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NORTH TEXAS PERFORMING ARTS NEWS

NEWS & NOTES

News & Notes Page 2 of 128
Live Theatre League Offers Relief Fund
The Live Theatre League of Tarrant County adds fund to help theater artists and personnel affected by the pandemic.

published Friday, July 17, 2020

 

A relief fund has been established for area theatre artists and personnel who have been affected by the COVID-19 pandemic. All who are associated with the theatre arts including, but not limited to, directors, technicians, designers, choreographers, musicians, actors and support staff are encouraged to apply.

“The Live Theatre League of Tarrant County has a long tradition of our theatres working together and in support of each other,” says Joe Brown, president of the board of directors. “We are very proud of how well the theatres collaborate in resources.   We are a theatre family, and while our theatres are working through the artistic and financial challenges during this pandemic themselves, we are proud that we can  support the individual theatre artists, technicians and various staff that have lost financial resources during this time.”

The one-time grant is in the amount of $250 per applicant. Applicants will be screened and authorized by a panel consisting of producers from the Live Theatre League. Depending on the number of applicants, expected distribution of grants is between 5-7 business days.

Although seeded by monies from the Live Theatre League organization, more funds are required to provide financial assistance to the hundreds of local artists and staff who have lost work due the pandemic. Donations to the fund are tax-deductible, as Live Theatre League is a 501(c)(3) not-for-profit organization. A goal has been set to raise $125,000 for the fund.

To apply for relief or to donate to the fund, visit www.livetheatreleague.org.

 

About the Live Theatre League of Tarrant County  

Established in 1992, the mission of the Live Theatre League of Tarrant County is to ensure the future of live theatre as a cultural asset to the community through promotional, collaborative and educational endeavors. Live Theatre League of Tarrant County is run by a volunteer-based board of directors, consisting of producers, presidents and lead staff of 17 Tarrant County theatres, universities and organizations, as well as members-at-large. More information can be found at www.livetheatreleague.org.

Dallas Arts and Culture Reopening Guidelines
No dates have been set, but 51 organizations in the Dallas nonprofit arts and cultural community have agreed on guidelines for reopening.

published Friday, July 17, 2020
Photo: Anyika McMillan-Herod
Soul Rep Theatre Company's 2019 production of Dot at the South Dallas Cultural Center

 

 

Dallas — Below are two news releases, from the Dallas Arts District and about the general Dallas arts and cultural community, about guidelines for the reopening of venues and organizations. No dates have been set, yet, because there are still too many unknowns as cases of COVID-19 continues to surge in Texas. But this is a start.

 

From Dallas Arts District

Despite many organizations having unknown re-start dates, the Dallas arts community is preparing for a safe reopening of facilities so they can resume bringing live, in- person cultural experiences to North Texas.

A task force of Dallas arts leaders has developed a series of safety guidelines designed to reopen cultural venues during the COVID-19 pandemic, with 51 organizations across the city adopting the standards. The guidelines, which were reviewed by a top infectious disease expert, were created to assure patrons, staff, artists, and volunteers that effective and thoughtful strategies and best practices are being implemented when doors are reopened to the public.

“The Dallas arts community has worked collaboratively during this unprecedented crisis so we can practice our art forms and serve our community while minimizing the risk to our guests, artists, and staff," said Kim Noltemy, Ross Perot President and CEO of the Dallas Symphony and board chair of the Dallas Arts District, which assembled the task force. “We think these guidelines let everyone know what to expect when we reopen our doors, our exhibitions, and performances to the Dallas community."

The reopening guidelines include:

  • Building on policies, protocols, and requirements set by the CDC, State, City, and County officials.
  • Requiring the use of face masks.
  • Utilizing social distancing as a core principle in determining the number of visitors, ticketing, seating, and when mapping the patron experience.
  • Creating a Code of Conduct that patrons must agree to, which outline key expectations including mask use, social distancing, staying home if experiencing symptoms, and treating staff, patrons, volunteers, and artists with patience and respect. Those that don't comply will be asked to leave.
  • Pre-reserved or timed entrances and exiting processes when dealing with large audiences.
  • Working towards “low-touch” or “touch-free” ticketing and transactions.

In May and early June, Governor Greg Abbott published safety protocols to allow the reopening of museums and fine arts performance spaces. These include capacity limits to allow for social distancing. Task force members took those, along with strategies and best practices being implemented across the country to develop their guidelines. These were then reviewed by Dr.

Trish Perl, chief of the Division of Infectious Diseases at UT Southwestern Medical Center, and her recommendations were incorporated.

“These guidelines are helping us carefully reopen, so people feel good about coming back - in person – to enjoy the magic of the arts,” said Lily Weiss, executive director of the Dallas Arts District. “Despite the hundreds of creative digital offerings that the cultural community has developed during this disruption, we know our audiences yearn for live cultural experiences, for everything from entertainment to inspiration to healing.”

The groups vary in size, art forms, genres, ethnic and cultural focus, and geographic location within Dallas. The organizations agree to use these guidelines as a baseline and will build on them to further enhance safety measures unique to their art forms, venues, audiences, and experiences.

While these guidelines provide a path, the timing of reopening is still uncertain. Due to the recent increase in COVID-19 infections and hospitalizations in North Texas, many have paused their plans to reopen.

