Best Of :: Arts & Entertainment
In its 50th season the theater founded in 1959 by renegade director Paul Baker will spend a year saying goodbye to the Frank Lloyd Wright-designed building on Turtle Creek (now owned by the city of Dallas). In 2009 DTC will move into the 12-story Wyly Theatre (designed by Rem Koolhaas) at the multi-venue downtown Dallas Center for the Performing Arts. Before the relocation, it's time to recognize a shift in attitude and a new dedication to local talent at DTC. Under new artistic director Kevin Moriarty, the theater is returning to Baker's regional theater philosophy of encouraging local talent and debuting new work. The season opener, The Who's Tommy, directed by Moriarty, cast Denton rock band Oso Closo and four Dallas performers—Cedric Neal, Liz Mikel, Josh Doss and Gregory Lush—in lead roles, a big change from past seasons when actors were imported from New York City for starring parts and locals were relegated to spear carrying. Moriarty has also aligned DTC with SMU's theater department and has expanded free theatergoing opportunities for children and teens. There's big buzz about DTC again, and if, like us, you heart the arts, that makes the future of theater in our city pretty exciting.
Admittedly, we were a touch skeptical about the Deep Ellum Film Festival's transition from The Little Indie Fest That Could into The Big-Money Target All-Star Throwdown Jamboree scattered hither and yon. But, just two years in, the thing's a mighty beast—and mighty impressive, as the likes of Lauren Bacall, Charlize Theron, David Lynch and some dude named De Niro have piled into Dallas for a week's worth of screenings and highfalutin wingdings the likes of which most Dallasites never get to see unless their Dallas lives in Highland Park. But Michael Cain's fest makes much of Dallas look shiny and special: The West Village is hoppin', thanks to Magnolia screenings; Mockingbird Station's cram-packed, what with those Angelika screens running hot; NorthPark's packed, in no small part thanks to the red carpet upon which the most famous feet trod day and night; and all of Victory Park's a go-go, courtesy the host hotel (the W, natch). Really, for one week every spring, even we think Dallas is the most awesome city in the history of parking lots.
Denton artist and musician Nevada Hill made quite the mark on North Texas this year, contributing stellar cover art for releases by Record Hop, Dust Congress and Stumptone, the latter a vinyl-only release featuring two cardboard panels screen-printed with an imposing image of reverberating speakers. And while Hill's work for Record Hop is admittedly on a much smaller scale (thanks, CD format), it's hard to deny the appeal of the cover art, a quirky drawing of what appears to be a mangy lion crapping the band's name. You can spot the Photoshop a mile away on most local record covers these days. With Hill's DIY treasures, however, all you spot is blood, sweat and artistry.
Considering the fact that we don't really like The Smiths (blame our college roommates), we weren't really sure about "Phil Collins: the world won't listen," the three-screen video installation presented earlier this year by the Dallas Museum of Art. But damn, if it wasn't the most entertaining thing we've ever seen in a museum, with the 1987 Smiths compilation, The World Won't Listen, repeating on a loop as fans from Colombia, Turkey and Indonesia sang along karaoke-style on each of the screens. We couldn't begin to pick a favorite image, though the chick in the wrestling mask and the unfortunate looking, teary-eyed Asian man certainly burned themselves into our psyche. We liked it all so much, in fact, that we went right out and got a pompadour.
For 23 years, Barry Whistler has brought seriously talented Texas artists to his Dallas gallery walls. And without fail, his exhibitions get the conversations going. From impressions and interpretations to artistic method, Whistler's gallery openings are abuzz with "I wonder..." and "That's so...wow." And that's what makes a gallery successful—when people actually talk about the art. The list of BWG's artists is impressive: Linnea Glatt, John Pomara, Allison V. Smith, Robert Wilhite (who presented audiences this year with one heavily discussed exhibition, The Bomb, featuring a skeletal, scaled-to-size sculpture of the Fat Man Bomb) and others. Plus, the gallery provides art lovers with a lively blog (barrywhistlergallery.blogspot.com) to catch the behind-the-scenes new and upcoming events in the gallery, which readers then discuss via the comments section. See what we mean about creating art dialogue?
When a musical needs a voice that can hit the back row, go through the back wall, into the parking lot and out to the stratosphere, the director calls for Megan Kelly Bates. The bouncy redhead sings, tap-dances and gets laughs, winning hearts and testing eardrums most recently as a yappy pup with a lot of high notes in Theatre Three's A Dog's Life. You've seen Bates, 28, in The Great American Trailer Park Musical and Urinetown at WaterTower, plus shows at Casa Manana, Contemporary Theatre and other stages all over North Texas. And where'd she come by those pipes? "When I was 5 and about to audition for my first show, The King and I, my mom put me in the living room, and we practiced my song. Then she had me sing in the hallway while she stayed in the living room and yelled, 'I can't hear you!' From there a belter was born!"