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    Texas Icon

    New book by Jan Reid explores why Ann Richards continues to fascinate and endure

    Tarra Gaines
    Nov 17, 2012 | 12:18 pm
    • Ann Richards was a born entertainer, author Jan Reid says.
      Photos courtesy of the Dolph Briscoe Center for American History. From Let thePeople In: The Life and Times of Ann Richards by Jan Reid, © 2012, TheUniversity of Texas Press
    • Let the People In: The Life and Times of Ann Richards, by Jan Reid.
      Courtesy photo
    • Author Jan Reid believes Richards lives on so vividly in our memories becauseshe was “such a refreshing difference from what we see now.”
      Courtesy photo
    • Photo of a young Ann Richards.
      Photos courtesy of the Dolph Briscoe Center for American History. From Let thePeople In: The Life and Times of Ann Richards by Jan Reid, © 2012, TheUniversity of Texas Press
    • Richards in her later years.

    Though Texas remains very much a Republican state, one Texas Democrat still holds a high approval rating throughout the country. With a documentary making the film festival rounds, the play Ann headed for Broadway and now a biography on her life hitting the bookstores, Texas’ own white hot mama, Ann Richards, still blazes in our imagination six years after her death.

    Why does her life, personality and politics still fascinate us? This is the question I posed to Jan Reid the author of Let the People In: The Life and Times of Ann Richards.

    In this political world of scripted politicians and 30-second sound bites, Reid believes Richards lives on so vividly in our memories because she was “such a refreshing difference from what we see now.”

    Reid says Ann Richards understood style and show business and used them to accomplish her goals in government.

    Reid, a journalist and novelist, first met Richards in 1980 and would later serve as an advisor on environmental policy during her 1990 race for governor. During her governorship, he was sometimes a speech writer for her appointee John Hall, who served as chair of the Texas Natural Resource Commission. (Reid’s wife, Dorothy Brown, was a friend of Ann’s who served as a chief aide on her staff.)

    In the prologue to the book, Reid is upfront about his connection with Richards.

    “I knew people would know who I was and who my wife was, so if I wrote a puff piece about Ann Richards, I’d just get beat to hell. I was really taking pains to give the warts in addition to the smiles.

    “I was really careful about that. But I also thought I had to be upfront about it,” he says. “I couldn’t pretend that I was never in the picture and that I didn’t have a personal relationship with her. [But] I didn’t want that to intrude.”

    The real Ann Richards?
    During the book’s recounting of her run for Texas governor, Reid references an October 1990 Texas Monthly profile of Richards where she says, “Everybody wanted to let Ann be Ann. And they all had different Anns.” I ask Reid if this was also a problem he had to confront when writing the book.

    “Well, yeah, particularly the more I found about her other periods,” he says. “I had the picture of her when she was 47 years old, when her political career was just taking off. But I kept finding layers and layers of Ann both from what people told me and that wealth from the archive.”

    Reid found an Ann who “had a lot of fear. She was fragile in a lot of ways. That was the biggest surprise to find how human she was.”

    Reid says that researching and speaking with her friends and family who knew her before she began running for political offices led him to understand that the woman we remember striding that motorcycle with white hair piled high as the Texas skies was one of many Anns.

    “When she decided to become Ann the public person, she created the persona that worked pretty well for her. Not to say this was a dishonest strategy on her part. She was a born entertainer,” he explains, adding that she understood style and show business and used them to accomplish her goals in government.

    Yet by delving into some of Richards' correspondences, especially those between Richards and Edwin “Bud” Shrake, who in the prologue of the book Reid describes as the “second great love of her life,” Reid found a Richards who “had a lot of fear. She was fragile in a lot of ways. That was the biggest surprise to find how human she was. It was good to discover that.”

    Though deeply focused on mapping the “amazing narrative arc” of her life, Reid pauses throughout the book to provide historical and cultural context for the reader. All this background information helps us understand how Texas created Richards and how Richards changed Texas.

    The many photographs of Richards with political and media celebrities included in the book also help give the impression that Richards knew everybody and was always in the center of the action. When I make this observation, Reid agrees.

    “Oh she did,” he says. “Her family was way too close for comfort near the Kennedy assassination. She had these very unpleasant face-to-face encounters with LBJ and Carter. She was in New York during 9/11. There was big earthquake in San Francisco in the '80s and she happened to be in San Francisco. It seemed like she was just everywhere all the time.”

    “You hear a lot about the cracks in the glass ceiling,” Reid says. “Well, Ann Richards put some of them up there.”

    Ann Richards’ legacy
    Though Texas might remember Richards with great fondness, I wondered if Reid still saw her presence in the current political landscape. Reid says he continues to see Richards’ influence, even in Gov. Rick Perry’s administration, when it comes to diversity in political appointments. Thanks to Richards, we can never go back “to the old, white boys club.”

