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    From arresting to amazing

    From body slams to tossed cookies, the 10 most unforgettable moments in Dallastheater 2012

    Lindsey Wilson
    Dec 26, 2012 | 9:58 am
    • Who's who? Bryan T. Donovan and Regan Adair ham it up in The Mystery of IrmaVep.
      Photo by Mark Oristano Photography
    • That had to hurt: Corey Jones shows Jamin Olivencia who's boss inside the ringin The Elaborate Entrance of Chad Deity.
      Photo by Karen Almond Photography
    • An army of one (with some musical help): Paul Semrad and Bruce DuBose in AnIliad.
    • Mallory Michellann and Jad Saxon share everything as conjoined twins Daisy andViolet Hilton in Side Show.
      Photo by Fermaint Photography
    • History never looked so good: David Coffee, Brian Gonzales and Bryant Martincontemplate the Constitution in 1776.
      Photo by Mark Oristano Photography
    • Not all monsters are related: Megan Kelly Bates sings with Kate Monster duringAvenue Q.
    • Bryant Martin as Curly in Oklahoma! at Lyric Stage.
      Photo by Mark Oristano Photography
    • Chris Hury and Sally Nystuen-Vahle may look refined until you get to know themin God of Carnage.
      Photo by Karen Almond Photography
    • Douglas Sills and Sara Gettelfinger embodied the iconic Gomez and MorticiaAddams in The Addams Family.
      Photo by Jeremy Daniel
    • It's red vs. green in Santa Claus vs. the Martians.

    It’s list time: end of the year, top 10, best of and all the rest. In all the theatrical performances I have seen this fall, there were inarguably a few moments that simply refused to leave my brain. Because I’m not physically able to see every production, there may be some I missed. But these are my favorite onstage moments from this past year.

    Most Realistic Smackdown: The Elaborate Entrance of Chad Deity
    This Dallas Theater Center show tackled a lot of heavy, serious themes through satire, but most of the play’s fun came from watching the actors tackle each other. Intense fight choreography by Christian Litke meant that we heard every thud, crack and crash — when we weren’t too busy gasping and groaning at the drop-kicks and body-slams.

    Quickest Quick Change: The Mystery of Irma Vep
    Irma Vep has eight characters but only two actors. Ergo, Regan Adair and Bryan T. Donovan worked just as hard offstage at WaterTower Theatre as they did on, scrambling to switch from one character to another. The speed at which both their clothes and characters changed was lightning-quick, which in turn made the Gothic farce even more madcap and hilarious.

    Most Exhausting Performance: An Iliad
    I honestly don’t know how Bruce DuBose did it. He transported Undermain Theatre audiences back to the Trojan War in An Iliad with only a handful of props, some neat sound design and musician Paul Semrad to accompany him. For 96 minutes, DuBose wailed, trembled, lectured, roared, wept and sang his way through this update of Homer’s epic poem, laying bare his soul. And then he went on to do it all over again the next night.

    Criminally Under-Attended Opening Night: Side Show
    There were only five of us in the audience at Pfamily Arts in Plano. By the middle of the opening number, I felt truly sorry for everyone who was missing out on Side Show, the cult Broadway musical about Depression-era conjoined twins who became superstars on the carnival and vaudeville circuits. It may have had its rough points, but musically this production was thrilling. Watching Mallory Michaellann and Jad Saxton sing “Leave Me Alone,” a hilarious examination of the frustrating concept of privacy, especially drove home the passion these performers possessed.

    Best Hair: 1776
    A period piece like 1776 promises one thing: awesome wigs. Phillip Plowman outfitted the large cast with intricately curled, styled and pony-tailed locks, making the men behind the Declaration of Independence some of the most well-coifed to strut the stage all year. The two women in the cast also benefited from the elaborate hairpieces, with their towering curls making the intricate costumes by Drenda Lewis even more splendid and era appropriate.

    Most Life-Like Performance: Avenue Q
    It may have been a show mainly about puppets, but Theatre Too’s Avenue Q boasted some of the most realistic performances of the year — from both its flesh and felt contingents. At the close of act I, Megan Kelly Bates and her puppet counterpart Kate Monster belted the heck out of “It’s a Fine, Fine Line,” one of the most heart-wrenching breakup songs in musical theater. Rumor has it that Theatre Too will be remounting the production with the same cast in the spring, so Avenue Q can become one of your most memorable theater moments of 2013 if you missed it the first time around.

    Most Shiver-Inducing Opening: Oklahoma!
    When I reviewed Lyric Stage’s Oklahoma! I led with the magical first moments of Bryant Martin singing “Oh, What a Beautiful Morning.” Months later, it’s still my favorite opening moment of the year, thanks to his lush voice and the support of Jay Dias’ full orchestra. The anticipation of those first few offstage notes was palpable, and the show only got better from there.

    Most Disgusting Surprise:God of Carnage
    If you didn’t catch Dallas Theater Center’s God of Carnage, you might want to skip this one, lest we ruin the play’s biggest shocker for you. But for those who did see it, I hope you weren’t in Sally Nystuen-Vahle’s splash zone. The tense — and often hilariously ridiculous — take on the innately savage nature of supposedly sophisticated humans required its cast to toss pillows and various other props, but hardly anyone was prepared for the moment when cookies were tossed too.

    Most Welcome Monster: The Addams Family
    No way around it, The Addams Family was a Halloween dud at Dallas Summer Musicals. But there was a tiny moment when Morticia (Broadway goddess Sara Gettelfinger) was comforting her son Pugsley (refreshingly non-annoying child actor Patrick D. Kennedy) about something I already blocked out, and the bed they were sitting on began to creep across the stage. Turns out the monster under the bed was not only real; he wanted to escape this production as quickly as possible. It was a weird, random and genuinely giggle-worthy moment, one of precious few in the entire show.

    Best Use of Rollerblades: Santa Claus vs. the Martians
    Campy and low-budget, Santa Claus vs. the Martians at Level Ground Arts worked best when it was at its most random. And it didn’t get more random than Michael B. Moore, all glammed up as a sexy Mrs. Claus, sailing across the stage like a deranged roller derby queen. His entrances never failed to induce an avalanche of laughter, even if sometimes all he did was fling fake snow in the faces of his castmates.

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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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