“We all have a laser focus on doing this safely,” said Weiss. “So if it means we have to wait a bit longer, that is fine. Meanwhile, the guidelines are solid and we are all working now to put them into place.”

 

 

Re: Dallas Nonprofit Arts and Cultural Community

As Texas works to reopen from its COVID-19 closures, members of the Dallas nonprofit arts and cultural community have created guidelines to resume operations once authorized to do so. The standards capture overarching safety principles and risk mitigation practices in our industries that will guide the policies and strategies unique to each organization’s art form, audiences, artists, and venues. This is a living document. We will regularly assess the evolving status of the pandemic in North Texas and will, in alignment with the latest scientific and medical recommendations, make changes accordingly. These guidelines have been reviewed by Dr. Trish Perl, Chief, Division of Infectious Diseases at UT Southwestern Medical Center and her recommendations have been incorporated.

 

Background

Arts and culture define the identity of Dallas. It's an industry which, before COVID-19, had an annual economic impact of close to $1B supporting 33,000 jobs. Each year, the economic impact generated by these small businesses produce more than $45M in local tax revenues (that stat comes from the 2015 Arts & Economic Prosperity 5, City of Dallas, Americans for the Arts). Our diverse, growing cultural community has supported our reputation as a creative, vibrant city helping to attract talent, jobs, and corporate relocations to Dallas. They create economic, cultural, tourism, and quality-of-life ripple effects touching every corner of our city. To resume operations, we are adopting reasonable measures as a roadmap to reduce risk moving forward while providing a safe, welcoming, and respectful patron experience.

 

Guiding Principles for Reopening to the Public

Each organization will determine risk mitigation factors for external and internal conditions that will allow for its reopening and ongoing specific operating procedures. This builds on the guidance from the Governor, Centers for Disease Control and Prevention, and City and County health and public safety authorities.

Before reopening, each organization will develop its own risk mitigation plans for its unique venues and art form that will address:

  1. Patrons and guests
  2. Artists, lecturers, visiting companies and back-of-house staff
  3. Docents, ushers, volunteers, concessions and front-of-house staff
  4. Contractors (i.e. security, parking, concessions, etc.)
  5. Office staff
  6. Equity and accessibility

To reassure the public, our staff, and our artists, we will work to achieve the following safety and risk mitigation measures:

  • Maintain social distancing as a core principle in determining the number of public visitors in our venues and in creating our patron flow and experience models. This includes seating and ticketing maps, alongside reduced numbers of visitors in spaces and highly encouraged advance ticket sales for museums.
  • Require patrons to bring and use their own face coverings in our venues.  The venue will supply masks to those who neglected to bring them. Requirements may vary for outdoor spaces.
  • Create a Code of Conduct for staff, artists, volunteers, and patrons that:
    • Outlines key expectations including mask use, personal temperature checks, social distancing, and respect for others.
    • Requests they do not come to the facility if they are feeling ill or have other symptoms such as fever or loss of smell.
    • Asks patrons to check this box in the ticketing purchase path (if technology supports.)
    • Patrons who do not comply with these guidelines may be asked to leave the premises.
  • Require face masks and good hand hygiene for all staff who engage with the public and, where necessary, face shields.
  • Map the patron experience to reduce or eliminate points of contact or create social distancing.
  • When and where possible, create “touch-free” or “low-touch” entrances, exits, money transactions, ticket scanning, etc.
  • Provide alcohol hand sanitizer and stations to facilitate good hand hygiene practices.
  • Institute enhanced cleaning protocols, including frequent disinfection of “high-touch” door handles, elevators, and restrooms. Provide multiple sanitizing stations.
  • Monitor public spaces to facilitate social distancing.
  • When large attendance numbers are expected, work to achieve a balanced arrival, entry, and exit process through timed tickets, pre- reserved entry and exit times, or other means to achieve this purpose.
  • Develop strong strategies, both pre-arrival and onsite, that clearly communicate policies in place, health and safety measures taken, and what to expect in the patron path during their visit.
  • Consider the use of acrylic screens, face shields, or similar protective barriers at key customer contact points in the patron path.
  • No docent-guided tours will be allowed in the opening phase.
  • Self-parking will be encouraged with updated protocols and training for parking employees, contractors, and volunteers.
  • Work to support infection tracking efforts by local health officials when the situation warrants.
  • Work with the facility's engineering team to maximize air circulation and filtration systems where possible.
  • With the government’s social distancing capacity limits as the legally allowed base, individual organizations may determine that a higher capacity must be reached to reopen in a safe and fiscally responsible way unique to their art form, venue, and experience.
  • Create ticketing and seating strategies to ensure appropriate social distancing between individuals or parties while providing a good performance experience.

 

Theaters, Lecture Halls, and Concert Halls

  • Develop strategies to achieve social distancing in backstage spaces to protect artists and technical crews before, during, and after performances.
  • Encourage the artists/producers to choose or adapt creative content, and develop staging strategies that mitigate the risk to artists, crews, and technicians during performances.

