DALLAS/FORT WORTH
Noises Off at Dallas Theater Center
Dallas Theater Center opens the season with Noises Off, Michael Frayn’s 1982 backstage farce, directed by Ashley H. White, Oct. 3-26 at the Kalita Humphreys Theater. “Stepping into this wildly chaotic, brilliantly crafted farce is an exhilarating, nonstop creative journey,” says White. “This show feels like the mother of all farces, full of precise timing, hilarious mishaps, and joyful mayhem, each of which demand complete trust, precision, and playfulness from everyone involved. Directing this piece means embracing that beautiful chaos, the rapid-fire reversals, and the physical comedy that keeps everyone on their toes, and bringing it into a world that is holistic and vivid.”
Ronald K. Brown/EVIDENCE at TITAS
Ronald K. Brown/EVIDENCE returns to the Winspear Opera House on Sept. 12 at Winspear Opera House, six years after its last visit. “Ronald is such an important American choreographer,” says Charles Santos, executive/artistic director of TITAS. “The work explores the importance of community in African American culture, offering a deeply soulful evening of dance that everyone should experience.”
Mac Beth at Circle Theatre
Circle Theatre closes their 44th season with the regional premiere of Erica Schmidt’s Mac Beth, Oct. 9-Nov.1. Adapted from Shakespeare’s iconic play, “Mac Beth unfolds in a DIY retelling of Macbeth by seven teenage girls. The New York Times reports, “What’s powerful in this play isn’t its climax. It’s watching a group of girls meet Shakespeare on their own electric terms—with ferocity, abandon and the occasional wild dance break.”
HOUSTON
Dimensions Variable: Gabrielle Lamb/Pigeonwing Dance at Moody Center for the Arts
Gabrielle Lamb held a group of scientists spellbound when she presented her film The Choreography of CRISPR, commissioned by MIT and performed by her company Pigeonwing Dance at Rice University’s De Lange Conference in 2024. She returns to Rice at the Moody Center for the Arts on Oct. 9 for a site-specific intervention in response to artworks featured in the exhibit Bio Morphe. “The geometry of the natural world has always fascinated me, and I delight in imitating the movement of animals and plants,” says Lamb. “I am interested in the logic that underlies natural systems, the ways that complexity arises from the interaction of a limited number of simple components. I like creating relatively simple rules that allow dancers to discover new relationships and patterns.”
Onegin at Houston Ballet
Houston Ballet opens their season with John Cranko’s masterwork Onegin, Sept. 5-14 at Wortham Center. Based on Alexander Pushkin’s novel Eugene Onegin. Last performed by the company in 2008, Onegin is a perfect opportunity to witness the full strength of Houston’s beloved ballet company. The fall continues with the spectacular mix rep, Rock, Roll & Tutus, Sept.18-28 with works by Brett Ishida, Stanton Welch, Jacquelyn Long, and Christopher Bruce.
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DALLAS/FORT WORTH
Ronald K. Brown/EVIDENCE in Percussion Bitter Sweet: Tender Warriors. Photo by Steven Pisano.
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DALLAS/FORT WORTH
Ashley White, director of Dallas Theater Center production of Noises Off. Photo courtesy of the artist.
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DALLAS/FORT WORTH
Director Sasha Maya Ada. Photo courtesy of the artist.
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HOUSTON
Pigeonwing Dance member Tiffany Mangula at Astor Place. Photo by Joe Raffanti.
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HOUSTON
Pigeonwing Dance founder and Artistic Director Gabrielle Lamb; Photo by Charles Roussel.
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HOUSTON
Artists of Houston Ballet in Jacquelyn Long’s Illuminate. Photo by Lawrence Elizabeth Knox (2023). Courtesy of Houston Ballet.
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HOUSTON
Houston Ballet former Principal Melody Mennite as Tatiana and former First Soloist Christopher Coomer as Gremin with Artists of Houston Ballet in John Cranko’s Onegin. Photo by Amitava Sarkar (2008), Courtesy of Houston Ballet.
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SAN ANTONIO
Agarita ensemble members Daniel Anastasio, Marisa Bushman, Sarah Silver Manzke and Ignacio Gallego. Photo by Josh Huskin.
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SAN ANTONIO
Director Amelia Rico; Photo courtesy of San Pedro Playhouse.
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AUSTIN
Skye Alyssa Friedman, Pierce Wheeler, Darron Hayes and Grace Capeless in the National Tour of Kimberly Akimbo. Photo by Joan Marcus.
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AUSTIN
Ballet Austin dancers Jaime Lynn Witts and Oliver Greene-Cramer in Stephen Mills' Grimm Tales. Photo by Anne Marie Bloodgood, courtesy of Ballet Austin.
SAN ANTONIO
Real Women Have Curves at San Pedro Playhouse
San Pedro Playhouse opens the season with Josefina López’s Real Women Have Curves (now a major Broadway musical), a coming of age story which chronicles Latina women working in a small sewing factory in East Los Angeles, as they face the challenges of family, culture, and self-worth, Sept. 4-Oct. 5 at the Classic Theatre, directed by Amelia Rico. “We’re thrilled to have Amelia direct Real Women Have Curves, the first production in our HERstory Season,” says Rick Sanchez, Vice President of Artistic Programming. “A proud San Antonio native, Amelia brings a wealth of experience in film, television, and theatre to Josefina López’s timely and resonant play.”
Agarita Ensemble
San Antonio’s popular ensemble Agarita kicks off the fall season with The Four Seasons Reimagined, Sept. 6 at the Chapel of the Incarnate Word, which includes Max Richter’s 20212 recomposed version of Vivaldi’s iconic The Four Seasons. They follow up with George Gershwin’s Rhapsody in Blue, in a unique arrangement of his iconic 20th-century, along with other Gershwin gems and complementary works, Oct. 19 at the Betty Kelso Center at San Antonio Botanical Garden.
AUSTIN
Grimm Tales at Ballet Austin
Ballet Austin celebrates Artistic Director Stephen’s Mills’s 25th season with his ballet, Grimm Tales, inspired by the paintings Natalie Frank created based on the stories of Jacob and Wilhelm Grimm. Commissioned by The Butler New Choreography Endowment, the ballet features an original score by Graham Reynolds, artwork by Frank, costume design by Constance Hoffman and lighting by Tony Tucci, Sept. 26-28 at The Long Center.
Kimberly Akimbo at Broadway in Austin
Texas Performing Arts/Broadway in Austin opens the season with Kimberly Akimbo, the 2023 Tony-winner for best musical, based on David Lindsay-Abaire’s play of the same name, Sept. 30-Oct. 5 at Bass Concert Hall. ACTX theater writer Tarra Gaines describes the show as “a coming of age story with a remarkable twist; Kimberly has to navigate a new high school while living with a disease that causes her to age rapidly.”
-NANCY WOZNY
