Arts Blog

I know next to nothing about dance. I must preface this entry with this piece of information, because I am about to talk about a new musical on Broadway that deals entirely with dance. Please feel free to elaborate in the comments on anything you feel I may omit here simply from dance ignorance.

Twyla Tharp, fresh on the heels of her megahit Movin' Out, centered around the music of Billy Joel, has brought her vivacious and impassioned choreography together with the songbook of Frank Sinatra in Come Fly Away, which opens on Broadway on March 25.

It is not entirely fair to critique a show while it is still in previews. Before a show opens, many concepts and missteps are still fluid and ready for changes. Especially in a show like Come Fly Away, there is room for improvement and time to fix problems.

Since I know theatre, I have two main pieces of advice and neither one has a thing to do with the incredible choreography. Twyla's got that under control.

I'm about to leave for the opening night of WaterTower Theatre's 2010 Out of the Loop Fringe Festival, where I'll see the first of five different one-man shows New York-based performance artists Mike Daisey will be doing. You can read my review when it goes online late tonight. You can see my Guide advance story here, and go to WaterTower's own site for detailed information.

That's a photo of Daisey, by the way.

I'll be seeing six different shows on Saturday and Sunday and catching up with as much more as I can next week. Look here on the Arts Blog for my thoughts, written live at the theater in Addison.

I have been back from London over a week now. Sometimes I still cannot believe I went. When I get guilty about the amount of money I spent for what basically amounted to three days, I think of the play Jerusalem by Jez Butterworth.

An entire trip worth one play, you ask incredulously? Yes, worth it for one play; and I'm not even sure I understood the plot.

Reading reviews, discussing the play with an English friend who loved it and basically mulling it over in my mind for the last 11 days has helped me come to a conclusion about Jerusalem. The amount of work and thought about the three-act play dominated by Tony Award-winner (for Boeing-Boeing), Mark Rylance, justified my spontaneity by simply making me think.

It is easy to think of Judy Garland today and make a joke. Whether you are referring to drug addiction, gay icons or simply celebrity gone awry, she can evoke a shake of the head and a 'what a waste' attitude. At least for some people.

For others, Judy Garland represents triumph over tragedy, overcoming adversity and strength when the world pulls the rug out from under you. But there is no denying her devastating talent.

During my trip to London, I hopped a commuter train to Northampton, 67 miles to the northwest. My friend and I were invited to the Royal & Derngate, a 125 year-old theater which has been renovated into a glossy and impressive showcase. End of the Rainbow by Peter Quilter revolves around the 1969 concerts at London's Talk of the Town, which would mark the beginning of the last months of her life.

Jaw-dropping is one of those terms that people throw around, but I found my mouth gaping in amazement again and again during the opening night of Cirque du Soleil's Alegría in Frisco. The performers just kept surprising me. A woman spinning five silver hoops on her arms, her neck, her torso, her legs, wiggling to send each of the hoops flying into the hands of another performer. A pair of acrobats more flexible than anyone I've ever seen (arch-of-foot to shoulder, rear end to back-of-head flexible). A seven-man trapeze act. It's all woven into a slightly bizarre, quick-paced dreamscape of music, elaborate costumes and circus art.

The clowns in this Cirque production are quite funny, with jokes ranging from imitations of the acts that remind the audience members of the almost-impossibility of the feats they've just seen, to horse-flatulence humor, to audience-participation bits (if you sit on the floor level, be warned, they might recruit you).

Worried about the venue being an arena? Don't. Dr Pepper Arena can be adapted to fit the performance, and one end of the arena is sectioned off with a black curtain in a way that feels intimate. When the lights come up and you see the arena-style ads (Hooters, Ikea, Texans Credit Union) on the screens around the sides of the venue and the Texas Tornado Robertson Cup Champions banner overhead, it's like waking up from a dream. The show runs through Sunday.

The three productions I have seen of "Equus" did not go for nudity. But Uptown Players is never shy in going for the nudity that is either written or implied in a script.

In their upcoming production of "Equus" a scene that in the script has the young protagonist pantomiming undressing will skip the pantomime and go for full nudity. Another nude scene has been staged between the protagonist and the young woman. It will be interesting to hear from audience and critics whether the nudity added to or distracted from the production.