This document represents the consensus view of the organizations listed below and is not intended to be binding on any of them. None of the organizations involved in the preparation of this document will have any liability to any person for a failure, inadvertently or intentionally, to follow, implement or enforce any of the policies and procedures described herein, and no person may rely on the policies or procedures as a basis for asserting any claim against any organization.

 

Participating Dallas Cultural Organizations

  • Anita N. Martinez Ballet Folklorico 
  • American Baroque Opera Company 
  • AT&T Performing Arts Center 
  • Avant Chamber Ballet 
  • Beckles Dancing Company 
  • Bishop Arts Theatre Company 
  • Bruce Wood Dance
  • Chamber Music International 
  • Children’s Chorus of Greater Dallas 
  • City of Dallas Office of Arts and Culture 
    • Majestic Theatre 
    • Moody Performance Hall 
    • South Dallas Cultural Center 
    • Latino Cultural Center 
  • Creative Arts Center of Dallas 
  • Crow Museum of Asian Art, University of Texas at Dallas 
  • Cry Havoc Theater Company 
  • Dallas Arts District Foundation 
  • Dallas Bach Society 
  • Dallas Black Dance Theatre 
  • Dallas  Chamber Symphony 
  • Dallas Children’s Theater 
  • Dallas Heritage Village at Old City Park 
  • Dallas Holocaust and Human Rights Museum 
  • Dallas Institute of Humanities and Culture 
  • Dallas Museum of Art 
  • The Dallas Opera 
  • Dallas Summer Musicals
  • Dallas Symphony Orchestra 
  • Dallas Theater Center 
  • Dance Council of North Texas 
  • Danielle Georgiou Dance Group 
  • Echo Theatre 
  • Fine Arts Chamber Players 
  • Indique Dance Company
  • Junior Players
  • Klyde Warren Park
  • Lone Star Wind Orchestra
  • Lyric Stage
  • Ollimpaxqui Ballet
  • Orchestra of New Spain
  • Orpheus Chamber Singers
  • Nasher Sculpture Center
  • Perot Museum of Nature and Science
  • The Sixth Floor Museum at Dealey Plaza
  • Sammons Center for the Arts
  • Shakespeare Dallas
  • Soul Rep Theatre Company
  • Texas Ballet Theater
  • TITAS/Dance Unbound
  • Turtle Creek Chorale
  • Undermain Theatre
  • Uptown Players
  • Verdigris Ensemble
  • The Women’s Chorus of Dallas
Theaters Form BIPOC Arts Coalition
Bishop Arts Theatre Center, Cara Mía Theatre, Soul Rep Theatre and Teatro Dallas have formed an alliance, with recommendations for the city and the philanthropic community.

published Wednesday, July 15, 2020
Photo: Photo Noire | Richard Bailey | Linda Blase | Anyika McMillan-Herod
Productions from the BIPOC Arts Coalition, clockwise from top left: Loving and Loving at Bishop Arts Theatre Center,
Villa at Teatro Dallas, Swimming While Drowning at Cara Mía Theatre, and The Monarch at Soul Rep Theatre

 

Dallas — This just in from the newly formed BIPOC Arts Coalition, a union of four Dallas theaters that serve BIPOC communities: Bishop Arts Theatre Center, Cara Mía Theatre, Soul Rep Theatre, and Teatro Dallas.

 

FOUR DALLAS THEATRES FORM THE BIPOC ARTS COALITION: WE ARE TOO IMPORTANT TO FAIL

“Since our inceptions, BIPOC (Black, Indigenous, People of Color) arts organizations and artists have provided grassroots support to our communities, distinguishing ourselves from the arts groups simply asking for relief funds to keep producing. BIPOC artists provide services that support Public Safety, Health, Mental Health, Youth Development, Academics, Education, Cultural Competency and Community Building. Simply stated: We are too important to fail.”

 

The BIPOC Arts Coalition announces its formation to support BIPOC communities that have been historically underserved and under- resourced – the very communities that today are disproportionately affected by COVID- 19, in terms of both community health and economic impact.

The goals of the BIPOC Arts Coalition are to provide a vision and advocacy platform for antiracism, equitable funding and structural support for culturally-specific artists and performance groups in Dallas. Although the entire arts ecosystem has experienced losses during COVID-19, BIPOC arts groups and artists have historically suffered from underfunding, like the communities we represent. Our BIPOC arts organizations and artists therefore run the risk of continued underfunding at this time. Nevertheless, BIPOC arts organizations and artists are the most prepared to support communities most affected by COVID-19 and systemic racism.

In order to sustain our work with the communities we serve, the BIPOC Arts Coalition recommends the following actions to support the work of BIPOC artists and arts organizations.

From the City of Dallas, the BIPOC Arts Coalition recommends:

  • For the City of Dallas’s Fiscal Year (FY) 20-21, fully fund the neighborhood City of Dallas Cultural Centers serving BIPOC communities
  • Maintain FY 19-20 funding levels of BIPOC arts organizations into FY 20-21 in the Cultural Organization’s Program (COP)
  • Due to the overwhelming response to a recent City of Dallas grant program for ALAANA or BIPOC artists, increase FY 20-21 funding levels for neighborhood arts programs from FY 19-20 in order to increase service to BIPOC communities in need and support the growing number of BIPOC working artists seeking City support. (These programs include Pop-up cultural centers, CAP and ArtsActivate among other new initiatives. Funding and contracts should go primarily to BIPOC-led organizations and artists.)
  • Funding support for facilities for BIPOC Arts Organizations that own or manage buildings.

