Fairytale Time runs through October 29 at Bryant Hall.

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    Budget Cuts

    Funding cuts force Dallas Children's Theater to trim 2025-26 season

    Lindsey Wilson
    Jun 3, 2025 | 1:38 pm
    Dallas Children's Theater presents James and the Giant Peach
    Photo courtesy of Dallas Children's Theater
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    The upcoming 2025-26 season for Dallas Children's Theater is shrinking, according to a new communication from its leadership.

    A June 2 email signed by executive director Samantha Turner, board president Leah Mora, and recently appointed artistic director Emily Ernst informs supporters that due to "the significant financial challenges of the current environment," DCT will be reducing the upcoming season from five mainstage shows to three.

    The email doesn't specifically call out the government's cuts to arts funding, but it is heavily implied, especially since other theaters have recently experienced financial difficulties due to the federal cuts.

    "We remain deeply committed to artistic excellence and to the 90,000 young people and families we serve annually," reads the email. "Though we will have fewer performances, we will continue to provide meaningful theatrical experiences that inspire children, nurture their imagination, and encourage connection with the world around them."

    The 2025-26 will retain the previously announced world premiere of The Pigeon Gets a Big Time Holiday Extravaganza! (November 22-December 21, 2025), as well as The Very Hungry Caterpillar Show (January 24-February 22, 2026) and Moon Mouse: A Space Odyssey (March 27-29, 2026), and add a new developmental workshop envisioned by Ernst.

    The Musical Adventures of Flat Stanley and Jungalbook will no longer be produced, and ticket-holders will be receiving instructions on ticket options.

    DCT Academy classes, a vital part of the theater’s work, will continue through the summer, concluding August 8. After that, Academy sessions will be temporarily paused. Families enrolled for the fall semester will receive a separate email with next steps.

    "Although our performances are well attended and our community support is strong, ticket sales cover only a small portion of the true cost of producing theater," the email explains. "At the same time, our operating costs have steadily increased while funding levels have remained flat. This financial pressure requires immediate action to keep DCT viable — not just for this season, but for the years ahead."

    Tickets for the 2025-26 season are on sale now.

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