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    Season Announcement

    Acclaimed Dallas youth theater troupe devises rest of 2020-21 season

    Lindsey Wilson
    Nov 4, 2020 | 3:40 pm
    Cry Havoc Theater Company presents Endlings
    Endlings has been extended through November 15.
    Photo by Karen Almond

    Cry Havoc Theater Company, the award-winning youth troupe based in Dallas, has started its new season off with a bang.

    The 2020-21 season technically started on October 19 with the premiere of Endlings, an audio play based on first-person interviews about a changing climate, our relationship to nature, and the collective grief we currently experience. But thanks to a TACA New Works grant, the show is now extending through November 15.

    New details have also emerged about the rest of the season (which, understandably, has been fluid due to COVID-19). Two new works now round out the season, the company's seventh.

    Once Upon a Moon is a devised piece directed by founder and artistic director Mara Richards Bim and based on some of the darker and lesser-known fairy tales by the Grimm brothers and others. It will be presented at the Pavilion at Dallas Heritage Village, January 7-17, 2021.

    The show is planned to be performed before a small, live audience with a virtual streaming component for those who wish to enjoy the performance from home. Tickets will go on sale December 1, 2020.

    The company closes out its season with a new work titled The Mad Women of the Asylum. Developed from the collected writings of women institutionalized in the mid-to-late 1800s, as well as gothic literature of the period, the piece will explore the intersection of Victorian-era middle-class restrictions on women, gothic fiction, and madness.

    The site-specific piece, again directed by Bim, will be presented July 15-August 1, 2021, at a location to be announced.

    This production is also planned to be performed before a small, live audience with a virtual streaming component. Tickets for this production will go on sale in the spring of 2021.

    "While the themes and source material for this season were selected almost a year ago, they seem particularly resonant today," says Bim. "Our seventh season explores gothic motifs of omens, madness, and the supernatural and how those intersect with gender roles. I'm especially excited to see how the young people of Cry Havoc will bring these elements to life."

    For more information and to purchase tickets, visit Cry Havoc's website.

    theaterkids
    news/arts

    Dance News

    Dallas Black Dance Theatre makes interim artistic director permanent

    Lindsey Wilson
    Nov 4, 2025 | 11:41 am
    Richard A. Freeman, Jr.
    Photo by Aleah Pilot
    Richard A. Freeman Jr. became the new artistic director October 24, 2025.

    Dallas Black Dance Theatre (DBDT) has officially named Richard A. Freeman, Jr. as its new artistic director, ushering in a new era of leadership for the dance company as it approaches its 50th anniversary season.

    Freeman, a longtime member of the DBDT family, has served as interim artistic director through the company’s recently completed 48th and current 49th seasons. His appointment, effective October 24, 2025, marks a natural progression for the former lead dancer, resident choreographer, and artistic project coordinator, whose career within DBDT spans more than a decade of creative and organizational leadership.

    “Richard has been an integral part of Dallas Black Dance Theatre's artistic fabric for years, and his extraordinary leadership during his time as interim artistic director made this decision clear,” says Heidi K. Murray, a member of DBDT’s board of directors, in a release. “His dedication to artistic excellence, his deep understanding of our mission, and his vision for the future of contemporary modern dance make him the ideal person to lead DBDT into this exciting new chapter.”

    DBDT founder Ann M. Williams echoed the sentiment, calling Freeman’s appointment a full-circle moment for both artist and company. “Richard embodies everything Dallas Black Dance Theatre stands for: artistry, excellence, and a deep commitment to uplifting our community through dance,” she says in the release. “I have had the privilege of watching him grow from a gifted dancer into an inspiring leader and visionary artist. His dedication to preserving our legacy while boldly charting new artistic territory gives me tremendous confidence in DBDT’s future.”

    During his tenure as interim artistic director, Freeman guided DBDT through seasons marked by artistic innovation and expanded community engagement, but also staff shake-ups and legal issues.

    In October 2024, accusations of retaliation surfaced after 10 DBDT dancers, its entire main company, were fired following their decision to unionize in May and demand better working conditions. This led to an unprecedented "Do Not Work" order by the American Guild of Musical Artists.

    Dallas City Council ultimately voted to withhold $248,000 in city funding due to labor violations, and DBDT later settled for $560,000 with the National Labor Relations Board.

    In response, DBDT formed a 17-member advisory stakeholder task force co-chaired by Jennifer Scripps, president and CEO of Downtown Dallas, Inc., and Shawn Williams, vice president of public affairs at Allyn. The group has been working with DBDT leadership to review the organization’s policies and practices, propose changes that foster an accountable environment, and put in place safeguards to prevent future concerns related to talent.

    In September 2025, executive director Zenetta Drew announced her retirement after nearly four decades with the company. A national search for her replacement will start in early 2026. Williams retired in 2014.

    As artistic director, Freeman will oversee all aspects of DBDT’s artistic operations, from performances to educational initiatives, and continue to expand its reach throughout Dallas and beyond.

    “I am deeply honored to accept this role and to continue building on the incredible foundation established by the vision of Ann Williams,” Freeman says. “This company has a unique power to move, inspire, and unite communities through dance. I look forward to working with our talented dancers, staff, and board to create unforgettable artistic experiences and to nurture the next generation of dance artists.”

    A native of Washington, D.C., Freeman began his training with the District of Columbia Youth Ensemble and the Washington Ballet before graduating from the Duke Ellington School of the Arts and Virginia Commonwealth University. His performance credits span acclaimed companies and productions, including Elisa Monte Dance, Houston Grand Opera, Porgy and Bess, and The Wiz.

    Freeman’s choreographic works have been featured by leading institutions such as Texas Ballet Theater School, Texas Christian University, and Booker T. Washington High School for the Performing and Visual Arts. He has also shared his expertise through master classes and workshops nationwide, reinforcing his commitment to DBDT’s educational mission.

    Founded in 1976, Dallas Black Dance Theatre is the oldest and largest professional dance company in Dallas and one of the most acclaimed Black dance institutions in the U.S.

    dallas black dance theatredance
    news/arts
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