From the philanthropic community, the BIPOC Arts Coalition recommends to:

  • Rectify historic underfunding of BIPOC artists and arts organizations
  • Provide multi-year funding and investment into endowments of BIPOC arts organizations
  • Provide funding support for BIPOC Arts Organizations that own or manage buildings
  • Provide funding support for Health Insurance for BIPOC individual artists and staff at BIPOC arts organization

"Research has shown that national distribution of arts funding flows disproportionately to large institutions, which puts culturally specific organizations at a disadvantage. Culturally specific organizations are affected by the same structural racism and inequities that affect the people and communities they serve."

— Zannie Voss, Director of SMU DataArts and Jill Robinson, CEO of TRG Arts from the study, “In It for the Long Haul” (https://bit.ly/SMUDataArtsLongHaul)

 

BISHOP ARTS THEATRE CENTER’S MISSION

To cultivate a diverse and vibrant arts community while creating sustainable opportunities for local and emerging artists through performances and education.

 

CARA MÍA THEATRE’S MISSION

To inspire and engage people to uplift their communities through transformative Latinx theatre, multicultural youth arts experiences and community action.

 

SOUL REP THEATRE COMPANY’S MISSION

Soul Rep Theatre Company exists to provide quality transformative Black theater that enlightens the imagination, the spirit, and the soul.

 

TEATRO DALLAS’ MISSION

Teatro Dallas is committed to the cultural empowerment of the Latinx community by representing our varied experiences, voices, and artistic expressions. Through high quality theatrical programming Teatro Dallas employs the power of theater to celebrate our diverse traditions while strengthening our community.

Black Lives Matter
We stand with the revolution and recognize that white supremacy in the performing and visual arts, and in arts journalism, must be dismantled.

published Thursday, June 11, 2020

North Texas — The Metropolitan Arts Media board of directors and the staff of TheaterJones stand in solidarity against police brutality and the murders of Black people.

We say the names of George Floyd, Breonna Taylor, Atatiana Jefferson, Tony McDade, Manuel Ellis, Ahmaud Arbery, Botham Jean and all whose lives ended violently and unjustly.

From our founding in 2009, TheaterJones has insisted on championing culturally specific arts organizations run by BIPOC administrators and artists in our coverage of an expansive arts scene in a large, diverse market. We have made efforts to include Black and brown writers on our team, and on our board of Trustees when we formed the nonprofit organization Metropolitan Arts Media in 2018. We recognize that we still have work to do in these areas, and vow to find more BIPOC contributors to cover not only culturally specific arts, but all work being created on local stages.

We pledge to look deeper into arts organizations in North Texas and encourage efforts to move beyond tokenism and surface diversity, equity and inclusion promises. Discussions of producing work by minority writers, composers and choreographers must be more than lip-service; and a mere nod to color-blind casting is unacceptable. True representation must include hiring BIPOC artists behind the scenes and in staff and leadership positions, and appointments to boards of directors. It’s time to dismantle systemic racism in the arts industry and in society.

We firmly support the #WeSeeYou initiative, and acknowledge that white supremacy has not only plagued the discipline of theater, but also dance, classical music, opera, visual art, the literary arts – and arts journalism.

This is a critical moment for our nation and the arts. As a media organization with a mission to explore and shine a light on the local arts, we are committed to being a part of the solution.

 

Black Women Matter. Black Men Matter. Black Children Matter.

Black Trans Lives Matter. Black Queer Lives Matter.

Black Artists Matter. Black Creatives Matter. Black Audiences Matter.

Black Administrators Matter. Black Board Members Matter.

Black Businesses Matter. Black Voices Matter. 

Black Ideas Matter. Black Dreams Matter.


Black Lives Matter.

 

 

 

» To learn more about #WeSeeYou, read this and sign the petition.

Intermission for Equity Theaters
Video: 18 DFW Actor's Equity Association theaters have formed an alliance to promote awareness about COVID-19 safety standards for artists and patrons.

published Tuesday, May 5, 2020

 

Last month, 18 professional Equity DFW theatres formed an alliance in an effort to support each other, come together to manage the crisis facing all arts organizations as a result of COVID-19, and to lead our industry in setting safety standards for patrons and artists alike.  We are much stronger together than we are as individual theaters. This video was a joint effort and will be communicated simultaneously by all 18 organizations on Tuesday, May 5th at 10am as part of North Texas Giving Day Now.  It illustrates the economic and community impact our combined 18 organizations have and signals to artists and audiences alike that we are working together to safely get our stage lights on as quickly as possible. This is just an intermission.

