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    Theater Critic Picks

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

    Lindsey Wilson
    Apr 3, 2023 | 11:45 am
    Dallas Theater Center presents Into the Woods
    Photo by Jordan Fraker

    New, fresh vibes are all over the place this month, especially when it comes to theater. Expect lots of new works, regional premieres, and even a fun riff on a theatrical juggernaut.

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

    Junie B. Jones is Not a Crook
    Casa Mañana, through April 9
    Something terrible happened to Junie B Jones at school today: someone stole her new furry mittens! When Junie B. finds a wonderful pen of many colors, she should be allowed to keep it, right? Because finders keepers, losers weepers. And guess what? There’s a new boy in kindergarten and he is the handsomest. The only thing is both Grace and Lucille want him to be their boyfriend. Maybe he will love Junie B. when he sees her wonderful pen. It is okay to keep it, right? Junie B. Jones is not a crook … or is she? Based on the best-selling book series by Barbara Park, this show is suitable for all audiences.

    The Mountaintop
    Circle Theatre, through April 15
    The Mountaintop is a gripping re-imagination of events the night before the assassination of the civil rights leader Dr. Martin Luther King Jr. On April 3, 1968, after delivering one of his most memorable speeches, an exhausted Dr. King retires to his room at the Lorraine Motel while a storm rages outside. When a mysterious stranger arrives with some surprising news, King is forced to confront his destiny and his legacy to his people.

    Anastasia
    Broadway at the Center, April 6-8
    From the Tony Award-winning creators of the Broadway classic Ragtime, Anastasia transports us from the twilight of the Russian Empire to the euphoria of Paris in the 1920s as a brave young woman sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, Anya enlists the aid of a dashing conman and a lovable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family.

    The Butterfly's Evil Spell
    Theatre Three, April 6-30
    In a whimsical world of beetles, scorpions, and bugs of all sorts, a beetle falls in love with an injured butterfly. An "insect comedy" written in verse, The Butterfly’s Evil Spell is a story about unrequited love in a “green and humble meadow” covered in dewdrops on the side of the road in South Texas.

    A Light in Dark Places
    Bath House Cultural Center, April 7-15
    This is the return of five short plays working together to break down the stigma surrounding the topic of suicide, using a mix of comedy and drama to encourage healthy discussion, create community, and offer hope to those affected. Performances will be followed by a Q&A featuring members of the ALIDP team and mental health professionals, as well as a reception.

    Into the Woods
    Dallas Theater Center, April 7-30
    The enchanted story begins with the Baker and his wife and their desire for a child. When they engage with the vengeful Witch, the adventure brings childhood storybook characters Cinderella, Jack, Rapunzel, a Wolf, giant, and of course a charming prince, "into the woods" for an incredible journey.

    He's Born, He's Borne
    Undermain Theatre, April 12-30
    He's Born, He's Borne explores a primitive, medieval world which exists outside of actual human history. The inhabitants of this world are agrarian peasants who work the land, and are all too human in their battles to live in spite of their superstitions and struggles. When a young child falls from a tree, the angel of death comes to claim him for the underworld.

    Spamilton: An American Parody
    Casa Mañana, through April 14
    Gerard Alessandrini, the comic mastermind behind the long-running hit Forbidden Broadway, has done it again with a side-splitting new musical parody of Broadway's biggest historical hit ever. Spamilton: An American Parody is the story of a very famous writer/director/star trying to save Broadway from mediocrity and oblivion. Along the way this sharp and lovable genius not only takes aim at Broadway's mega-hit, but manages to make hysterical mince meat out of all current and classic Broadway, plus a good deal of pop culture, too.

    Origenes/Origins
    Cara Mia Theatre, April 15-30
    This new bilingual play, created in collaboration with Mexico City’s Laboratorio de la Máscara, tells the immigrant story of a teenager sent by her family to live with her father in the United States. Featuring masks, movement, and original music by Peruvian composer Fabricio Cavero, Orígenes/Origins will be performed mostly in Spanish with English supertitles.

    Tootsie
    Broadway Dallas, April 18-30
    Tootsie is a laugh-out-loud love letter to the theater, based on the Oscar-nominated film. It tells the story of Michael Dorsey, a talented but difficult actor who struggles to find work until one show-stopping act of desperation lands him the role of a lifetime. It features a Tony-winning book by Robert Horn and an outrageously clever score by 2018 Tony winner David Yazbek.

    The Manic Monologues
    WaterTower Theatre, April 19-30
    When creator Zack had his first psychotic break and was diagnosed with bipolar in May 2017, he was just finishing his PhD at Stanford University — and his world imploded. Would mental illness dictate his whole life? Would everything change? Zack was underwater, and his then-girlfriend Elisa (and future co-creator) had no way of knowing whether her happy, gregarious partner-in-crime would ever resurface. This series of vignettes is having its regional premiere here.

    The Tucker New Works Project
    Soul Rep Theatre Company, April 22
    Celebrating the legacy of Dianne Tucker, these commissioned new works include a world premiere by Erin Malone and a staged reading directed by Anyika McMillan-Herod.

    Baba
    Amphibian Stage, April 27-May 7
    Baba chronicles the tender, funny, and complex relationship between a newly immigrated father and his U.S.-born daughter. Freedom and family collide when Mohammad’s search for the American dream leads Layla on a quest home to Egypt 30 years after the story begins.

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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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