Stage Notes: Review of 'Dial M' by DTC which named a new interim AD; Lyric evolves with 31st season

Lyric Stage invites its audiences to experience live theater with three unique productions at its intimate Lyric Studio Space in the Design District. Then, they will bring a classic musical to Moody Performance Hall.

In its email announcement, Lyric stated that “new happenings are coming to the company.”

From Lyric:

As a special treat for our community, we’re introducing a brand-new series of free summer concerts, Lyric Under the Stars, set against the picturesque backdrop of our studio space’s lawn.

Come join us with some of your favorite Lyric Stage actors singing their favorite songs. You will hear everything from show tunes to popular music all with live music. Bring a blanket or lawn chairs and a cooler with your favorite snacks and drinks for a night of music and fun. These concerts are free to the public, although a donation is always appreciated.

Lastly, set your eyes (and calendars) toward this fall, as Celebrate Lyric Stage, our annual Gala, returns with a bang!

Join us as we embark on a journey filled with artistry, excellence, and pure entertainment. This season at Lyric Stage promises to be nothing short of extraordinary.

Lyric Under the Stars will be held on the lawn at Lyric Studios. I don’t know if that means the concrete parking lot or if I’ve missed out on some greenery somewhere over there. The concerts will be held June 22 and 29 and July 13 and 20 at 8:30 p.m.

The four shows this season include:

Nov. 29-Dec. 22: Forever Plaid: Plaid Tidings by Stewart Ross. At first, Francis, Jinx, Smudge, and Sparky aren’t sure why they’ve returned to Earth for another posthumous performance, but a phone call from the heavenly Rosemary Clooney lets them know that they’re needed to put a little harmony into a discordant world. Sprinkled among the Christmas offerings are audience favorites, like their riotous three-minute-and-eleven-second version of The Ed Sullivan Show – this time, featuring the Rockettes, the Chipmunks, and The Vienna Boys Choir, as well as a Plaid Caribbean Christmas that puts the “Day-O” in Excelsis!

Jan. 31-Feb. 23: Lady Day at Emersons Bar and Grill. In honor of Black History Month, Lyric Stage will present this musical that will feature both general admission and reserved café tables. In 1959, in a small, intimate bar in Philadelphia, Billie Holiday puts on a show that unbeknownst to the audience, will leave them witnesses to one of the last performances of her lifetime. Through her brilliant voice and sometimes haunting songs, one of the greatest jazz singers of all time shares her loves and her losses.

March 28-April 18: Jeckyll and Hyde. Based on the classic story by Robert Louis Stevenson with a score of pop-rock tunes by multi-Grammy and Tony-nominated Frank Wildhorn and double-Oscar- and Grammy-winning Leslie Bricusse. An tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself– both women in love with the same man and both unaware of his dark secret. A devoted man of science, Dr. Henry Jekyll is driven to find a chemical breakthrough that can solve some of mankind’s most challenging medical dilemmas. Rebuffed by the powers that be, he decides to make himself the subject of his own experimental treatments, accidentally unleashing his inner demons along with the man that the world would come to know as Mr. Hyde.

Aug. 15-17: Guys and Dolls. Considered by many to be the perfect musical comedy, the final show of the season for Lyric Stage is a co-production with the Turtle Creek Chorale. Presented at The Moody Performance Hall with a full orchestra and large cast for this American classic.

Review: DTC makes a gorgeous crime scene with Dial M for Murder

You may think you know this classic thriller, mostly through the Alfred Hitchcock film, but playwright Jeffrey Hatcher gives it just enough flair in his adaptation of Frederick Knott’s play. Still set in 1950s London, the stakes are higher when a married woman is in love with another woman. The suspense may just be greater than the original.

The co-pro with Geva Theatre Center of Rochester, New York and directed by Rachel Alderman worked on all levels and to a packed matinee audience last Sunday.

Christopher and Justin Swader’s set design was the first impression and goodness was it beautiful. A high-end London flat with deep wooden tones and lush fabrics and colors exuded posh and upscale living for the couple of Margot and Tony Wendice, both writers. Teamed with Emma Deane’s perfect but moody and sometimes ominous lighting, the set itself played an important role throughout the thriller and the Swaders made sure it would not go unnoticed. Although, my plus-one had to comment on the mid-century table that wouldn’t have existed then. I couldn’t get that out of my head and that’s what I get for taking a design queen with me.

Hatcher’s play was swift and efficient with exposition getting right into the meat of the story and the action. Immediately, we’re introduced to Margot and Maxine Hadley played by Marissa Stewart and Kia Nicole Boyer. Both were radiant and sexy as they converse about murder with coy flirtation. Maxine is a mystery novelist who knows the ins and outs of murder and motives that all come to play later. The actors’ dynamics were that of a lesbian power couple and despite the timeframe, they never played the parts as if closeted. Buoyed by strong chemistry, the relationship between the characters felt deep and solid.

Stewart also shared great rapport with Danny Gardner who played her husband Tony. While scheming to murder his wife, Gardner’s Tony seemed like he could never be capable of such a thing. Gardner felt a bit too friendly, but that worked in his favor making him far more sinister. He was never angry or repulsed by all that was against him. Instead, he was exasperated amid a cool air of sophistication. Gardner was just doling out layers of his character like a blackjack dealer without ever falling into some villainous caricature.

Zak Reynolds was key as Lesgate, Tony’s patsy who is cornered into killing Margot. In two scenes, Reynolds did so much with Lesgate as a failed petty criminal. His scene with Gardner was a chess game for each actor where Reynolds’ character just fell deeper and deeper into Tony’s plans. He gave his character slight dignity, but none of that mattered by the second scene where Lesgate was put into play by Tony’s scheme. The tussle between he and Stewart was thrilling and shocking and well staged by Rocio Mendez, the show’s fight and intimacy director.