The theaters, in alphabetical order, are as follows, listed with the person(s) who are featured in the video: Amphibian Stage (Kathleen Culebro), Bishop Arts Theatre Center (Teresa Coleman Wash), Cara Mía Theatre Co. (David Lozano), Casa Mañana (B.J. Cleveland), Circle Theatre (Matthew Gray), Dallas Children's Theater (Robyn Flatt and Sandra Robertson), Dallas Theater Center (Kevin Moriarty), The Firehouse Theatre (Derek Whitener), Jubilee Theatre (Wambui Richardson and Christie Howard), Kitchen Dog Theater (Tina Parker), Lyric Stage (Christopher Deaton), Second Thought Theatre (Carson McCain and Alex Organ), Shakespeare Dallas (Raphael Parry), Stage West (Dana Schultes), Theatre Three (Christie Vela and Jeffrey Schmidt), Undermain Theatre (Bruce DuBose), Uptown Players (Jeff Rane), and WaterTower Theatre (Shane Peterman).

 

Blake Hackler Wins a Fulbright
The Dallas-based director, playwright and educator has been awarded a Fulbright Scholars grant to teach and research in Romania for four months in 2021.

published Thursday, April 30, 2020
Photo: Jordan Fraker
Blake Hackler

This just in from Southern Methodist University Meadows School of the Arts:

 

Dallas — Actor, director and playwright Blake Hackler, associate professor of theatre at SMU Meadows School of the Arts, has been awarded a Fulbright Scholars grant to conduct teaching and research for four months in Romania. Hackler will work with the University of Craiova and the National Theatre-Marin Sorescu in the city of Craiova. The residency will tentatively begin in the spring of 2021, depending on the continued impact of COVID-19. His project, “Embodying Shakespeare: A 21st Century Approach to Classical Acting,” will include teaching Shakespeare at the university and observing and working with actors at the National Theatre.

The two institutions have a close relationship, Hackler said, and the theatre is known for its bold, physical productions. “The Sorescu is also the producing institution for the acclaimed International Shakespeare Festival, which provides unparalleled access to work by many of the world’s most acclaimed interpreters of Shakespeare,” said Hackler. “The National Theatre actors, immersed in Russian physical theatre methodologies and exposed over the past decade to a variety of international Shakespearean performances, provide me with an indispensable laboratory to explore alternate theories about classical actor training outside of the American model.” He is also exploring opportunities to conduct masterclasses at institutions in Bucharest and other cities in the country.

This is the second Fulbright award Hackler has received. In 2015, he was named a Fulbright Scholar to Bulgaria, where he conducted teaching and research in the capital city, Sofia. He was also awarded a prestigious MacDowell Fellowship in 2018. Hackler joined the Meadows School faculty in fall 2011 and serves as head of acting. He also holds a teaching appointment at Yale University, where he earned an M.F.A. in acting.

As an actor, Hackler has appeared in productions on Broadway, Off-Broadway and in regional theatres throughout the country, working with such acclaimed directors as Michael Mayer, Scott Ellis, Alex Timbers and Mike Alfreds. In New York, he worked with theatres including Playwrights Horizons, York Theatre, The Ohio, and Roundabout. In Dallas, he was just named a Brierley Resident Acting Company member of the Tony-winning Dallas Theater Center. He is also a company member at the nationally recognized Undermain Theatre, and he has appeared at the Trinity Shakespeare Festival, Dallas Theater Center, Second Thought Theatre and Theatre Three. 

He is a member of the esteemed BMI/Lehman Engel Musical Theatre Writing Program and is an award-winning playwright whose works have been seen across the U.S. His recent play What We Were was a winner of the Ashland New Play Festival and a finalist for the O’Neill Playwriting Conference in 2018, and received its world premiere in 2019. His adaptation of Ibsen’s Enemy of the People was named Best Play of 2018 by the Dallas Observer.

Hackler has directed for Theatre Three, Trinity Shakespeare, Second Thought Theatre and the Undermain, as well as numerous productions at SMU.

 

About the Fulbright Program

Established in 1946, the Fulbright Program is the flagship international educational exchange program sponsored by the U.S. government and is designed to increase mutual understanding between the people of the United States and the people of other countries. Under its umbrella, the Fulbright U.S. Scholar Program offers opportunities for American scholars, artists and professionals to conduct research, lecture and/or consult with other scholars and institutions abroad. The U.S. Scholar Program offers approximately 470 teaching, research or combination teaching/research awards in over 125 countries worldwide. For more information, visit eca.state.gov/fulbright.

Blake Hackler and Molly Searcy Join DTC Company
The Southern Methodist University professor and student are the latest additions to the Brierley Resident Acting Company at Dallas Theater Center.

published Wednesday, April 22, 2020
Photo: Courtesy DTC
Blake Hackler and Molly Searcy

 

This just in from Dallas Theater Center:

Dallas — 2017 Regional Theatre Tony Award® Recipient Dallas Theater Center announces two new actors, Blake Hackler and Molly Searcy, to join the Diane and Hal Brierley Resident Acting Company, for its 2020-21 season. Dallas Theater Center audiences will see Blake Hackler in Tiny Beautiful Things, The Sound of Music and as Scrooge in A Christmas Carol. Molly Searcy has signed on to appear in High School Play: A Nostalgia Fest, A Christmas Carol and The Sound of Music.

“Blake and Molly have each given brilliant performances as guest artists on our stage in the past, and we are looking forward to welcoming them to our professional company of resident actors to create high impact, award-winning theater for our community next season,” said Kevin Moriarty, Enloe/Rose Artistic Director, Dallas Theater Center. “As the appointment of these two actors demonstrates, Dallas Theater Center’s partnership with SMU is a source of artistic strength and inspiration for both of our institutions and for Dallas audiences.”