    “She was also the first ardent feminist elected to a major office in the United States,” he says. “You hear a lot about the cracks in the glass ceiling. Well, she put some of them up there. Hillary Clinton considered Ann her mentor when she was first lady and then Senator of New York.”

    As we finish our conversation, I have to ask Reid if he felt a sense of deja vu when watching Richards’ daughter, Cecile Richards, the current president of Planned Parenthood, speak at the Democratic Convention.

    “Of course. Cecile is a star — just in a different way — just like her mother was. She’s just blossomed, as all her children have,” he says.

    “But Cecile’s a politician. She can’t come back to Texas and run for office, it doesn’t seem, but she’s probably accomplishing more now than she would if she had an office. The last many weeks of the presidential campaign she was on the road with Obama. He was seeking her council all the time.”

    And how would Richards feel about that campaign and its outcome? Reid believes, “To have been able to see that in her lifetime would have just been amazing to her.”

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    Season Announcement

    Echo Theatre introduces Dallas audiences to a season of strangers in 2026

    Lindsey Wilson
    Jan 16, 2026 | 11:51 am
    The Roommate on Broadway
    Photo by Julieta Cervantes
    'The Roommate' was recently on Broadway.

    It's a "Season of Strangers" for Echo Theatre this year, as the Southwest's premier company for promoting dramatic works by women+ focuses on how someone different than you can change your life.

    The 28th season begins with the new musical Silhouettes by Jordan Ealey and Ari Afsar. This score-in-hand workshop was developed in the aftermath of the fall of Roe v. Wade, and examines a pivotal moment in American history through the intersecting lives of two women navigating the decision to have an abortion. Echo's managing and artistic director Kateri Cale directs, with Vonda K. Bowling as musical director.

    In a joint statement, Ealey and Afsar say that Silhouettes was born from their need to process the emotional and political aftermath of Roe’s fall. “We continue to see that history is cyclical and equity is fleeting,” they say. “But when policy fails, art has the opportunity to step in. Silhouettes is a musical about choice, sisterhood, and intergenerational courage.”

    They add that presenting the work in Dallas reflects their commitment to community-building in states like Texas, where bans and restrictions have made women and gender minorities particularly vulnerable. “We want this musical to be a safe and brave haven amid attempts to create a culture of fear and a reminder that people are not alone.”

    It runs January 16-17, 2026, and admission is free, though a $20 donation is suggested.

    The world premiere of You Must Wear A Hat by C. Meaker is next, and plugged-in Dallas theater fans might recognize the play from its reading at Kitchen Dog Theater in 2019.

    Tuesday and Weeks make hats on the Great Barrier Reef, waiting for the world to end. It's described as "A play for two. And a rabbit."

    C. “Meaks” Meaker (they/them) is a playwright, essayist, and teacher whose work often explores queerness, monstrosity, and the end of the world. Their plays have been performed and developed across the United States, including the Kennedy Center, Seattle Repertory Theatre, San Francisco Playhouse, Annex Theatre (Seattle), Hub Theater (D.C.), Fat Theater Project (Chicago), and About Face (Chicago). They’re a two-year finalist for the Dramatist Guild National Fellows program and a recent finalist for the Jerome Hill Theater Arts Fellow.

    You Must Wear a Hat runs February 27-March 14, 2026.

    The season closes with The Roommate by Jen Silverman. The play was on Broadway in 2024 starring marquee names Mia Farrow and Patti LuPone.

    In it, a divorced Midwesterner takes a roommate from The Bronx. A relationship evolves and secrets unfold into a darkly comedic exploration of life choices. It runs June 19-July 4, 2026.

    All shows this season will be performed at the Bath House Cultural Center, 521 E. Lawther Dr., in White Rock Lake Park.

    Tickets range from Pay-What-You-Can to $40, with discounts available for students and seniors.

    Additional events this season include Cake by the Lake on April 21, Echo's free birthday party fundraiser that also launches its reading series, Echo Reads.

    Echo Reads runs April through September, presenting six plays in six month. All plays will be performed on Tuesdays at 7:30 pm, and then read the next day at different venues around the city.

    Echo Offstage Podcasts is going monthly. The free podcast series interviews women+ who are making art and making a difference.

    And Echo is already teasing its 29th season, which will begin in the fall of 2026 and run the more traditional September through August instead of the calendar year.

    The season 29 opener is a co-production, the company mysteriously hints, involving three Dallas theaters, two shows, and an internationally known writer. We'll all just have to wait and see what this intriguing production might be.

    echo theatrepodcastsworld premieresecho readsthe roommate playtheater
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