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    Season Announcement

    ATTPAC Dallas Elevator Project throws biggest season ever for 2024-25

    Lindsey Wilson
    Jul 19, 2024 | 10:59 am
    Tejas Dance

    Tejas Dance was part of the 2023-24 season.

    Photo courtesy of ATTPAC

    The next season of the AT&T Performing Arts Center's Elevator Project has been announced, and it celebrates a decade of featuring small, emerging, and historically marginalized groups.

    This 2024-25 season season features nine productions — one more than previous years — including five first-time participants. The productions span six world-premiere shows, one regional premiere show, and one world-premiere composition.

    Genres and styles explored this season include theater, Bollywood-style dance and celebration, comedy revue, music featuring ancient and modern Asian string instruments, modern Afro-beats, and more.

    “The Elevator Project is a thrilling opportunity to connect artists with the space and resources to bring their creative ideas to life on our stages,” says AT&T Performing Arts Center president and CEO Warren Tranquada. “Each event takes unique artistic risks and pushes the envelope of how the stories of our city and its people are told. I always leave these performances feeling surprised and challenged, and I welcome everyone to experience these captivating productions on our campus during this 10th anniversary season.”

    Elevator Project participants receive such support as venue access, production assistance, marketing, and other resources to help bring their artistic visions to life.

    This season will be staged in several venues on the center’s campus, and specific showtimes are being finalized, with initial shows starting September 2024. All shows are priced at $29.50.

    The season is as follows:

    Watering Hole Collective presents I Am An Island
    I Am An Island is a surrealist dark comedy that takes place on an island that is sinking. In this one-act, May tries to convince others of this but no one will listen, resulting in a political demonstration of her standing still and sinking into the sea. The play is a metaphor for how innately uncertain our world is, how it is sinking — environmentally, culturally, and communally — and how we avoid this.

    Artists Sans Frontières presents HAZARDS
    Experience the raw power of human resilience in HAZARDS, a gripping and emotionally charged dance-theater production by nonprofit Artists Sans Frontières. HAZARDS unveils the harrowing journeys of refugees, asylum-seekers, and individuals forcibly displaced by conflict, violence, and natural disasters. Weaving filmic vignettes of compelling choreography, dynamic visual projection, and cinematic music composition, HAZARDS invites the audience to become immersed in the strength, hope, and unbreakable spirit that emerges amidst crisis.

    B. MOORE DANCE presents The Parlor Room
    The Parlor Room is a space designed to evoke the intimate and inviting atmosphere of a traditional parlor room. In partnership with vocalist Damon K. Clark, this collaborative production brings together classical music and contemporary works in an intimate setting with a live chamber group. Step into The Parlor Room and become intrigued in a reimagined world of opulence and creativity, where the ambience of traditional elegance meets the excitement of contemporary performance.

    Eleven 11 Productions presents Most Likely Forever Yours
    Most Likely Forever Yours is a laugh-a-minute, Second City-style sketch comedy revue that explores the indescribable joy, pain, and fear of loving and being loved. Imagine a very fast-paced episode of Saturday Night Live with a huge heart. The show will be created by Dallas writers and performers who trained at legendary comedy venues The Second City, The Groundlings, I.O. Chicago, and The Annoyance.

    Indique Dance Company Presents The Wedding is Fixed
    Across the world, a new fascination with Indian weddings has emerged. A typical Indian wedding spans several days with many shenanigans and festivities that keep everyone engaged and exhausted, but most importantly, entertained. Indique will bring the dance and the "drama" in this comedic take on a whimsical Bollywood love story.

    Plague Mask Players presents Alice
    Alice by Ara Vito is a movement and storytelling-focused adaptation of Lewis Carroll's Alice in Wonderland, told through the lens of a female playwright and ensemble cast of all female and non-binary performers. This production will be the Texas premiere of this exciting new work, and Plague Mask Players is thrilled to be the first to bring it to life for DFW audiences. The play received second place for the Harold and Mimi Steinberg National Student Playwriting Award through the Kennedy Center American College Theater Festival.

    Hee Yun Kim presents Strings Attached Across the Pacific
    Strings Attached Across the Pacific is a concert with a unique ensemble of culturally diverse string instruments, where the two-stringed bowed instruments from the East, the Korean haegeum and Chinese erhu, meet a string quartet from the West. The concert will include the premiere of a 45-minute, multi-movement composition Calling of the Whales by award-winning composer Hee Yun Kim, which is inspired by the underwater sound of whales and timbral richness of this sextet.

    Baba Kuboye presents Cultural Canvas
    This project is a series of shows that encompasses live performances and showcases of Afrobeat music. Aimed at promoting cultural diversity and fostering intercultural interaction, the show allows local musicians to contribute to the rich diversity of the Dallas cultural scene by showcasing unique, original, and indigenous African arts. It also enables these creatives, who do not have a home venue in which to perform, to hone their craft and support their families.

