Imagine for a moment that the good citizens of Austin have Dallas surrounded and are lobbing mortar shells into the streets, gang-raping women, and “cleansing” the Metroplex of its men. Now imagine that you are a playwright who wishes to comment on these events, but in order to reach the…
Editor’s note: Beginning this week, P.B. Miller, a longtime Dallas Observer contributor, takes over our regular Stage column. Nora FitzGerald, our previous columnist, has relocated to the Washington, D.C. area. Before she passed, Eurydice-like, from these pages, Nora FitzGerald asked me to visit several area theaters she had been unable…
I write this, my final column for the Dallas Observer, from an otherwise empty townhouse I have just moved into, somewhere between the Beltway and Virginia’s Bible belt. It is the transitory nature of this business that just when you feel confident in your writing gig and your babysitter and…
At the recent yearly summit of Dallas’ theater critics, a ritual gathering designed to hash out the annual Dallas Theater Critics Forum Awards, the group discussed that there were perhaps 40 to 50 fewer productions this past season than in previous years. No one had an answer for the sad…
In a few weeks, Undermain Theatre will fly to Macedonia to perform Sarajevo, a play written by Macedonian native Goran Stefanovsky, at the three-week summer festival there. Ten theaters will perform at the festival, and all of them except the Undermain are Eastern European troupes. The Undermain members have taken…
In The Picture of Dorian Gray, Oscar Wilde created a wry, entertaining novel that has also become a modern myth: the protagonist Dorian–based on the youthful-looking John Gray, whom Wilde was quietly courting at the time–remained young, seductive, and beautiful as his hidden portrait was transformed into an ugly, wretched,…
Picture it: trendy Manhattan folks sipping cafe latte at the terminally hip Cornelia Street Cafe, while in a corner, Melissa Cooper entertains them with her talents as a ventriloquist. Using a dummy named Jack Wood, Cooper explores the silly and the satirical, from channeling with the dummy to creating little…
Though Anthony Burgess deplored what he saw as modern society’s mechanization of men’s souls, he was a bit of a machine himself. During his allotted three score and 10, Burgess manufactured more than 30 novels, multiple volumes of literary criticism, and hundreds of essays, yet still found time to play…
Not surprisingly, Beginner, the new Erik Ehn work commissioned by the Undermain Theatre, is akin to a religious or spiritual experience. Ehn, a playwright fascinated with the iconography of religion, asks you to travel with him to parts unknown. To get something out of it, you have to give up…
Octavio Solis was Dallas’ homecoming king last week. Most of the people in the packed house at the Arts District Theater for his play Santos & Santos knew him when he lived here, pretended to know him, or were friends with someone who knew him. Teachers from the Arts Magnet…
You have to give Gaitley Mathews credit. The indefatigable artistic director of Deep Ellum Opera Theatre nurtures ambitious new operas in his hole-in-the-wall, neo-warehouse setting. And Mathews’ current offering, Mata Hari, is his third world premiere. It is based on a true tale that has all the elements of an…
In the long run, Richard Hamburger’s success with the Dallas Theater Center will be measured by plays such as Santos & Santos. Written by Texas-born playwright Octavio Solis, Santos is a dark work that explores the underbelly of the American dream through an immigrant crime family. Hamburger has described the…
Sitting on the stage of the McKinney Avenue Contemporary recently, playwright Erik Ehn evoked the presence of a visiting spiritual dignitary–calm, understated, full of humility. “I’m as perplexed by the script as you are–so there,” he said during the recent question-and-answer session for the MAC’s Playwrights Project. “If my plays…
I guess it should come as no surprise that Pump Boys and Dinettes, the current feel-good musical offering at Theatre Three, was a box-office hit in New York. But I’m perplexed about why it’s gotten the critical attention it has. I am not an elitist. I like to be entertained,…
Russian writers get a bad rap. Far from being suicide and samovar-obsessed weird-beards, they are actually rather jolly fellows. Examples? you ask. Well, take Dostoevsky and that funny scene in Crime and Punishment where Razumikhin cracks the old lady’s skull open with an axe and “the blood gushed as from…
Theatre Three producer and director Jac Alder owes Jason Drummond a favor. It seems the young SMU student told Alder to check out the musical release of an unknown comedy, Lucky Stiff. Alder not only bought the music, he staged the play. And it will probably turn out to be…
You must picture it first: five Irish sisters, single women in their 30s and 40s, tending assiduously to home and hearth in the small town of Ballybeg. Their only vice–and only an Irish Catholic could consider it such–is a wireless (a.k.a. radio) that plays “Irish dance music all the way…
There is perhaps no better place to film a Chekhov play, especially a postmodern adaptation of Uncle Vanya, than in an extravagantly distressed Broadway theater. The New Amsterdam theater on 42nd Street, home of the Ziegfeld Follies and an erstwhile porn house, is perfect for the part: dangerous and abandoned,…
Anyone with even a passing interest in the culture of corporate America will enjoy Undermain Theatre’s ongoing production of Tiny Dimes. Playwright Peter Mattei, a founding member of Cucaracha Theatre in New York, has created an absurdist comedy that makes complete sense and none at all, a nonnarrative piece that…
When I first noted that Kitchen Dog Theater’s current production, composed of two one-acts and called Women’s Voices, included the work of a man, I was a little baffled. I mean, if Kitchen Dog wanted to give the evening that kind of feminist–or at least feminine–weight, couldn’t it have found…
It is true that those who despise Mark Morris’ dancemaking do so for the same reasons many of us find him the most innovative choreographer of his generation. In some eyes, Morris has brought a fine-tuned and sensitive musicality formerly missing from postmodern dance, while his gender-bending style helped liberate…
When the curtain first lifted on the antimusical Avenue X, my first thought was, this is just another musical. That’s not a bad thing normally, but I expected a different, scrappy kind of beginning rather than the entire ensemble gently singing a lovely opening number amidst a muted set. The…
