Stage Notes: 'A Gathering 2022' is announced; review of T3's 'Young Frankenstein

‘Young Frankenstein’ by Theatre Three (Courtesy photos by Jeffrey Schmidt)

Stage Notes is a weekly aggregate post about theater, classical music and stage news, events, reviews and other pertinent information.

More than 70 Dallas artists to unite for HIV/AIDS benefit performance

FILE – Rehearsal for 2013’s ‘A Gathering.’ (Courtesy photo)

On Wednesday, TITAS/DANCE UNBOUND, AT&T Performing Arts Center and director Joel Ferrell announced the return of the performance event, A Gathering, to commemorate the HIV/AIDS crisis. With 70-plus Dallas artists participating, A Gathering 2022 will celebrate community through dance, music, drama, drag and more. The performance will be at the Winspear on Nov. 14 at 7 p.m.

The event will feature works by area arts organzations to support local HIV/AIDS service organizations. Proceeds from A Gathering 2022 will benefit AIN, AIDS Services of Dallas, Prism Healthcare and Resource Center. The National AIDS Memorial Quilt will join in by sharing two 12’x12’ sections of the AIDS quilt for the production and display here in Dallas.

“It is amazing to see all this incredible talent coming together for a highly entertaining evening of singing, dancing, and spoken word,” Charles Santos, executive/artistic director of TITAS/DANCE UNBOUND and a co-producer of A Gathering 2022 said in the press release. “We have made incredible progress in fighting HIV/AIDS, bigotry and hate. But we have so much further to go and this highly entertaining show recognizes the power of community, chosen family and love to overcome them.”

Participating organizations include Bruce Wood Dance, Dallas Black Dance Theatre, Dallas Theater Center, Dallas Black Dance Theatre, DASH Ensemble, Verdigris Ensemble, B. MOORE DANCE and the Cast of the Rose Room. The event will also feature the work of DTC’s resident playwright Jonathan Norton as well as a cast of approximately 75 artists and musicians including Damon K. Clark, Rachel Dupard, Denise Lee, Cherish Robinson, Lee Walter, Sinclair Freeman and more.

“This is a remarkable opportunity to see something truly amazing,” Warren Tranquada, president and CEO of the AT&T Performing Arts Center mentioned in the release. “To see some of the finest Dallas artists and arts organizations coming together for one night in the Winspear Opera House will make for an unforgettable and powerful evening.”

The original production was presented in 2011 and coincided with the 30th anniversary of the 1981 discovery of the virus. The program marked the impact AIDS had on the world’s arts and cultural community. The second production was in 2013. A Gathering 2022 continues with recognizing the progress made in preventing and treating AIDS and in LGBTQ rights.

“Artists are uniquely suited to help us celebrate how community, family and friends have supported us through decades of pain and loss, progress, and victories,” Ferrell added. “The arts help us honor the transformation in our community, and empower us to dream of a more equitable and loving city, nation, and world. This event reminds us that together, we can build something joyful out of a painful past; a better future for all.”

Tickets are availlable here.

REVIEW: Theatre Three’s Young Frankenstein is a monster masterpiece

In other Joel Ferrell news, the director helmed a marvelous production of the musical Young Frankenstein by Mel Brooks and Thomas Meehanwith perfect timing for Halloween. Based on the Brooks’ classic comedy film, Theatre Three’s current show officially opened Monday with a boisterous, infectious energy that filled not only the stage, but even out into the audience. This well-crafted show is worth adding to any Halloween (and beyond) plans.

The story centers on Frederick Frankenstein (Parker Gray), the grandson of Victor Frankenstein who had that whole monster episode way back when. Frederick inherits the family estate and leaves his fiancee Elizabeth (Leslie Marie Collins) behind to travel to Transvlvania Heights to handle matters before returning for their wedding. He meets the hunchback Igor (Alejandro Saucedo) who is quite enthusiastic about Frederick’s visit and has even hired Frankenstein an assistant, the yodeling blonde Inga (Annie Olive Cahill). Upon arriving to the castle, they meet the imposing Frau Blucher (Sarah Gay). Determined not to follow in his grandfather’s footsteps, Frederick can’t resist his grandfather’s notes and begins to create a monster (Luke Longacre) of his own.

