Lindsey Wilson is a Dallas-based arts writer and critic with a journalism master's from Syracuse University and an undying love for chips and salsa. When not at the theater (which is rare), she enjoys reading, playing with her dogs, and traveling. Photo by Jeffrey Hummel.
Spanish Golden Age painter Bartolomé Esteban Murillo might be hailed as the leading religious painter of Seville during his lifetime, which spanned 1617–1682, but he wasn’t initially a favorite of former Louvre curator Guillaume Kientz.
After a shortened 2021-22 season, TITAS/Dance Unbound is roaring back for its first full, live season since the pandemic. That’s 10 companies, hailing from four countries, with five making their Texas debut.
Nothing says summer in Dallas quite like Shakespeare in the Park. For 50 years now, the Bard of Avon’s fans have been unfurling blankets, laying out picnics, and popping the corks on glistening bottles of chilled wine before enjoying an evening of iambic pentameter under the stars.
During the first part of its 2021-22 season, TITAS/Dance Unbound treated Dallas audiences to U.S. and Texas premieres, reimagined cultural icons, exuberant Latin dance, and even pieces choreographed to the music of R&B legend D’Angelo.
Of all the changes to come out of the pandemic, having an audience be closer to its performers is not one many dance groups anticipated. But Katie Puder, Avant Chamber Ballet’s artistic director, is thrilled with this outcome for her company.