The cast of ‘Diosa’ at Cara Mia Theatre. (Photos by Ben Torres)

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

Stage Notes Calendar

Opening this week:

Brett Rapp, Murrow, Elevator Project, 2024ATTPAC Presents: Bernadette Peters, 7:30 p.m. today at the Winspear

Dallas Symphony Orchestra: Also Sprach Zarathustra, April 11-14 at the Meyerson.

Rover Dramawerks: 10Minute Comedies, today-April 20 at the Cox Playhouse.

The Elevator Project: Murrow by Brenn Rapp , today-April 22 at Hamon Hall, pictured. 

Artisan Center Theater: Souvenir: A Fantasia on the Life of Florence Foster Jenkins, today-May 4.

Pegasus Contemporary Ballet: Words for a Resonant Space, Friday and Saturday at the Kalita Humphreys Theater

TITAS/DANCE UNBOUND: Vertigo’s Makom, Friday and Saturday at Moody Performance Hall

Company of Rowlett Performers: Farce of Nature, Friday-April 21 at the Plaza Theater in Garland

Repertory Company Theatre: Guys and Dolls, Friday-April 21 at the Courtyard Theatre.

Lewisville Playhouse: Native Gardens, Friday-April 28

Lakeside Community Theatre: Alice by Heart, Friday-May 4

Irving Symphony Orchestra: Grand Finale with Michael Cavanaugh, Saturday at the Irving Arts Center

The Vocal Majority and Friends, Saturday and Sunday at the Eisemann Center

FWSO Chamber Series: Piano Stampede!, 3 p.m. Sunday at the Kimbell Art Museum.

Fort Worth Symphony Orchestra: Storybook: Cinderella, 6 p.m. at White’s Chapel Methodist Church.

Keyboard Conversations with Jeffrey Siegel: Three Great Romantics, 7:30 p.m. Monday at the Eisemann Center

Dallas Symphony Orchestra: Parks Concert, 7:30 p.m. Tuesday at Paul Quinn College.

Meadows at the Meyerson: The Police’s Stewart Copeland performing Police Deranged for Orchestra, 7:30 p.m. Tuesday.

Dallas Symphony Orchestra: Parks Concert, 7:30 p.m. Wednesday at The Sound at Cypress Waters.

WaterTower Theatre: Satchmo at the Waldorf, Wednesday-April 28.

Onstage now:

Amphibian, Marie and Rosetta, 2024Art Centre Theatre: Southern Fried Funeral, through Sunday.

Broadway Dallas: Girl from the North Country, through April 21.

Cara Mia Theatre: Diosa, through April 21 at the Latino Cultural Center.

Firehouse Theatre: 9 to 5 the Musical, through April 21

Runway Theatre: Big Fish, through April 21.

Theatre Coppell: Charlotte’s Web, through April 21.

Theatre Denton: Dreamgirls, through April 21.

Upright Theatre: The Complete Works of William Shakespeare (abridged), through April 27.

Amphibian Stage: Marie and Rosetta, through April 28, pictured.

Auriga Productions: Hamlet, though April 28 at Amy’s Studio of Performing Arts.

Dallas Theater Center: Dial M for Murder, through April 28.

Theatre Three: The Seagull, through April 28.

Review: Cara Mia’s Diosa highlights a deep message with experimental theater

Cara Mia Theatre, Diosa, 2024

Cara Mia and Manifesto Poetico collaborated on the former’s current experimental play Diosa. Incorporating theater, movement and music, the piece touched on both corporate colonialism and the exploitation of nature with dreamy drama and comedy. At just over an hour, the production packed a lot of message into a short time at its Sunday matinee at the Latino Cultural Center.