Angela talks about some bargains in the previous entry, but there's another one tonight -- Tuesday, Feb. 23, only. The Dallas Theater Center offers pay-what-you-can admission to the first preview of The Shape of Things (the first in its Neil LaBut "Beauty Plays" trilogy) tonight. Hurry -- the curtain is at 7 p.m. Just walk up to the box office.

Just a reminder that Kitchen Dog Theater still offers pay what you can nights, because, as Artistic Director, Tina Parker, notes "theater without an audience is frankly, just rehearsal" and Kitchen Dog Theater believes in keeping theater accessible and affordable to everyone who wants to see a show.

I like that attitude.

Kitchen Dog Theater is the only theater that offers so many PWYC opportunities- 6 out of 18 performances are pay what you can. You don't see yesterday's theater at KDT very often, so if you fret over shelling out $20 or so to see a show, you can pay what you can on Wednesday and Thursday performances. Kitchen Dog Theater will still welcome you.

I just received notice that tickets to Uptown Players' upcoming production of "Equus" (at the Kalita Humphrey Theater) will be in the $30-$40 range. This is a pretty big jump in Uptown ticket pricing, though still not horrible pricey, and there's a good reason for the jump in price -the show is well known - people will pay it- and the space and the rights to perform the show are probably a big part of the show's budget. It's an ongoing plight - how to keep ticket prices low enough to fill seats, while rental (and other) costs escalate.

Kitchen Dog Theater produces classics and would do a really kick A production of "Equus" too, but for the most part they produce very contemporary, edgy plays that have little Broadway (or any other) word of mouth build. On the boards now is "BOOM" by Peter Sinn Nachtrieb - check it out until March 13. 214.953.1055 or www.kitchendogtheater.org

"Equus" by Peter Shaffer is helped along by a strong revival and great word of mouth - it's an old show, but it's not a waxwork yet. February 26- March 21 at Uptown Players, 214 219 2718 or www.uptownplayers.org

Back from my jaunty little trip to London over the weekend, I have so much to share with you. I am going to spread my thoughts and British adventures over three separate blogs just to fit it all in.

While I am often one who complains about the shortcomings of others, I would hardly put myself in the category of a misanthrope - a person who hates or distrusts human kind. But after living in New York City for almost 10 years, I have gained an understanding for those who are misanthropic.

My first theatrical stop was at Keira Knightley's West End debut in the adaptation of Moliere's The Misanthrope by Martin Crimp, which is breaking box office records in London. (Some of you may remember my stance on movie stars as cash cows.) My friend and I were interested in the new translation of the French classic, as well as Ms. Knightley's performance.

CityArts Festival is undergoing a lot of changes this year, moving from downtown Dallas to Fair Park, as well as being held in May instead of June. This year's dates are May 7 to 9.

Tim Martin Gleason makes a magnificent, more-vulnerable-than-typical Phantom in this "pharewell" leg of the U.S. tour of Phantom of the Opera, which has been on the road continuously since 1989 and will close in November in Los Angeles. Last week, Marni Raab portrayed Christine, the fragile soprano who becomes the tortured Phantom's muse. On Tuesday, the role will be taken over by Trista Moldovan, who'll continue till the show closes March 14. Despite Phantom's familiarity after 20 years, audiences still gasp over the special effects -- the foggy underground lake, the crashing chandelier -- and Andrew Lloyd Webber's pounding score more than holds up. Gleason, who starred as the handsome and decidedly un-Phantom-like Raoul in the show for three years, makes a winning transition to the dark side for this tour. I heard sobbing at the finale on opening night; his touching emotional fragility makes you truly root for the Phantom's redemption, despite his heinous deeds. Tickets, $21-$86, are available through Ticketmaster.

PHOTO by Joan Marcus: Tim Martin Gleason and Trista Moldovan as the Phantom and Christine

This just in on the "news that makes you feel old" front: Melissa Gilbert, who played little Laura on the Little House on the Prairie TV show in the 70s and 80s, takes on the role of Ma in a touring stage production of Little House on the Prairie, the Musical that will be at Fair Park Music Hall from May 11-23 and at Bass Hall from June 8-13.