Being a Mel Brooks story, the show was irreverent with hilarious dialogue, one-liners and not-so-subtle innuendo but still delivered with more class than crass. The genius was in the delivery and the cast understood the homework. With pregnant pauses, witty timing and facial expressions, the actors pulled out every trick that drew the audience into the fun onstage. The original film characters are familiar to many but the actors never felt like they were mimicking those versions. Certainly shaped by them, each had their own take that was an homage to Brooks’ characters but also very much the actor’s own.

Gray gave a journey of a performance from the get-go. Frederick started out meekly against Elizabeth’s overpowering demeanor and then grew into his own, first standing on his own two feet to handle the castle and then his descent into madness. Gray was onstage perhaps about 95 percent of the time and delivered pure gold. He was effortlessly energetic and manic while also whipping out songs and dance numbers. Beyond the hilarity, his performance was outstanding.

The magic of Gray’s performance was how he fit with the others and not overpower them. Saucedo’s energy matched and balanced Gray’s. Saucedo has a natural charm that he can’t help but instill into his characters like he did most notably as Seymour in T3’s Little Shop a year ago. This worked for Igor who may be dimwitted but certainly lovable. Also, Saucedo’s trombone playing was an uproarious surprise that the audience appreciated.

Cahill was a powerhouse comedic performer from the minute Inga was introduced onstage while Gay had the luxury of building up Frau Blucher’s mystery to a horny sexpot. Collins was an ideal throwback to classic Hollywood glamour as Elizabeth but hilariously entertaining in her showcase songs “Don’t Touch Me” and “Deep Love.”

Longacre’s Monster was top-notch. Despite that much of his dialogue was literally moaning and groaning, his physical prowess and hulking presence was perfect for the role. His dashes of personality and showmanship for the character were dynamic.

The cast included Aaron Mateo Arroyo as Inspector Hans Kemp and the blind hermit. Here he flexed his comedic muscles after his rom-com lead in Lyric’s Mamma Mia! in late summer. His exuberance worked as the hermit but as the stoic inspector, his character’s accent was thick that words were sometimes lost. He had the right idea and when it worked, he was perfectly on target. Samantha Padilla served as the ensemble with strong turns as a medical student and villager.

The roles looked exhausting with all the stamina that the cast had to keep up and every actor did just that.

Ferrell also directed a precise show where blocking and timing were crucial for the creative team to work with.

Ashley H. White’s choreography was stellar and Cody Dry’s musical direction harkened silent movie music which added to the dimension of the show. What scenic designer Bob Lavalllee did with the entire stage space was nothing short of stunning, especially with the hay wagon and the revolving doors while also being appropriately Transylvania creepy-like. Tristan Decker’s lighting was tip-top for all the electrical and storm scenes as well as the dark ones. Natalie Rose Mabry’s costumes really finished off the look and all of these combined allowed the show to transport the audience into the story.

And honestly, it kinda sucked that it came to an end, because Young Frankenstein was simply a blast to experience.

Young Frankenstein runs through Nov. 13 at Theatre Three.

Show announcements

Dallas Opera’s fairytale production of Hansel and Gretel takes the stage

TDO’s stage will become a fantasyland for Humperdinck’s Hansel and Gretel in a new-to-Dallas production. The second production in the company’s 65th anniversary season opens at the Winspear Opera House on Oct. 28 with three performances through Nov. 5, including a livestream on that final Saturday.

For the first time in TDO history, the opera will be sung in English. Storybook sets, life size puppetry, and a flying witch will be suitable for all ages, families, and newcomers in this two-hour tale.

From TDO:

Emmanuel Villaume, The Mrs. Eugene McDermott Music Director, leads The Dallas Opera Orchestra and Doug Fitch, in his Dallas Opera debut, directs a cast of celebrated singers including rising stars Kangmin Justin Kim as Hansel (TDO debut), Elena Villalón as Gretel, Mark Delavan as The Father, and Patricia Racette as both The Witch and The Mother.

