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    Actor Spotlight

    How Tom Hanks inspired Dallas' Michael Federico to become an actor

    Lindsey Wilson
    Nov 6, 2014 | 1:02 pm

    Michael Federico has spent his years in Dallas making a name for himself not only onstage, but also off. A company member at Kitchen Dog Theater, Federico also wrote the book for the local musical that took the city by storm, On the Eve. The time-traveling show won accolades from critics and audiences alike as it played first at Fair Park’s Magnolia Lounge, and later as part of the 2014 season at Theatre Three.

    Now Federico returns home to KDT in The Arsonists. A new translation by Alistair Beaton of Max Frisch’s 1953 play, The Arsonists is an absurdly funny parable about accommodating the very thing that will destroy you. Original music by Jon Schweikhard rounds out the experience, which runs November 7 through December 13 at McKinney Avenue Contemporary.

    Federico recently took the time to fill out our survey of serious, fun and sometimes ridiculous questions.

    Name: Michael Federico

    Role in The Arsonists: Eisenring

    Previous work in the DFW area: Mike in Barbecue Apocalypse (KDT), Ralph D in The Motherfucker with the Hat (KDT), Leo in Profanity (Undermain), Andrew in Becky Shaw (KDT), Konstantin in The Seagull (KDT), Ariel in The Pillowman (KDT)

    Hometown: I was born in Philadelphia, but I grew up in Plano.

    Where you currently reside: East Dallas

    First theater role: I played Pat Sajak and emceed my elementary school talent show. Does that count?

    First stage show you ever saw: Annie at the Dallas Summer Musicals or Something’s Afoot at Creed Repertory Theatre. I can’t remember which one was first.

    Moment you decided to pursue a career in theater: I owe my theatrical career to the Tom Hanks/Meg Ryan classic Joe Versus the Volcano. During my eighth grade year, I was deciding whether or not to take theater in high school. I went to see that movie, and during the scene in which Hanks is dancing on a raft made of luggage while “Come and Go with Me” plays, I was like, “I’m going to take theater in high school, and I’m going to be an actor.” Always a good idea to make major life decisions at 14.

    Most challenging role you’ve played: Konstantin in The Seagull

    Special skills: Singing ’80s-style metal. Growing a beard quickly.

    Something you’re REALLY bad at: Cooking

    Current pop culture obsession: The return of Twin Peaks

    Last book you read: If on a winter’s night a traveler by Italo Calvino

    Favorite movie(s): Back to the Future

    Favorite musician(s): Sigur Ros, Mogwai, Pixies, Pavement, New Order, Led Zeppelin

    Favorite song: “Ceremony” by New Order

    Dream role: Bottom in A Midsummer Night’s Dream

    Favorite play(s): Travesties by Tom Stoppard, A Midsummer Night’s Dream, The Seagull, The Threepenny Opera, Cloud Nine by Caryl Churchill, On the Verge by Eric Overmyer

    Favorite musical(s): Into the Woods, Assassins, Hedwig and the Angry Inch, Little Shop of Horrors

    Favorite actors/actresses: Frances McDormand, Julianne Moore, Tina Fey, Stanley Tucci, Brian Cox, and basically the entire cast of Party Down

    Favorite food: Fried chicken (preferably from Babe’s)

    Must-see TV show(s): Broad City, Mad Men, Parks and Recreation, Doctor Who, Veronica Mars, Breaking Bad, Gotham, Twin Peaks, The Office (BBC), Sports Night, Slings and Arrows, Party Down

    Something most people don’t know about you: I am terrified of crocodiles.

    Place in the world you’d most like to visit: Iceland

    Pre-show warm-up: I usually drink a 32-ounce Coke, listen to show-related music and then do the Kitchen Dog group warm-up.

    Favorite part about your current role: It’s fun to play someone who is amoral.

    Most challenging part about your current role: I think Eisenring is always a few steps ahead of everyone else, so trying to keep up with the crazy jumps in his thought process can be a challenge.

    Most embarrassing onstage mishap: Opening night of Charm at Kitchen Dog, a prop that plays a huge part in the end of the show got stuck in a weird pocket-within-a-pocket of my pants and I couldn’t get it out. I tried for what felt like three hours. The playwright was in the house.

    Finally, I just grabbed another random prop that was in my other pocket. Luckily, I was on stage with John Flores and Jeffrey Schmidt and they totally went with it, changed the scene on the fly, and somehow made it work.

    Career you’d have if you weren’t in theater: I’d like to say superstar point guard for the Dallas Mavericks, but I’ll go with English professor.

