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    Sad Theater News

    Dallas' Imprint Theatreworks announces final bow after 5 short but memorable years

    Lindsey Wilson
    Jan 13, 2023 | 2:00 pm
    Imprint Theatreworks presents The Revolutionists

    The Revolutionists was one of Imprint Theatreworks' memorable productions.

    Photo by Jessie Wallace

    After a slew of canceled shows and unfulfilled seasons, Imprint Theatreworks has officially announced its closure.

    The board of directors cited "the pervasive effects of the COVID-19 pandemic" as the reason and named December 31, 2022, as the final day of operations for the critically-acclaimed Dallas theater company, which was founded in 2017 by Ashley H. White, Joe Messina, and Jessie Wallace.

    “The trust, passion, grit, urgency, and enthusiasm in which we created art together was unlike any experience I’ve ever had," says White, who also served as artistic director, in a release. "When we founded Imprint, we came up with the tagline 'make your mark.' Well, it certainly made its mark on me, as did every single person who I had the sincere privilege of partnering with through our endeavors.”

    Imprint immediately turned heads with its outstanding inaugural production of Glengarry Glen Ross in January 2018 and went on to excel at intimate musicals and plays, including Murder Ballad, Ghost Quartet, Lizzie, The Revolutionists, and In the Next Room (or The Vibrator Play).

    The company racked up awards and critical acclaim in its first two seasons, and quickly found footing with its First Impressions Festival for showcasing new, local work.

    But Imprint Theatreworks just could not seem to recover after the pandemic.

    Its revamped, mostly digital third season only saw two productions — the online revue Raise You Up and a digital presentation of The Impact of The Gadget on Civilization — come to fruition, with new musical The Tree going all the way through rehearsals only to be canceled shortly before the in-person opening night. We Are Pussy Riot (or, Everything is PR) was added as the official return to live onstage production in October 2021.

    None of the titles from the company's fourth season materialized as planned, except for the First Impressions Festival.

    "The community we built together was filled with the most selfless, passionate acts of artistry I have ever been privileged to witness," says Imprint managing director Kyle Igneczi. "To each staff member, artist, volunteer, and patron that has ever witnessed the magic of an Imprint production, we thank you for allowing us to serve you. Thank you for believing in the power of theater to enact change, inspire new life, and rise up to define our generation of the arts here in our community."

    "Imprint's small but mighty staff, all award-winning artists in their own right, have consistently risen to meet and exceed every challenge laid before them show after show, season after season, year after year, and we are so proud of the work they have done to bring amazing work to our region," says co-founder Messina, who also served as the board VP. "This decision was not an easy one and we want to acknowledge that their herculean efforts through the years have not gone unnoticed. You have all made an indelible impact on the cultural landscape of our community, and one this town won't soon forget."

    Although all contracts and productions for Imprint are currently on hold, the board has enacted a clause in their by-laws assigning all future activity to the original co-founders.

    “We work in a business of seasons," says White. This season of Imprint may be ending, but the mark we made on ourselves, each other, and the community will live on. I am eternally grateful. Imprint will hold a part of my heart forever, as will this beautiful theatrical community in which we got to reside.”

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    Opera News

    Dallas Opera's new season stages dramatic debuts and beloved encores

    Alex Bentley
    Feb 24, 2026 | 1:30 pm
    The Elixir of Love at Santa Fe Opera
    Photo by Curtis Brown Photography
    The 2026-27 season for The Dallas Opera will include a new version of The Elixir of Love.

    The 2026-2027 season for The Dallas Opera will feature four mainstage productions, two family operas, and a trio of annual events, with all productions taking place as usual at Winspear Opera House.

    One production —Janáček’s The Cunning Little Vixen — will be completely new to Dallas audiences, as it is making its North American premiere with the company.

    The other three mainstage productions — Donizetti’s The Elixir of Love, Puccini’s Turandot, and Wagner’s Lohengrin — will be making encore appearances, although at least two will differ from their original productions.

    The season will start with The Elixir of Love, which will be performed four times between October 9 and 17, 2026. The colorful production, now set in post-World War II Italy, is about a hopeless romantic who swoons for the town’s school teacher.

    Performers, each of which are making their Dallas Opera debuts, will include British Iranian coloratura soprano Soraya Mafi, 2022 Operalia winner Anthony León, legendary Italian baritone Alessandro Corbelli, 2025 Operalia winner Mihai Damian, and 2025 TDO Lone Star Vocal Competition winner Kayla Nanto.

    Next up is the North American debut of Janáček’s The Cunning Little Vixen, running October 30-November 7. It's the story of a young fox, which is trapped as a cub, going on to make a dramatic escape in search of what a wild animal’s life should be.

    Conducted by Mrs. Eugene McDermott Music Director Emmanuel Villaume, the bold and glitzy production will star Estonian soprano Mirjam Mesak (making her U.S. debut), American baritone Zachary Nelson, Hungarian American mezzo-soprano Shannon Keegan, and American contralto Lindsay Ammann.

    The 2027 portion of the season will begin with Puccini’s unfinished work Turandot, running February 12-20. To win the hand of Princess Turandot, a suitor must solve three riddles; failure to do so means death.

    Conducted by Villaume, this production features a new ending with music by Grammy Award winner and video game composer Christopher Tin (known for the Civilization IV game) and a libretto from Succession writer Susan Soon He Stanton.

    Italian soprano Anna Pirozzi and Venezuelan tenor Jorge Puerta, both celebrated for their renditions of this opera, make their Dallas Opera debuts as Turandot and Calaf, respectively.

    Wrapping up the season will be Wagner’s Lohengrin, running March 5-13. Accused of her brother’s murder, Elsa prays for a way to prove her innocence. In answer, a knight in shining armor appears, ready to save her. He asks one thing in return: never ask his name.

    Director Louis Désiré returns to lead this premiere production, which will be conducted by Villaume. It will star Pavarotti d’Oro winner Saimir Pirgu, American soprano Lise Lindstrom, and bass Peixin Chen, among others.

    "The 2026/2027 Season spans the breadth of what opera has to offer the world," said Mrs. Eugene McDermott Music Director Emmanuel Villaume in a statement.

    Additionally, The Dallas Opera will feature two family operas: The Bremen Town Musicians, with performances on October 17, 2026 and February 21, 2027, and The Little Prince, with performances on November 8, 2026 and February 13, 2027.

    Other annual events include:

    • The Linda and Mitch Hart Institute for Women Conductors Showcase Concert, featuring women who have participated in the Dallas Opera's longtime program (January 30, 2027)
    • The Robert E. and Jean Ann Titus Family Recital, featuring German soprano Christiane Karg and pianist Andrew von Oeyen (January 31, 2027)
    • The Phyllis A. and Thomas H. McCasland, Jr. Lone Star Vocal Competition, featuring rising opera stars from around Texas (March 12, 2027)

    Subscription renewals and new subscription packages for the 2026/2027 season are now on sale, with packages starting at $98 for all four mainstage operas. Family operas and annual events will be available as add-ons before single tickets go on sale in summer 2026.

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