    Infinite Arts Movement, Inc. presents Unveiling Echoes: A Journey of Self-Discovery
    Immerse yourself in a transformative journey of self-discovery with Unveiling Echoes. This immersive show seamlessly blends poetry, dance, theater, and music, transcending boundaries to celebrate resilience, transformation, and embracing authenticity. Eloquent poetry weaves a rich emotional tapestry, enchanting dance sequences express the narrative's essence, and theatrical elements blur the line between performer and spectator. With universal appeal, rare artistic fusion, and emotional resonance, Unveiling Echoes is a captivating, unforgettable experience leaving echoes in every heart.

    For more information on the Elevator Project, head here.

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    A good listen

    Dallas Symphony and Fabio Luisi release landmark Wagner 'Ring Cycle' set

    Associated Press
    Jun 10, 2026 | 2:00 pm
    Fabio Luisi conducting the Dallas Symphony Orchestra
    Photo courtesy of Dallas Symphony Orchestra
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    Fabio Luisi wanted his Ring Cycle to be heard and not seen.

    Wagner’s four-opera epic Der Ring des Nibelungen, approaching the 150th anniversary of its premiere in 1876, has been reinterpreted and deconstructed by directors finding various meanings in the conflicts among gods, humans, giants and dwarfs.

    While most new recordings are on video, Luisi led his Dallas Symphony Orchestra in concert performances that were released on 13 compact discs by Delos on May 22 and are available on streaming services.

    “Wagner conceived this as a total immersion in visual and acoustic, but I could focus really only on the music, and this was the point actually — not to be distracted by staging and not to have to cope with maybe strange ideas of staging,” Luisi said. “I think the music tells everything.”

    Luisi became DSO music director in 2020 and broached the idea while dining two years later with (the now late) Morton H. Meyerson, a longtime board member.

    “Fabio came back from lunch sort of giddy but sort of sheepishly saying: `Do you think that this would ever be possible?” recalled Kim Noltemy, the Dallas CEO at the time. “So, I said, well, let’s give it a try. So, we called around to see if there were people who wanted to support it and did a budget.”

    After securing a waiver from the orchestra allowing for the needed rehearsals and performance length, recordings were made during four concerts from May 1-5 and six more from Oct. 5-20. Each opera was performed two or three times.

    Americans in cast fill big roles
    American singers featured prominently, with Mark Delavan as Wotan, Lise Lindstrom as Brünnhilde and Sara Jakubiak as Sieglinde, part of a cast that included Christopher Ventris (Siegmund), Daniel Johansson (Siegfried), Deniz Uzun (Fricka), Tómas Tómasson (Alberich), Michael Laurenz (Mime) and Stephen Milling (Hagen).

    Delavan sang Wotan at New York’s Metropolitan Opera in 2013 after Luisi took over from an ailing James Levine in Robert Lepage’s much-maligned production staged on a 45-ton set of 24 rotating planks.

    “We’re accessible and they know that we’re hungry and we have a chip on our shoulders,” Delavan said. “What conductors like about American singers is their technique is sound. Even a European conductor would say: Well, I’m going to give up some of the communication skills, only one degree of separation with the language, but I’m going to get a solid technique, and I’m going to get pretty good acting chops.”

    Lindstrom has been in Atlanta to sing in its production of “Götterdämmerung,” the concluding night of the tetralogy, leading to what is being billed as the first complete Ring Cycles in the America South in 2029.

    “The wonderful thing about it is the intimacy between the orchestra and us, because we’re not separated by a chunk of stage or a chunk a scenery or a chunk of concept,” she said of the Dallas performances. “And for people like me, who have had the opportunity to perform the role before, I have all those iterations to rely on for my portrayal that I can sort of filter myself through.”

    A younger Luisi listened to famous renditions
    Luisi, 67, first heard a Ring recording in Georg Solti’s famous studio set with the Vienna Philharmonic from 1958-65. He also admires Karl Böhm’s live recording from the 1967 Bayreuth Festival and Marek Janowski’s 1980-83 studio version with the Staatskapelle Dresden.

    He first conducted Ring when he was music director of Dresden’s Semperoper from 2007-10. Luisi’s Dallas performances include more legato and softer sound than his rendition a decade earlier at the Met. He tries to keep an arc from the first notes of “Das Rheingold” to the final strains of “Götterdämmerung.”

    “I have a deeper understanding about the meaning of this piece,” he said. “I consider the ring to be a big Bruckner symphony. So we have the introduction, then we have the first movement, this is “Walküre,” which happens to be a slow movement, and then we have the scherzo, which is “Siegfried,” of course, and then the long, long, last movement. There is a unity.”

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