    Favorite post-show spot: Lakewood Landing

    Favorite thing about Dallas-Fort Worth: Most of my favorite people live here. And the Mavs.

    Most memorable theater moment: Opening night of On the Eve at the Magnolia Lounge.

    Michael Federico stars in The Arsonists at Kitchen Dog Theater, running November 7-December 13.

    Dallas actor Michael Federico
    Photo by Jeffrey Schmidt
    Michael Federico stars in The Arsonists at Kitchen Dog Theater, running November 7-December 13.
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    A good listen

    Dallas Symphony and Fabio Luisi release landmark Wagner 'Ring Cycle' set

    Associated Press
    Jun 10, 2026 | 2:00 pm
    Fabio Luisi conducting the Dallas Symphony Orchestra
    Photo courtesy of Dallas Symphony Orchestra
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    Fabio Luisi wanted his Ring Cycle to be heard and not seen.

    Wagner’s four-opera epic Der Ring des Nibelungen, approaching the 150th anniversary of its premiere in 1876, has been reinterpreted and deconstructed by directors finding various meanings in the conflicts among gods, humans, giants and dwarfs.

    While most new recordings are on video, Luisi led his Dallas Symphony Orchestra in concert performances that were released on 13 compact discs by Delos on May 22 and are available on streaming services.

    “Wagner conceived this as a total immersion in visual and acoustic, but I could focus really only on the music, and this was the point actually — not to be distracted by staging and not to have to cope with maybe strange ideas of staging,” Luisi said. “I think the music tells everything.”

    Luisi became DSO music director in 2020 and broached the idea while dining two years later with (the now late) Morton H. Meyerson, a longtime board member.

    “Fabio came back from lunch sort of giddy but sort of sheepishly saying: `Do you think that this would ever be possible?” recalled Kim Noltemy, the Dallas CEO at the time. “So, I said, well, let’s give it a try. So, we called around to see if there were people who wanted to support it and did a budget.”

    After securing a waiver from the orchestra allowing for the needed rehearsals and performance length, recordings were made during four concerts from May 1-5 and six more from Oct. 5-20. Each opera was performed two or three times.

    Americans in cast fill big roles
    American singers featured prominently, with Mark Delavan as Wotan, Lise Lindstrom as Brünnhilde and Sara Jakubiak as Sieglinde, part of a cast that included Christopher Ventris (Siegmund), Daniel Johansson (Siegfried), Deniz Uzun (Fricka), Tómas Tómasson (Alberich), Michael Laurenz (Mime) and Stephen Milling (Hagen).

    Delavan sang Wotan at New York’s Metropolitan Opera in 2013 after Luisi took over from an ailing James Levine in Robert Lepage’s much-maligned production staged on a 45-ton set of 24 rotating planks.

    “We’re accessible and they know that we’re hungry and we have a chip on our shoulders,” Delavan said. “What conductors like about American singers is their technique is sound. Even a European conductor would say: Well, I’m going to give up some of the communication skills, only one degree of separation with the language, but I’m going to get a solid technique, and I’m going to get pretty good acting chops.”

    Lindstrom has been in Atlanta to sing in its production of “Götterdämmerung,” the concluding night of the tetralogy, leading to what is being billed as the first complete Ring Cycles in the America South in 2029.

    “The wonderful thing about it is the intimacy between the orchestra and us, because we’re not separated by a chunk of stage or a chunk a scenery or a chunk of concept,” she said of the Dallas performances. “And for people like me, who have had the opportunity to perform the role before, I have all those iterations to rely on for my portrayal that I can sort of filter myself through.”

    A younger Luisi listened to famous renditions
    Luisi, 67, first heard a Ring recording in Georg Solti’s famous studio set with the Vienna Philharmonic from 1958-65. He also admires Karl Böhm’s live recording from the 1967 Bayreuth Festival and Marek Janowski’s 1980-83 studio version with the Staatskapelle Dresden.

    He first conducted Ring when he was music director of Dresden’s Semperoper from 2007-10. Luisi’s Dallas performances include more legato and softer sound than his rendition a decade earlier at the Met. He tries to keep an arc from the first notes of “Das Rheingold” to the final strains of “Götterdämmerung.”

    “I have a deeper understanding about the meaning of this piece,” he said. “I consider the ring to be a big Bruckner symphony. So we have the introduction, then we have the first movement, this is “Walküre,” which happens to be a slow movement, and then we have the scherzo, which is “Siegfried,” of course, and then the long, long, last movement. There is a unity.”

    dsoluisiringwagnerrecordingconcertsmusicsymphony
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