Hackler and Searcy have deep connections to SMU Meadows School of the Arts, where Hackler is the Head of Acting and Searcy is a 2020 graduate of its MFA acting program.

“We are proud of our long partnership with Dallas Theater Center,” said Samuel S. Holland, dean of the Meadows School of the Arts. “We are grateful for the opportunities Dallas Theater Center has provided over several decades to our students, alumni and faculty and for the chance to give back to the Dallas arts community through this special relationship.”

Blake Hackler has appeared in productions on Broadway, Off-Broadway and in regional theatres throughout the country. Hackler currently serves as the Head of Acting at Southern Methodist University. He is a member of the esteemed BMI/Lehman Engel Musical Theatre Writing Program and is an award-winning playwright. He has twice been named a Fulbright Scholar, to Bulgaria and Romania, and was a 2018 MacDowell Fellow. Hackler holds an MFA from Yale School of Drama.

Hackler’s previous work at DTC has included the role of Andrew Aguecheek in Moriarty’s 2019 production of Twelfth Night, as well as featured performances in Frankenstein and A Christmas Carol. “Blake is widely respected as one of the leading theater artists in Dallas,” said Moriarty. “He’s a great collaborator and an inspired man of the theater whose artistry will strengthen our company and thrill our audiences. I can’t wait to collaborate with him.”

“It's a great honor to be invited to join the Dallas Theater Center family and this group of esteemed artists - some who are long-time friends, some who are former students, all who are extraordinary,” said Blake Hackler. “It's my hope that I can continue to contribute to the mission of Dallas Theater Center to create theater that tells a multitude of stories and honors a diversity of voices in our vibrant community.”

Molly Searcy will graduate next month from Southern Methodist University (SMU) with an MFA in acting. Searcy has appeared on stage in Theresa Rebeck’s world premiere of Enlightened at the Alley Theatre All-New Festival, and in Gordon Dahlquist’s world premiere of Red Chariot at Undermain Theatre. While at SMU, she portrayed lead roles in Macbeth, The Cherry Orchard, and Eurydice. Searcy is also a voice actor for Sentai Filmworks, FUNimation, and Sound Cadence Studios. She is best known as the voice of Akame in Akame ga Kill! on Cartoon Network and Netflix, Isuzu Sento in Amagi Brilliant Park, Mako Reizei in Girls und Panzer (Netflix), and Hilda in Saint Seiya (Netflix). Molly is a native Houstonian, with a background in ballet.

“We are thrilled to welcome Molly Searcy to our company as the Linda and Bill Custard SMU Meadows actor for our 2020-21 season,” says Moriarty. “For the past decade, our company has been enriched by the presence of a graduating student from SMU’s MFA acting program, providing the emerging artist with professional artistic opportunities and inspiring our veteran actors with fresh approaches to collaboration and artistry.” Searcy’s most recent performance at DTC was in last season’s acclaimed production of The Wolves. “Molly is a talented actor, accomplished in her craft and a positive collaborator in the rehearsal process. We are very pleased that she’ll be joining us next season.”

"I am so excited to be a part of the Brierley Resident Acting Company and for this opportunity to give to my community through performance. As artists, I believe our job is to evoke, reflect, challenge, and create a space for embodying life's complex, exhilarating, terrifying moments,” said Molly Searcy. “My hope is that by participating in work that offers catharsis or comfort or a challenge, I am making a contribution. This hope is what drew me to Dallas Theater Center and its mission.”

In addition to Hackler and Searcy, the 2020-21 Brierley Acting Company will include returning members Ace Anderson, Tiana Kaye Blair, Tiffany Solano DeSena, Liz Mikel, Alex Organ, Christopher Llywyn Ramirez, and Sally Nystuen Vahle. (Ana Hagedorn rotates out as the previous SMU Meadows actor; and so does Kieran Connolly, who was an SMU professor.)

 

ABOUT DALLAS THEATER CENTER:

One of the leading regional theaters in the country and the 2017 Regional Theatre Tony Award® Recipient, Dallas Theater Center (DTC) performs to an audience of more than 100,000 North Texas residents annually. Founded in 1959, DTC is now a resident company of the AT&T Performing Arts Center and presents its Mainstage season at the Dee and Charles Wyly Theatre, designed by REX/OMA, Joshua Prince-Ramus and Rem Koolhaas and at its original home, the Kalita Humphreys Theater, the only freestanding theater designed and built by Frank Lloyd Wright. DTC is one of only two theaters in Texas that is a member of the League of Resident Theatres, the largest and most prestigious non-profit professional theater association in the country. Under the leadership of Enloe/Rose Artistic Director Kevin Moriarty and Managing Director Jeffrey Woodward, DTC produces a seven-play subscription series of classics, musicals, and new plays and an annual production of A Christmas Carol; extensive education programs, including the National Arts and Humanities Youth Program Award-winning Project Discovery, SummerStage and partnerships with Southern Methodist University’s Meadows School of the Arts and Booker T. Washington High School for the Performing and Visual Arts; and many community collaborations. In 2017, in collaboration with SMU Meadows, DTC launched Public Works Dallas, a groundbreaking

