In 1980, two years after Teatro Dallas was founded by Cora Cardona and Jeff Hurst, only 9.9% of Dallas’s 904,078 residents ticked the newly added box for “Hispanic.”
After a performance season filled with joyful starts, heart-breaking cancellations and casting understudies for the understudies when positive COVID tests rolled in, Texas theater companies have endured much real life drama to make the leap back to live performances.
For more than 20 years Dallas-based artist Charlotte Smith has reveled in experimenting with paint, and occasionally other materials, creating a signature style grounded in process-driven abstraction.
The artist has held roles as Professor and Curator at the University of Texas at Arlington for twenty-five years, and the occasion of our conversation is his retirement.
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.
Among the many changes to the inside of the midcentury visual and performing arts center at 1300 Gendy Street in Fort Worth is that management finally tore out the carpet, a final blow to the carpet lobby’s dominance in the Cultural District.
To help make the 65th-anniversary season special, the company is staging four operas that it hasn’t produced in more than a decade, Derrer says, and it will showcase each in a production that’s new to Dallas audiences.
The best parts of horror movies are always the early scenes, when a director can revel in the shadows and tease us with glimpses of the monster, allowing our brains to fill in the blanks.