After a silent and foreboding entrance by a blind man (Armando Monsivais) the story begins with narrator Cosmos (Irwin Daye) introducing Dr. Benedict (David Lozano) discovering a mineral that could solve all the world’s energy problems, but it must be excavated from the Amazon. His company, Greencorp, led mercilessly by Pheonicia Green (Meagan Harris), is ready to mine the discovery at any cost and her chief of staff Xochitl (Liz Magallanes) begins her work to expedite the action. But a corporate mole (Sorany Gutierrez) is set to destroy it all with the help of a former journalist (Bismark Quintanilla) who is investigating his missing wife reporting on Greencorp. At the same time, Mother Earth is having her own say in all this business.

Diosa‘s narative was compelling and played out like a thriller. The stakes were high with characters having switched sides and motives changing. With a fairly linear story, the show’s experimental elements both added to and distracted from the story.

The quilting of elements that worked gave the play a texture of surrealness. Groups of actors would shift into a Greek chorus; the depiction and lighting of the cavern was so brilliant; the secret meeting in the church was both smart and humorous.

Ironically, what was challenging was the storyline of Mother Earth (Frida Espinosa Muller). This element was the more fantastical side where more of the avant-garde played out. But much of it felt unclear in its depiction of the Diosa (which as a title, was, I believe, mentioned once in a shout-out) ands served more like visual poetry if anything.

What made Diosa most engrossing was the cast who leaned into their parts as out-of-the-box as they were. Lozano’s take on the scientist was a study on physicality and subversive humor and always startlng to watch what he did next. He gave a full character with such unpredicitability.

Quintanilla was earnest as Leo in search of his wife, but his own nuance was rich in the details of his comedy and despair. Magallanes had the strength and determination of her chief of staff character down pat with get-shit-done attitude.

As the narrator, Daye’s part was tricky but always entertaning. Whether he was at the microphone recapping the story or on the sidelines adding to the sound effects, Daye’s charisma was magnetic at all times. When Daye was in scene, he exuded great energy as other actors led the action.

Playing the lesbianic icy CEO, Harris was uniquely captivating. She didn’t radiate personality as the character, but in her performance, we knew exactly who Pheonicia Green was. Harris never revealed much with her face, but her physical presence held weight and it was really remarkable to watch her simply command.

Watching Diosa was challenging, fun, exciting and provocative. The artistic elements often gave this experimental piece its flair, but the story was a full-on thrill ride that also questioned human responsibility to the planet. At the same time, it was fascinating to see the unique creativity by this collaborative effort to paint a dreamlike picture using all the colors in the box.

Diosa runs through April 21.

MainStage ILC unveils its new 2024/25 season

On Monday, MainStage Irving-Las Colinas announced the shows for its upcoming season. The company revealed five shows that include a variety of moods. Going with the theme, Art Isn’t Easy, MainStage will present a musical, some comedies and drama as well for a good mix. MainStage’s 52nd season starts in November.

The shows include (from MainStage):

Nov. 1-16: A Little Night Music with music and lyrics by Stephen Sondheim and book by Hugh Wheeler.

Jan. 17-Feb. 1: Deathtrap by Ira Levin.

March 7-22: Into the Breeches! by George Brant.

May 2-17: Amadeus by Peter Shaffer.

July 18-Aug. 2: Noises Off by Michael Frayn.

Season ticket renewals are being accepted now ranging from $106-$136 and will be available for purchase on July 9 at the Irving Arts Center box office. Single tickets will go on sale at the Irving Arts Center Box Office on Sept. 17.

Very Good Dance Theatre’s The Other Gardeners comes to Dallas by way of Philly

Frame 14.pngAfter a year in development through the Cannonball Festival in Philadelphia, Very Good Dance Theatre (VGDT) brings The Other Gardeners home. Performances will happen on May 3 and 4 at Odyssey Studios.

The Other Gardeners is co-authored and performed by Colby Calhoun and Micah Lat, by and for Black artists and those from African lineage, produced by VGDT in partnership with Odyssey Studios. The performance will feature collaboration by Dallas-based Black queer/trans artists to be announced soon.

