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Theater Review

Dallas Theater Center’s Bella upends any expectations you have going in

Alex Bentley
Oct 3, 2016 | 4:56 pm

There is a lot to unpack in Bella: An American Tall Tale, the latest world premiere musical from Dallas Theater Center. While it explores the experience of being African-American in the late 1870s, it does so through the use of fantastical storytelling, odd and sometimes corny subplots, and a wide variety of music that will likely upend any expectations you might have had going in.

Playing through October 22 at Wyly Theatre, Bella follows, well, Bella (Ashley D. Kelley) as she takes a train from Tupelo, Mississippi, to New Mexico to surprise Aloysius (Clifton Oliver), her boyfriend who is a member of the Buffalo Soldiers. Or, at least, that’s the idea, as her wild imagination sidetracks her, concocting conversations with her mother (Kenita R. Miller), Aunt Dinah (Liz Mikel), and multiple other characters along the way.

You know you’re in for an unusual time at the theater when the first song out of the gate is one titled “Big Booty Tupelo Gal,” with lines like “That ain’t my bustle/that’s my derriere.” And that’s hardly a one-off song; the state of Bella’s behind is admired, pondered, and debated throughout the production, both for comic effect and not.

Many of the songs in the musical are extremely funny, including one in which Bella imagines a charismatic and handsome Mexican cowboy, Diego (Yurel Echezarreta); an inexplicable one involving a Chinese man named Tommy Haw (Paolo Montalban); and one with the hilarious title of “One Ass to Another.”

But while comedy is used often and to great effect, playwright and songwriter Kirsten Childs has much more on her mind than making you laugh. Bella is traveling cross-country under an assumed name, as she’s wanted for an unknown crime back in Tupelo. As layers are unveiled about her background, it’s intimated that her “crime” is no crime at all, but rather a function of being black in the post-Civil War south.

Multiple songs touch on the racial conflicts or experience of the time. “Kansas-bound” in the first act speaks to a supposed safe haven for African-Americans, while “White People Tonight” in the second act finds Bella fighting back against yet another oppressor in a funny yet deadly serious way.

Through it all, Kelley’s sunny disposition and irrepressible charm carries the day. Despite the musical having 12 different characters, Kelley is on stage for almost every second of the production, which makes her performance that much more outstanding. The strength of her voice and her sheer endurance make her and her role one to remember.

In addition to Mikel, Miller, and Echezarreta, other standouts include M. Denise Lee as Bella’s grandmother and Donald Webber Jr. as the train’s porter, who lends a hand to Bella on multiple occasions.

It’s next to impossible to put Bella: An American Tall Tale into any kind of box. It has great songs and is laugh-out-loud funny at times, but it also deals with racial issues in ways that make it much more than just a period piece. Simply put, it’s yet another stellar production from Dallas Theater Center.

Kenita R. Miller, Liz Mikel, and Ashley D. Kelley in Dallas Theater Center's Bella: An American Tall Tale.

Dallas Theater Center presents Bella: An American Tall Tale
Photo by Karen Almond
Kenita R. Miller, Liz Mikel, and Ashley D. Kelley in Dallas Theater Center's Bella: An American Tall Tale.
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Movie review

Nick Jonas steals song from Paul Rudd in music-heavy Power Ballad

Alex Bentley
Jun 5, 2026 | 1:30 pm
Nick Jonas and Paul Rudd in Power Ballad
Photo by David Cleary for Lionsgate
Nick Jonas and Paul Rudd in Power Ballad.

Writer/director John Carney is one of the great purveyors of movies featuring music (as opposed to musicals) in the 21st century. Starting with Once in 2007 (which was turned into a Broadway musical several years later), he has made music-themed stories like Begin Again, Sing Street, Flora and Son, and now Power Ballad.

Rick Power (Paul Rudd) is a former wannabe rock star who is now the lead singer of “Ireland’s #1 Wedding Band,” The Bride & Grooves. While they mostly play smaller weddings, a gig at a country estate leads to an encounter with Danny Wilson (Nick Jonas), a former boy band member struggling to make it as a solo artist. Rick and Danny wind up bonding in a booze- and pot-filled jam session, sharing various song ideas.

After returning to Los Angeles and desperate for a hit, Danny steals one of Rick’s songs, which miraculously turns into the No. 1 “How to Write a Song (Without You).” Rick, initially overjoyed that something he wrote has become big, is crushed when he finds out Danny didn’t give him credit. His quest to find a way to prove his worth sends him into a spiral, upending the ordinary life he had built.

Co-written by Peter McDonald, the film is a nice exploration of two men trying to hold on to their music dreams. Their individual circumstances could not be more different, but each of them knows the ups and downs of the business as well as the other, as well as the ineffable magic of creating that one great song. While the music scenes are hit-and-miss because of a reliance on lip synching, the scene featuring Rick and Danny trading ideas is electric with creativity.

Oddly, though, the film could have used a bit less music and more of a focus on the two men’s personal lives. Rick wound up living in Ireland after falling in love with his future wife, Rachel (Marcella Plunkett), while on tour with his former American band. He spends a decent amount of time with her and his daughter, Aja (Beth Fallon), but his story needed a few more family scenes to drive the point home. Danny’s personal life is all but nonexistent, giving his arc less impact than it could have had.

Instead of loved ones, Carney and McDonald try to give Rick and Danny more depth through friends and business associates. Rick’s bandmate Sandy (McDonald) is a ride-or-die kind of guy for him, but his presence is only good for a few humorous distractions. Danny’s manager Mac (Jack Reynor) is difficult to parse, as he goes to bat for Danny on multiple occasions, but also seems to keep him at arm’s length.

It’s long been joked that Rudd never ages, and that youthfulness serves him well in this role, in which his character is supposed to be much younger than his actual age of 57. His energy and enthusiasm make his character appealing throughout, even when Rick starts to go off the deep end. Jonas is decent in his role, selling the music side well, but there might be a reason his character doesn’t have many scenes requiring him to show emotions.

While Power Ballad has all the hallmarks of another great Carney music movie, it’s missing a few pieces that could have put it over the top. It’s still a fun film with an insanely catchy song at its center, but it’s not quite as memorable as most of the filmmaker’s previous efforts.

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Power Ballad is now playing in theaters.

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