The first act was serious and morose, but Evan Zes was a beacon of humor as Inspector Hubbard in the second act. His mere entrance when Tony opens the door for him was comedic gold and the levity was needed as the mystery unfurled. Zes was high energy and exaggerated but convincing as the clever inspector who really loved this job.

Familiar or not, the ending can be easily surmised and it almost landed with a dud. But getting there was the fun part of Dial M for Murder and all the clues and mistakes that were revealed painted a satisfying picture.

The show runs through April 28.

Dallas Theater Center’s Resident Playwright Jonathan Norton named Interim Artistic Director

On Thursday, Jonathan Norton, who has served as DTC’s Resident Playwright since 2019, has been named Interim Artistic Director. This comes following the departure of Sarahbeth Grossman, who served as the theater’s Artistic Producer for six years and the promotion of former Enloe/Rose Artistic Director, Kevin Moriarty, to Executive Director in 2023. Since Moriarty’s promotion, Norton, Grossman and Moriarty had shared artistic responsibilities. DTC’s Board of Directors will launch a national search for a new AD this fall with the appointment expected to be named in late 2025.

“Jonathan has been one of the most impactful artists at DTC through much of the past decade,” Moriarty said in the press release. “His work as a writer has received critical acclaim in Dallas and contributed to the impact Dallas artists are making on the national theater community. As DTC’s Resident Playwright/Literary Manager, Jonathan has been a leader in our season planning process, working alongside DTC’s artistic producer, Sarahbeth Grossman, to identify plays and artists that engage Dallas audiences, and collaborating with DTC’s Diane and Hal Brierley Resident Acting Company to produce productions that are entertaining and relevant. I am immensely grateful to Jonathan for stepping forward during this transitional time to provide consistent artistic leadership and to ensure that our artistry remains exemplary.”

Norton had recently premiered the play I Am Deliverd’t for DTC in February that centered on queer Black dynamics in the church. In 2022, he premiered the play Cake Ladies for the company. His play penny candy is published by Deep Vellum Publishing.

“I saw my first play at DTC,” Norton added in the release. “It was Adrian Hall’s production of A Christmas Carol. At the time, sixth grade me could not have imagined that decades later DTC would become a cherished artistic home. In my time here I’ve grown so much as an artist and administrator, and I am eager to pay that forward. This is a critical time for both DTC and the American theater, and I do not take this new responsibility lightly. I am excited to collaborate with so many wonderful folks I deeply admire, to make theater as big and bold as the city of Dallas.”

Norton’s work has also been produced or developed by Actors Theatre of Louisville, LaJolla Playhouse, Bishop Arts Theatre Center, African American Repertory Theater, Soul Rep, Kitchen Dog Theater, Undermain Theatre, Theatre Three, and the South Dallas Cultural Center among others.

Jonathan’s play Mississippi Goddamn was a Finalist for the Harold and Mimi Steinberg/ATCA New Play Award and won the 2016 M. Elizabeth Osborn Award given by the American Theatre Critics Association.

Other awards include: Artistic Innovations Grant from the Mid-America Art Alliance,South Dallas Cultural Center Diaspora Performing Arts Commission and the TACA Donna Wilhelm Family New Works Fund. He is also the recipient of the 2019 Eastman Visionary Award given by Jubilee Theatre.

“We are fortunate to be able to ensure this smooth transition of artistic leadership,” DTC Board of Directors Chair, Jennifer Altabef mentioned in the release. “For years, we’ve seen Jonathan’s plays captivate DTC’s audiences, but his contributions as a member of DTC’s artistic staff have been equally important. Jonathan will ensure artistic excellence in our recently announced 2024-25 season and will lead DTC’s season planning efforts for our 2025-26 season. With Kevin’s continued leadership as Executive Director, DTC is well-poised for future growth and sustained impact.”

Currently DTC is presenting Dial M for Murder at the Wyly and will finish its season with the Public Works production of Disney’s The Little Mermaid opening in July. The company recently announced its 2024/25 seaons which Norton will oversee. He will also beging planning the theater’s next season for 2025/26.

The Festival of Independent Theatres joins with Theatre 3 for its return

After its pandemic-related hiatus for the last five years, this summer theater festival is set to return this August. The Festival of Independent Theatres (FIT) will team with Theatre 3 to present this year’s selections of works by Dallas artists.

The festival celebrates all types of performing arts including dance, comedy, music and more. The festival has closed its open call which was open to theater companies and individual performing artists with project ideas ranging from half-hour to two hour long productions. The festival also welcomed performers and organizations representing all races, backgrounds, genders, and gender expressions to be part of its event.

From FIT:

The Festival of Independent Theatres (FIT) was founded in 1998 in an effort to aid local theater companies without a permanent performance space. Through material and administrative support, the festival promotes artistic risk and creativity by alleviating the financial burden faced by independent artists.

FIT has a 25-year history of promoting and elevating local creatives, while producing some of the area’s most exciting and best loved work. Many of the festival’s biggest hits have gone on to new lives as films, on tours, as well as on the main stages of several local theatre companies. Previously held at The Bath House Cultural Center, this year’s festival looks to expand its footprint by partnering with Theatre Three.

Scheduling and ticketing information to be announced.

–Rich Lopez

Stage Notes: Review of ‘Dial M’ by DTC which named a new interim AD; Lyric evolves with 31st season

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