Director Doug Fitch also designed both set and costumes. Duane Schuler is original lighting designer, Eric Watkins is revival lighting designer, Austin Spangler is choreographer, and David Zimmerman is wig and make-up designer. The Children’s Chorus from The Greater Dallas Choral Society, led by Artistic Director Kimberly Ahrens, join the production in their Dallas Opera debut.

The last performance on Nov. 5, at 7:30 p.m., will be livestreamed exclusively via thedallasopera.TV. Advanced registration is required and available via pay-what-you’re-able pricing (minimum price of $9.99).

TDO will also host its Joy and Ronald Mankoff Pre-Opera Talk: Hosted by Villaume, the interactive 30-minute lecture begins one hour before the start of each opera in the Margaret McDermott Performance Hall. Admission is free with a ticket. Following the matinee performance, TDO will offer its Sunday Post-Opera Talkback, a brief and casual Q&A session with members of the cast and hosted by Kristian Roberts, TDO Director of Education.

Click here for more information and tickets.

WaterTower Theatre announces cast and creative for Superstar

WTT producing artistic director Shane Peterman and associate producer Elizabeth Kensek have announced casting and creative details for Jesus Christ Superstar by Tim Rice and Andrew Lloyd Webber. The rockopera marks the first production of WTT’s 27th season.

WTT is also one of the first theatres in the nation to obtain the rights to produce JCS following the 50th anniversary tour production. The musical will run on the Terry Martin Main Stage Nov. 30-Dec. 11 at themAddison Theatre Centre. This will be the first all-local production in North Texas in more than 25 years.

The production is led by director Natalie King, music director Cody Dry and choreographer Kelly McCain.

“I am thrilled and honored to be directing the rock classic, Jesus Christ Superstar here at WaterTower Theatre. I am so grateful for Shane and Elizabeth’s focus on inclusion and their embrace of a broader scope of creative vision,” she said in the show’s announcement. “I was around 13 when I first heard Paul Nicholas wail “Gethsemane” on the original London 1972 album. So, hearing Jesus question God in the garden of Gethsemane was a revelation to me. Like Jesus, I argued with my parents, but always ended up obeying. It made me see a commonality between the plight of Jesus and of a Black girl growing up in the South who was questioning her world. Despite our obvious differences, there was an inner struggle that was the same.

“In my approach, I am seeking to move beyond the limitations of form to find the common humanity within. This is the perspective in which I cast the show. It is also the inspiration for the direction of the show. It is the battle between fear and faith, something we all understand. We have a great cast and I expect it to be a powerful performance. I hope you will all come [to] experience this innovative and modern retelling of Jesus Christ Superstar.”

The production stars Feleceia Wilson as Jesus, Christopher J. Deaton as Judas, John Michael Marrs as Pilate, Caitlin Chapa as Mary Magdalene, Ellen Eberhart as Herod, Nikka Morton as Simon, Jason Hallman as Caiaphas, Anthony J. Ortega as Annas, Nijel Smith as Peter, and an ensemble of singers, dancers and actors including Aren Hugo, Kevin Davis Jr., Mikki Hankins, Spencer Laboda, Johanna Nchekwube, Lisette Sandoval Perez and Daniel Vanegas.

The cast will be joined on stage by a live band led by Music Director, conductor and pianist, Cody Dry, featuring Vonda K. Bowling (second keys), Jesse Ramirez (guitar), Brittany Hart (bass), and Kami Lujan (drums).

The creative and production team includes Kennedy ‘Kae’ Styron as Set Designer, Megan A. Liles as Costume and Properties Designer, Aaron Johansen as Lighting Designer, Mark Howard as Sound Designer & Engineer, Dwight Sandell as Production Stage Manager, and Rebecca Bongiorno as Assistant Stage Manager.

For show and ticket information, click here.

Opening this week: