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    Nerd Alert

    Pop culture, meet classical music: The Legend of Zelda comes alive at AnnetteStrauss Square

    Alex Bentley
    Oct 9, 2012 | 9:27 am

    For children of the '80s, there are two video game franchises that stand above all others: Super Mario Bros. and The Legend of Zelda. Their soundtracks were the soundtracks of our childhoods, and although most of us have long moved on to other things, anytime we hear that music, it brings back a rush of nostalgia.

    Concert producer Jason Michael Paul is counting on that nostalgia, among other things, when he brings The Legend of Zelda - Symphony of the Goddesses to Annette Strauss Square on October 12, with a little help from the Dallas POPS Orchestra.

    The concert is a complete four-movement symphony played by Dallas POPS live and synced up with footage from the multiple Zelda games Nintendo has put out over the past 25 years. This is actually the second time the show has been in Dallas this year, as the Dallas Symphony Orchestra also presented the show at the Meyerson Symphony Center back in January.

    Paul has a long history with the video game industry. He has also produced a Final Fantasy-themed concert and one called Play! that incorporates multiple video games. He sat down with CultureMap Dallas to discuss his inspirations and what to expect Friday night.

    CultureMap: What made you decide to bring together video games and classical music in the first place?

    Jason Michael Paul: I had been working in the opera and classical music genres with Luciano Pavarotti and the Three Tenors, while also maintaining my [involvement in] video games. When the opportunity came to present a show with Final Fantasy, another wildly popular franchise, I just thought that it was the perfect hybrid of a show — great classical music combined with video games. A dream show, if you will, of all of my passions.

    CM: What made The Legend of Zelda an obvious choice for this treatment?

    JMP: It has over 25 years of history, something that resonates with me personally. I've been a Zelda fan since it first came out, and the music that [Nintendo composer and sound director] Koji Kondo has written for this game lends itself perfectly to a symphony.

    CMD: Do you find working with different orchestras pretty smooth in general?

    JMP: I've been doing this for over 10 years, so I've kind of got it down to a science at this point. My experience is getting easier and easier; the caliber and the musicianship of the orchestras that we do hire is excellent. A lot of the people in the orchestra world are starting to see what benefits they can get from presenting such shows as mine.

    CMD: This concert seems like an obvious draw for video game/Zelda fans, but what could you say to your typical classical music fan to convince them to come out?

    JMP: You don't have to be a Zelda fan to appreciate the quality of musicianship, nor do you have to be a Zelda fan to appreciate the arrangements that have been written or the music we perform. We present a four-movement symphony devoted to The Legend of Zelda and essentially it's a retelling [of that saga] through the music and the visuals. It really speaks to pop culture, and it's giving credit where credit is due.

    CMD: Because this will be outside at Annette Strauss Square instead of inside the Meyerson, how do you think that will affect the acoustics or performance?

    JMP: In my opinion, I always like outdoor shows better, provided the weather permits. I think it's always more special when it's under the stars; it just adds to the moment and the mood.

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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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