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    Big voice, big heart

    Dallas theater community remembers passionate and beloved performer Jeff Kinman

    Elaine Liner
    Jan 10, 2013 | 10:30 am
    • Singer, actor and voice coach Jeff Kinman gave his final public performance lastMarch in Uptown Players’ annual fundraising show, Broadway Our Way.
      Photo by Mark Oristano
    • There will be a memorial for Jeff Kinman on January 12, 11 am, at KalitaHumphreys Theater.
      Photo by Mark Oristano

    Singer, actor and voice coach Jeff Kinman gave his final public performance last March, knocking out a powerful solo in Uptown Players’ annual fundraising show, Broadway Our Way, at Kalita Humphreys Theater. He looked frail, but he threw his beautiful tenor into every note of the ballad “Fly, Fly Away,” from the musical Catch Me if You Can.

    He made it through the two-weekend run of the show, but it was the last time Dallas audiences saw Kinman on a stage. He died in the early hours of December 28 at Legacy Founders Cottage, the Oak Cliff hospice where he spent the last two weeks of his life.

    This Saturday, January 12, at 11 am, there will be a public memorial service for Jeff Kinman at Kalita Humphreys Theater. Many of Kinman’s Dallas musical theater co-stars are scheduled to sing, including Denise Lee, Stephanie Riggs, Ashley Puckett Gonzales and Sara Shelby-Martin.

    “He had a dry sense of humor that was matched with a feisty wit, and he topped it all off with impeccable taste,” says actress Ashley Hollon White.

    Kinman designed the service’s set list himself: “Don’t Let the Sun Go Down on Me,” “To Make You Feel My Love,” “Everything Is Possible,” “Songbird” and “Someone Will Sing All the Time.” His partner of nine years, musical director and composer Adam C. Wright, will accompany the singers; actor Brian J. Gonzales will emcee. (In late 2011, Kinman sang at a benefit at Dallas Children’s Theater to raise money for Gideon’s Feet, a local charity started by Brian and Ashley Gonzales to provide care for North Texas artists in need.)

    Kinman’s friends and colleagues say they aren’t surprised that he left specific instructions for a show he couldn’t be in. Perfectionism, in performance, in how words were spoken and sung, was part of his personality.

    “Jeff had a knack for sarcasm and a reputation for a no-nonsense approach to everything around him,” says actress Ashley Hollon White. “He was honest and direct, with a heart of pure gold. He had a dry sense of humor that was matched with a feisty wit, and he topped it all off with impeccable taste.”

    “He loved singing and performing, and he loved all of us who shared that love with him,” says Cathy O’Neal, a union stage manager who worked on many of the shows Kinman did in area theaters over the past decade. “Offstage, he had a smart, wicked sense of humor. Jeff was a stickler for correct word choice and grammar.”

    Actress, singer and voice teacher Wendy Welch sang with Kinman in Broadway Our Way two years ago and visited him during his last days in the hospice. “It was a dream to harmonize with that gorgeous voice,” says Welch, “feeling the nuances and straight tones together, finding ‘one voice.’ Jeff's voice was stunning, a gift.

    “He approached friendship with the same honesty, sensitivity, love and support as he did his work,” says actress Wendy Welch. “He leaves a void that no one will ever fill.”

    “He had the utmost respect for the artists with whom he worked, and he embraced the collaborative process with passion and fury. He loved it. I was also proud to call him my friend. He approached friendship with the same honesty, sensitivity, love and support as he did his work. He leaves a void in our theater community that no one will ever fill, and I will forever be grateful for knowing him.”

    Kinman, a Dallas native and graduate of Bryan Adams High School, was 47 when he died of complications from HIV. He had performed many times in Uptown Players’ shows at Kalita Humphreys and at the company’s former home at the Trinity River Arts Center.

    He sang and acted in musicals at Lyric Stage, Theatre Three, Theatre Arlington, Flower Mound Performing Arts Theatre and others. He was an active member of Actors Equity. He founded his own voice studio in 2011 and coached singers with the same passion he gave to his own performances.

    It was obvious to those who’d seen him in so many roles over the years that he was in poor health in last spring’s Broadway Our Way. But even struggling to get through that show’s strenuous group numbers, which included climbing up and down a large staircase on the stage, he kept smiling, singing and dancing. (This year’s Broadway Our Way runs January 18-27 at Kalita Humphreys Theater.)

    Last spring Kinman sang these lyrics in that song from Catch Me if You Can, by composers Marc Shaiman and Scott Whittman:

    Fly, fly, fly away
    We didn’t get to say goodbye, goodbye
    No need to tell me why, my baby
    Maybe it’s because you’ll fly back home to me one day.

    His performance was transcendent on opening night, and nobody else in the cast received a louder or more heartfelt ovation. It was a perfect moment for Kinman. It felt like a gift from him to his audience, a special pairing of singer and song, of lyrics and authentic emotion. It was as if Kinman was singing for his life. He always sang like that.

    ---

    Kinman’s family requests that any donations be made in his honor to Legacy Founders Cottage.

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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
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    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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