Theater Critic Picks

Here are the 12 must-see shows in Dallas-Fort Worth theater for November

Undermain Theatre presents Exit the King

'Exit the King' at Undermain Theatre.

Photo by Paul Semrad

Grocery and department stores might want us to believe it's already the holidays, but at least local theater companies are (mostly) holding off until around Thanksgiving.

November starts with absurdism, moves along to a movie-turned-Broadway musical, and even throws a creepy thriller in the mix before it's time for Grinches, Scrooges, and Charlie Brown's sad Christmas tree.

In order of start date, here are 12 local shows to watch this month:

Exit the King
Undermain Theatre, through November 24
Eugène Ionesco’s absurdist comedy is set in the crumbling throne room of the palace in an unnamed country, where King Berenger the First has only the duration of the play to live. Once, it seemed he ruled over an immense empire and commanded great armies; now his kingdom has shrunk to the confines of his garden wall. Refusing to accept his end, he is attended by his present and former Queens, who must help him face the final inevitable truth of life.

Patti & Theo
Ochre House Theatre, November 2-23
The dark comedy with music that's written and directed by artistic director Matthew Posey returns. Patti and Theo are struggling artists in Brooklyn, New York. They are big boozers, and time will tell if the Drinking Religion outlives them. Song, music, and shadow play highlight this story of two lovers who hold each other passionately at arm’s length.

Mrs. Doubtfire
Broadway at the Bass, November 5-10
Everyone’s favorite Scottish nanny comes to Fort Worth in the musical based on the beloved film, which tells the hysterical and heartfelt story of an out-of-work actor who will do anything for his kids.

The Search for Signs of Intelligent Life in the Universe
WaterTower Theatre, November 6-17
Jane Wagner’s ever-timely one-woman show examines American society, art, and human connectivity, and explores the feminist movement. As one actor transforms into a series of other archetypal characters, they become the play’s guiding conscience for the audience. Under the guidance of the narrator, a role originated by Lily Tomlin, the audience is treated to a mischievously clever observer of the society around her.

A Tuna Christmas
Casa Mañana, November 9-17
It's 24 hours before Christmas and all comic hell is about to break loose. Tuna’s delightfully eccentric characters attempt to cope with seasonal traumas, like a disaster-prone production of A Christmas Carol and a yard-decorating contest that’s being sabotaged by a mysterious Christmas phantom.

Sleuth
Theatre Three, November 14-December 15
A cunning mystery writer, Andrew Wyke, invites his wife's lover, Milo Tindle, to his secluded English manor, setting off a deadly game of manipulation and deceit. As the tension rises, surprising twists keep the audience guessing the dramatic end. Presented in the Theatre Too space.

Dr. Seuss' How The Grinch Stole Christmas! The Musical
Performing Arts Fort Worth, November 19-24
Max the Dog narrates as the mean and scheming Grinch, whose heart is "two sizes too small," decides to steal Christmas away from the holiday-loving Whos.

A Charlie Brown Christmas
Dallas Children's Theater, November 23-December 22
Discover the meaning of Christmas — or experience the nostalgia of childhood — while sharing laughs with the Peanuts Gang along the way. As a live combo fills hearts with music, merriment, and warmth, the story based on the Charles Schulz classic special is here just in time for the holidays.

Forever Plaid: Plaid Tidings
Lyric Stage, November 29-December 22
The holiday classic by Stewart Ross opens Lyric Stage's 31st season. At first, Francis, Jinx, Smudge, and Sparky aren't sure why they've returned to Earth for another posthumous performance, but a phone call from the heavenly Rosemary Clooney lets them know that they're needed to put a little harmony into a discordant world.

The Play That Goes Wrong
Stage West, November 29-December 22
At opening night of The Murder at Haversham Manor, things are quickly going from bad to horrible. With an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines), the whole evening is a disastrous smash.

A Christmas Carol
Dallas Theater Center, November 29-December 28
Three spirits have come to visit the miserly Ebenezer Scrooge and take him on a fantastic journey through Christmases past, present, and future. Brimming with joyful songs, magical spirits, and holiday cheer, this holiday classic embodies a story of joy, redemption, and the spirit of Christmas.

Natasha, Pierre & the Great Comet of 1812
Theatre Three, November 29-December 29
The vibrant musical spectacle set in 19th-century Russia, and based on a 70-page segment of Leo Tolstoy's War and Peace, lets romance and intrigue unfold amid glittering ballrooms and tumultuous relationships. Its score features a unique blend of electro-pop and Russian folk-inspired music.

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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.”

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