Soon after moving into its new space in the Design District, Dallas Contemporary pulled a surprise Wednesday by announcing that Joan Davidow is retiring as its executive director effective May 31. Dallas Contemporary states, in a press release, that its "national" search for a new director has already begun. Davidow, the release says, will "continue in a consulting role" until the end of 2010. Her retirement comes "after nine years of dynamic leadership under which Dallas Contemporary has grown membership, expanded programming and initiated Art Think, a nationally award-winning education program, that served more than 11,000 students last year," the release says. Dallas Contemporary also credits Davidow with spearheading the purchase of its new location at 161 Glass Street -- a location that recently endured the embarrassment of not being able to open on time because it lacked all the necessary city inspections and approvals. It is, of course, open now. "Upon near completion of our capital campaign and our move into new quarters, I have the bittersweet duty of announcing Joan Davidow's retirement from Dallas Contemporary," said board president, Jo Marie Lilly. "After nine years of dedication and the devotion of tremendous
energy, Joan has achieved her goal of moving us into the new building and positioning us for the
future, and it is now time for us to look for future leadership. Joan's legacy will inspire our
future. Her contribution to the Dallas cultural scene is significant, and we are proud we have
had her leadership and guidance." Dallas Contemporary was house on Swiss Avenue, before its move to Glass Street, as a guest of the Meadows Foundation. Dallas Contemporary purchased its Glass Street building in 2007 and raised $4 million of a $6 million capital campaign, the release says, "to redesign the site for a contemporary art space."

Photo: Joan Davidow

The snow is falling once again here in New York City. But instead of revelling in the winter wonderland, I am worried about my flight tomorrow.

When a friend of mine mentioned she was heading over to London for the weekend to see a bit of theatre, I glanced at my tax refund check. Hmm, what better way to spend a little of my hard-earned dough on expanding my horizons?

So, I am off to check out what the West End has to offer in the way of theatre right now. I will fill you in on what we saw when I return. I am completely devastated that Love Never Dies, the sequel to Sir Andrew Lloyd Webber's smash hit Phantom of the Opera, postponed the first preview to the day after we leave. Curses!

Coming soon: that will be the West End for you.

For a tiny theater in a basement, Undermain Theatre is surely in some high cotton these days. The folks there have been talking with Stan Wojewodski, Jr., about getting together to do a show for some time. They wanted this distinguished former dean of Yale Drama School -- and recently named chair of the theater division at SMU -- to choose his own vehicle to direct. Now it's settled: Wojewodski will stage Samuel Beckett's masterpiece Endgame, to open April 10.

It was easy enough to predict that co-founder Bruce DuBose would play Hamm and current Undermain leading man Jonathan Brooks would be Clov. But Undermain has scored a real coup in signing Fred Curchack and Laura Jorgensen to play the aging parents in trash cans, Nagg and Nell. For the third show running, Tony Award winner John Arnone will design the set -- and this time the costumes as well. This show couldn't get any more all-star if it were being played at Cowboy Stadium.

File shot of Stan Wojewodski by Damon Winter

Valentine's weekend showed the love for Theatre Three's seems-to-always-be-playing-at-this-time-of-year I Love You, You're Perfect, Now Change, so the show's been extended through March 7.

In the photo (by Ken Birsell), left to right is the show's cast: Bradley Campbell, Lisa J. Miller (standing), Carrie Slaughter and Gary Floyd.

The Eisemann Center in Richardson has added a seventh performance of the immensely popular Till Death Do Us Part: Late Nite Catechism 3, at 8 p.m. Monday (Feb. 15). In the comedy show, the ever-helpful "Sister" instructs the audience on how to enjoy marriage, within the confines of scripture, of course. $36-$39. 972-744-4650 or the Eisemann Center Web site.

The Dallas Symphony Orchestra has cancelled its Thursday-night classical concert because of the snow.
"We just couldn't get all of our musicians here," said Stacie Adams, the DSO's director of public relations. "This is the first time anyone here can remember canceling a concert because of weather."
Ticket holders for the all-Rachmaninoff concert should call the box office at 214-692-0203 to exchange tickets for another performance or another program. The Rachmaninoff program is to be repeated at 8 p.m. Friday and Saturday and 2:30 p.m. Sunday at the Meyerson Symphony Center, 2301 Flora.
Scott Cantrell

Because of the snow, Theatre Three has canceled tonight's (Thursday's) performance of the perennial favorite I Love You, You're Perfect, Now Change! And only three days before Valentine's!

The company has added a matinee performance on Saturday to make up for it.

Comedian Michael Ian Black has postponed tonight's scheduled show at the University of North Texas' Murchison Center for the Performing Arts in Denton because of, you guessed it, the weather. The show will be rescheduled, although the new date hasn't yet been announced. For updates or refunds, call the UNT box office at 940-369-7802.