Gardeners is an experimental, multidisciplinary, dance theater where the remains of Eden have moved on after Adam and Eve. The project first premiered at Cannonball’s Miniball festival in April 2023 and now comes to Dallas to pay homage to the Black queer South.

“This is an opportunity for Black trans performers to be able to investigate their origin stories, and to dream up futures that they might, unfortunately, not live to see.” Calhoun said in the announcement. “I think, based on the social-political climate in the South, in the U.S., and in Texas, we could use art that is deliberately telling the stories of Black trans people … and giving them space to feel joy, and to feel liberated. Not just for [performers], but also for audience members from those communities to see themselves celebrated.”

Click here for more information and tickets (which are by donation.)

Dallas Symphony Orchestra announces 2024 parks concert series

DSO Symphony in the City Parks Concerts series.(Courtesy photo by Lawrence Jenkins)

DSO announced this week, its lineup of annual parks concerts for spring and summer. These concerts are free and open to the public.

“Each year, we look forward to presenting outdoor performances in our beautiful Dallas area parks – it is a true highlight of our season,” Kim Noltemy, Ross Perot President & CEO of the Dallas Symphony Orchestra said in a press release. “It’s a delight to see the community come together to enjoy these performances, and we are grateful for the opportunity to share our love of music with everyone across the city.”

Assistant Conductor Maurice Cohn (Marena & Roger Gault Chair) will lead the DSO in programs featuring light classics, patriotic tunes and other popular fare.

The lineup includes:

April 16 at Paul Quinn College.

April 17 at The Sound of Cypress Waters.

May 27: The U.S. Army Band “Pershing’s Own,” at Flag Pole Hill for the annual Memorial Day celebration concert

June 4: Concert Truck performances at Fretz Park.

June 6: Concert Truck performances at Kiest Park.

June 7: Concert Truck performances at Kidd Springs Park.

June 10: Concert Truck performances at Paul Quinn College.

For more information, visit

Texas Ballet Theater teams with TDO Orchestra to close season with Beauty and the Beast

‘Beauty and the Beast’ by Texas Ballet Theater. (Courtesy photo)

TBT will perform its final show with Lew Christensen’s Beauty and the Beast, May 3-5 in Dallas and May 17-19 in Fort Worth. All Dallas performances of will be accompanied by the live Dallas Opera Orchestra.

Artistic Director Tim O’Keefe said in a press release, “We’re thrilled to once again bring this classic story to life. It’s a classically challenging and demanding work, and I’m excited for our dancers to return to it. We had great success performing this ballet in 2017, and we are sure that this show will charm a new group of families this season.”

Choreographed by Christensen in 1958, this Beauty and the Beast ballet precedes most other American adaptations. Christensen was known for blending classical ballet with American themes and styles, and his legacy closely resonates with TBT’s mission to both elevate classical ballet and support artistic innovation.

For tickets, click here.

Pegasus Ballet will debut Words for a Resonant Space this weekend

Pegasus Ballet, 2024

The Dallas contemporary ballet company will debut its innovative new production, Words for a Resonant Space, in collaboration with The Writer’s Garret at the Kalita Humphreys Theater with performances on Friday and Saturday.

Interweaving dance and poetry, Words for a Resonant Space features the power of words and movement “to ignite the imagination and offer insight into the human condition.”

The show combines words by Dallas-based poet Lisa Huffaker withc horeography by Diana Crowder, founder and artistic director, Pegasus Contemporary Ballet and dialogue by Aaron Glover, executive director of The Writers Garrett.

“The meaning I have found in Lisa’s work and the collaborative brilliance that she and Aaron bring to the production are truly inspiring. Words for a Resonant Space is unlike any performance I’ve ever seen or been a part of, and it’s a really special project to bring to life,” Crowder said in a press release.

As a contemporary ballet company, Pegasus focuses on creating innovative performances to engage diverse audiences and provide unique, meaningful experiences that have the potential to change a person’s perspective and relationship to dance.

For tickets, click here.

–Rich Lopez