RICH LOPEZ | Staff writer
Rich@DallasVoice.com
Like any media outlet, we love reflecting and recapping on the year that was. But for me, personally, it’s difficult. Still, I am going to give it a shot.
Mostly, my focus here is on theater. The new music, movies and book releases are all taken care of by the major outlets. So that leaves me with my total recall of stage productions for the last 12 months.
Thank goodness for Instagram where I post my obligatory program pics which helps, as well as my ongoing Stage Notes column where I keep a running stage calendar to look back through.
But sometimes I need neither, because some shows just stuck in my head.
I said this last year, but let me say again that I don’t consider this at all a “Best Of” list. Think of this more as a mixtape of DFW productions that have buzzed in my head since the day I saw them.
Review: With near-flawless execution, Theatre Three’s The Lion in Winter delivers an unforgettable roar
A Christmas play in its own right, Theater Three decked the halls with this classic piece of theater about King Henry II, his wife Eleanor of Aquitaine and their three sons all vying to succeed Henry as the king. The plotting and scheming here were off the charts, serving up some delicious drama. But it all worked because of the stellar cast and Matthew Gray’s impeccable direction. Runs through Dec. 28. Theatre3Dallas.com.
Review: Amphibian Stage’s The Birds is a frightful slow burn of atmosphere and doom
This October production was far different from the classic Hitchcock film or the Daphne du Maurier novel. This stage version by Conor McPherson was desolate and uneasy, taking place entirely inside a cabin. But the technical prowess of Sound Designer David Lanza and Lighting Designer Roma Flowers brought the horror of the birds to life without the audience really ever seeing them, adding extra impact. This was a true example of the power and magic of theater.
Review: T3’s The Trade is a slam dunk with big laughs as it explores the Doncic Mavericks drama
Earlier this year, Theatre Three was in financial dire straits. That didn’t stop the company from dropping outstanding productions as well as a new season. (Well, it could have had the local community not stepped up to raise the money needed to revive the institution.)
But in the face of that drama, T3 opened its mainstage season in October with this original play by Matt Lyle and Matt Coleman. The Trade: A Tragedy in Four Quarters was a masterfully written satire about the big basketball news when the Dallas Mavericks upped and traded fan favorite Luka Doncić. Both sports and theater fans were treated to a smart, hilarious and therapeutic good time with an explosive central performance by Quintin Jones Jr. as Mavs general manager Nico Harrison.
Review: The Heart Sellers swells with poignant charm at Amphibian
Led by the monumental performances of Olivia de Guzman and Tara Park, this touching tale, with its immigrant narrative and the struggles that come with that, resonated with magnetic performances that fostered empathy for characters who could easily be people we know finding a home in their own safe spaces. The August world premiere also had an added layer of authenticity with Zhousi. His scenic design evoked the story’s setting in the 1970s perfectly.
Review: A young actor emerges in Uptown Players’ dynamic Everybody’s Talking About Jamie
Under Penny Ayn Maas’ skillful direction, this dynamic July musical felt like an urgent and important show for today’s climate while also a celebrating queer youth and identity. The show also introduced audiences to Henry Cawood as Jamie who gave a lesson on how a leading man can kill it onstage in heels.
American Chronicle Theatre sticks the superhero landing with King Kirby
I saw this show on my own, so I didn’t write a review. But I wish I had given my flowers to this show. This bio-play centered on Jack Kirby, the “King of Comics,” who created comic books icons such as the Fantastic Four, X-Men and Captain America, to name a few. Staged at the Cox Playhouse, the show was a mix of live action and comic book projections working in sync for this compelling drama, which included Jon Garrard’s incredible portrayal Kirby himself.
Review: A Strange Loop is queer, raw, unapologetic and amazing at Circle Theatre
This was definitely a queer summer of theater. Just before Uptown Players opened Jamie, Fort Worth’s Circle Theatre closed out Pride month with the regional premiere of A Strange Loop. Directed by vickie washington with astonishing depth of energy and tenderness, this Black queer story was a knockout punch by Circle.
Review: Undermain Theater’s H*llo K*tty Syndrome defies the rules as uncharted theater
A start to the queer summer of theater was this offbeat premiere at Undermain in May. Part comedy, part western, part musical and part romance, queer playwright Brian Dang’s work was one of the most original pieces of theater to grace Dallas stages this year. With its cast committed to the show’s unhinged personality, the result was a provocative rollercoaster ride, with lead actor Captain Milbourn managing to deliver a compelling performance despite their head and face being hidden under a grand “Hello Kitty”-esque head.
Review: MainStage ILC delivers a charming gem of history with Into the Breeches
The title of this historical drama doesn’t quite match its story — at least until you see it. This war story focuses on the women left at home, specifically this particular group of women who work to keep the local theater open. This production had a homespun irresistible comfort that belied its 2018 publication. MainStage’s March show felt thoroughly vintage, with deep, rich performances by a spirited cast including a potent turn by lead Kim Harris.
Review: The west is won in Dallas Theater Center’s reworking of Shane
Much of this year’s offerings by DTC were high on my mind, but I kept coming back to this gorgeous February production of the classic western story. The aura of Shane was modern theater at its best that still presented an old story with flair. At the center was Nathan M. Ramsey with a colossal performance as the titular character — definitely the strong, silent type in this production that was operatic without the music and definitely gripping and epic.
Review: Debbie Does Dallas is the sexy romp of horny laughs you need right now
Almost a year later, I still find myself laughing about this show at least once a week. Theatre Three’s January production in its Theatre Too basement space came right after an election and an inauguration that left us all devastated and hopeless. When DDD hit, that escapism landed at the right time. No, this wasn’t porn on stage. Yes, DDD was raunchy and racy. But it was also smart and sassy, too — all under a comic umbrella.