community engagement and participatory theater project designed to deliberately blur the line between professional artists and community members, culminating in an annual production featuring more than 200 Dallas citizens performing a Shakespeare play. Throughout its history, DTC has produced many new works, including The Texas Trilogy by Preston Jones in 1978; Robert Penn Warren’s All the King’s Men, adapted by Adrian Hall, in 1986; and recent premieres of Miller, Mississippi by Boo Killebrew; Hood: The Robin Hood Musical Adventure by Douglas Carter Beane and Lewis Flinn; Bella: An American Tall Tale by Kirsten Childs; Clarkston by Samuel D. Hunter and Moonshine: That Hee Haw Musical by Robert Horn, Brandy Clark and Shane McAnally. Dallas Theater Center gratefully acknowledges the support of our season sponsors: Texas Instruments, American Airlines, Lexus and NBC 5.

Get Lit at the Shakes Pub Crawl
Here's info on the annual Shakespeare Dallas Pub Crawl, March 7 in Deep Ellum. Join us!

published Thursday, March 5, 2020
Photo: Courtesy Shakespeare Dallas
From the 2019 Shakespeare Dallas Pub Crawl

 

Dallas — The annual Shakespeare Dallas Pub Crawl is from 2 to 7 p.m. Saturday, March 7 in Deep Ellum, and once again, TheaterJones is thrilled to be part of the festivities. The event is broken into four rounds at the bars Twilite Lounge (2-3 p.m. and the check-in spot), Trinity Cider (3-4 p.m.), Ruins (4-5 p.m.), and Westlake Brewing Company (6-7 p.m.), and there will also be a "shop hop" event at retail locations, trivia and costume contest, and more. Prizes include tickets to Dallas Symphony Orchestra, which is performing Berlioz's Romeo and Juliet in May, plus tickets to other area arts groups, including to Shakespeare Dallas.

There will also be performances by Altered Shakespeare (scenes from Two Gentlemen of Verona) and Shakespeare Everywhere (scenes from The Tempest). The trivia contest will be hosted by Shakespeare Dallas' Jenni Stewart and TheaterJones' Mark Lowry and Lance Lusk.

You can learn more about the event on its Facebook page, here, and you can buy tickets in advance here or get them at the check-in on the day of the crawl.

 

Below is the complete info, with locations and ticketing information:

To drink, or not to drink? Is that really a question? We’re back for our 9th annual Shakespeare Dallas Pub Crawl, so come celebrate by drinking with us in Deep Ellum on Saturday, March 7! Don your best Elizabethan garb or Shakespeare Dallas tee shirt and come raise a glass or two or five to the bard!

 

Check-In/First Round (2-3pm)

Twilite Lounge Dallas

2640 Elm Street

 

Second Round (3-4pm)

Trinity Cider

2656 Main Street

Performance by Altered Shakespeare at 3:20

 

Third Round (4-5pm)

Ruins

2653 Commerce St.

Performance by Shakespeare Everywhere at 4:20

 

Final Round and Trivia (5-7pm)

Westlake Brewing Company

2816 Commerce Street

 

Pub crawlers will receive drink specials, join-in Shakespeare Trivia, and participate in a Deep Ellum "shop hop" for a Shakespeare in the Park ticket giveaway. You can also purchase raffle tickets to enter to win some great prizes and support Shakespeare Dallas! Visit our website at shakespearedallas.org/special-events for more details!

 

WHEN: Saturday, March 7 from 2 to 7 p.m.

AGES 21+

 

PURCHASE PUB CRAWL TICKETS

$12 Members; $15 Public

-- Advanced Registration:

-- Walk-up Registration: We will have limited number on event day

 

TICKET INCLUDES (Items received at check-in)

- Wristband

- Shakespeare Dallas souvenir cup

- Drink specials at participating bars

- Spot in our infamous Shakespeare Trivia for a grand prize giveaway

- "Pub Crawl" map

-  Chance to participate in a "Shop Hop" at Deep Ellum retail shops. A pair of Shakespeare in the Park tickets will be given to those who receive their sticker at each stop of the Scavenger Hunt map. A limited supply of free wine samplings for our pub crawlers will be served at select participating stores.

 

ACTIVITIES

- Performances at various bars

- Shakespeare Trivia

- Shakespeare Costume Contest: Shakespeare Dallas gift basket given to the best dressed in their Shakespeare or Elizabethan inspired costume.

-Raffle Drawing

 

2-5 PM Shop Hop: In addition to visiting the participating bars, receive a sticker between 2-5 PM from each of the Deep Ellum retail shops on our “Shop Hop” scavenger hunt map, and turn it in at the Shakespeare Dallas table (Location TBA) from 5:30-7 PM to claim your free pair of Shakespeare in the Park tickets. Select retail stores will be offering complimentary wine samplings to Shakespeare Dallas pub crawlers while supplies last.

 

Julie Andrews Coming to Winspear
The legendary actress appears in An Evening of Conversation with Julie Andrews at AT&T Performing Arts Center on June 26; tickets on sale Feb. 14.

published Monday, February 10, 2020
Photo: Elite Entertainment
Julie Andrews

DallasJulie Andrews, who is beloved for her stage and/or movie roles in such musicals as The Sound of Music, Mary Poppins, My Fair Lady, Camelot, and Victor/Victoria, will appear in a conversation format in An Evening of Conversation with Julie Andrews, happening June 26, 2020 at the Winspear Opera House.

