Season Announcement

Shucked, & Juliet + more fly into Broadway Dallas' 2024-25 season

Get ready, musical theater fans: Broadway Dallas just announced its 2024-25 season, and it's a doozy.

Done in partnership with Broadway Across America, the season includes eight subscriber-eligible shows and two season add-ons. In the mix are four Dallas premieres and the return of several audience favorites.

It launches with the Tony Award-winning musical comedy Shucked, which made a statement on Broadway with its clever marketing and recently announced its New York closure.

The musical began life at the Dallas Theater Center in 2015 as Moonshine: That Hee-Haw Musical but has since evolved into the "corn-fed, corn-bred American musical" that will play the Music Hall at Fair Park December 3-15, 2024.

The series continues with the high-flying musical that has been thrilling audiences of all ages for close to 70 years. A newly reimagined Peter Pan is being brought back to life in a new adaptation by celebrated playwright Larissa FastHorse, directed by Emmy Award winner Lonny Price, and choreography by Lorin Latarro. It plays the Music Hall December 25, 2024-January 5, 2025.

& Juliet flips the script on the greatest love story ever told, with a book by Schitt's Creek writer David West Read and a score composed of pop anthems like "Since U Been Gone," "Baby One More Time," and "Roar."

The musical asks: What would happen next if Juliet didn’t end it all over Romeo? She ditches her famous ending for a fresh beginning and a second chance at life and love — her way. It plays the Music Hall January 28-February 9, 2025.

Back to the Future: The Musical is adapted for the stage by the iconic film’s creators Bob Gale and Robert Zemeckis and directed by Tony Award winner John Rando. Original music by multi-Grammy winners Alan Silvestri and Glen Ballard joins hit songs from the movie, including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.”

When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself ... back to the future. It runs March 18-30, 2025, at the Music Hall.

Two familiar favorites are up next: Mamma Mia! April 15-27, 2025, and Disney's The Lion King for a nice long run June 4-July 3, 2025. Both play the Music Hall, and both are a guaranteed good time.

Broadway Dallas heads to the Winspear Opera House for Life of Pi, the astonishing Broadway and West End sensation told with jaw-dropping visuals, world-class puppetry, and exquisite stagecraft.

After a shipwreck in the middle of the Pacific Ocean, a 16-year-old boy named Pi survives on a lifeboat with four companions: a hyena, a zebra, an orangutan, and a Royal Bengal tiger. It runs August 5-17, 2025.

Prior to its planned Broadway bow, a new production of The Wiz is touring the country.

This groundbreaking twist on The Wizard of Oz changed the face of Broadway, from its iconic score packed with soul, gospel, rock, and finger-snapping ‘70s funk to its stirring tale of Dorothy’s journey to find her place in a contemporary world. A dynamite infusion of ballet, jazz, and modern pop brings a whole new groove to easing on down the road. It plays the Music Hall, September 9-21, 2025.

The first season add-on is the return of Come From Away, the remarkable true story of 7,000 stranded 9/11 passengers and the small town in Newfoundland that welcomed them.

Cultures clashed and nerves ran high, but uneasiness turned into trust, music soared into the night, and gratitude grew into enduring friendships. It runs at the Winspear Opera House, January 14-19, 2025.

Hadestown is the second add-on, intertwining two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back.

The winner of eight 2019 Tony Awards, it plays the Music Hall, February 25-March 2, 2025.

Season tickets are available now. Seven-show packages start at $245 and new patrons can visit BroadwayDallas.org or call 866-276-4884 to subscribe.

Subscriber benefits include access to the best seats for one low price, priority access to additional tickets before public on-sale, option to enroll in interest and fee-free payment plans, and ticket exchange privileges. All current subscribers will be automatically renewed into the 2024-25 season and beyond risk-free.

Single tickets to individual shows will go on sale at a later date. Group pricing is available now for groups of 10 or more. Reserve by calling 214-426-4768 or emailing Groups@BroadwayDallas.org.

Photo by by Matthew Murphy and Evan Zimmerman

Ashley D. Kelley and Grey Henson in Shucked.

tours theater

A good listen

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

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.”

dso luisi ring wagner recording concerts music symphony

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A good listen

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