It's important to note that she will not be singing. But you'll hear stories about her famous roles and the people she worked with. She'll be joined by her daughter, Emma Walton Hamilton, who co-wrote the new book, Home Work: A Memoir of My Hollywood Years, with her mother.

 

Here's the news release about the event.

Elite Entertainment Inc. announced that ‘An Evening of Conversation with Julie Andrews’ comes to AT&T Performing Arts Center Winspear Opera House on Friday, June 26, 2020 at 7:30 pm. Public tickets go on sale Friday, February 14 at 10 a.m.

Ticket prices for ‘An Evening of Conversation with Julie Andrews’ range from $69 to $254 and can be purchased, beginning February 14 at 10 a.m., online at www.attpac.org, by telephone at 214-880-0202 or in person at the AT&T Performing Arts Center Winspear Opera House Box Office at 2403 Flora Street. The Box Office is open 10:30 a.m. – 4:30 p.m. Monday through Friday and before performances – closed Saturdays and Sundays. For groups of 10 or more please call 214-978-2879.

A true legend in every sense of the word, Julie Andrews has entertained millions for more than half a century.  Ms. Andrews shares her extraordinary experiences from her early days of vaudeville in England to the popular projects and work she continues to create today.  Opening with a beautiful video montage of her work, ‘An Evening of Conversation with Julie Andrews’ is a unique and unforgettable visit with one of the world's most beloved icons. 

From the nanny we’d always wished for in Mary Poppins to mountain-top twirling nun-no-more Maria in The Sound of Music to a fabulous cross-dressing club crooner in Victor/Victoria, Julie Andrews has towered upon the big screen.  On Broadway, she won hearts with her iconic portrayals in My Fair Lady and Camelot. What stories she has to share! And share them she will during this special evening!  Julie will also be discussing her new book, "Home Work: A Memoir of My Hollywood Years”.  Joining Ms. Andrews is her daughter and co-author, Emma Walton Hamilton, who will facilitate questions from the audience.  Julie Andrews will not be singing in this performance.

TITAS Postpones Beijing Dance
The February visit by Beijing Dance/LDTX is postponed because of the Coronavirus outbreak in China.

published Tuesday, February 4, 2020
Photo: Ying Peng
Beijing Dance/LDTX

 

 

DallasTITAS/Dance Unbound has postponed the Feb. 28-29 performance of Beijing Dance/LDTX because of the Coronavirus outbreak in China. A replacement will be announced soon, but we can tell you that it will consist of three local companies in a preview of a to-be-announced festival of local talent that TITAS will present in late summer 2020, says TITAS Executive Director Charles Santos.

Dallas was to be the third U.S. stop on the Beijing Dance/LDTX tour, and because of the spreading virus, the group has canceled its international dates. "It's the responsibie thing to do," says Santos.

Santos says he expects the outbreak to be resolved by the time of the TITAS gala, in which the group is bringing in two artists from China.

Look for more info on the Feb. 28-29 performances coming on TheaterJones.

Read more about this announcement in the news release below:

 

 

TITAS/DANCE UNBOUND today announced that its upcoming presentation of BeijingDance/LDTX is being postponed due to travel restrictions caused by the Coronavirus outbreak in Asia. The entire North American tour has been postponed.

“While we are disappointed in the postponement, we are encouraged to learn that everyone in BeijingDance/LDTX is healthy,“ says Charles Santos, TITAS/DANCE UNBOUND

 executive director/artistic director. “This global health issue is changing every day, it was necessary and responsible for them to postpone the entire tour.”

BeijingDance/LDTX was scheduled to appear at Moody Performance Hall on February 28 & 29. TITAS/DANCE UNBOUND, its presenting partner the AT&T Performing Arts Center and other dance presenters in the United States have been monitoring the situation overseas and working to ensure they were following the recommendation of the World Health Organization, Center for Disease Control and City of Dallas protocols. They want to ensure the safety of the dancers, staff and patrons attending performances.

“We are certainly saddened that, this year, our Dallas audiences will not experience this amazing company from across the globe,” said Debbie Storey, president and CEO of the AT&T Performing Arts Center. “TITAS and the Center are committed to bringing them back in a future season. This is a reminder of how connected we are to the global community and we send our best wishes to LDTX, the people of China, and to everyone affected by this health crisis.”

TITAS/DANCE UNBOUND also announced that it will be presenting three top local dance companies on those same dates, February 28 & 29, in the Moody Performance Hall. The three dance companies will be announced shortly. This presentation will replace the BeijingDance/LDTX engagement and will be a “preview” of a bigger new festival being developed by TITAS/DANCE UNBOUND. In the coming days, more details on the three companies and the new festival will be shared.

With the change of performing artists for the February 28 & 29 dates, all ticket holders for BeijingDance/LDTX will be directly contacted by the AT&T Performing Arts Center box office staff to explain the options regarding their performance tickets. If patrons have any questions, they are welcome to call the box office at 214.880.0202 or TITAS at 214-978-2855.

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