Best Bets • 05.27.16

Friday 05.27 — Sunday 05.29


Texas Ballet Theater returns with First Looks

Earlier this month, Texas Ballet Theater debuted its latest performance in Dallas — a collection of three dances, including a world premiere. Now it’s Fort Worth’s turn … and anyone else who missed it. First Looks closes TBT’s current season with colorful and playful pieces from three choreographers.

Bass Performance Hall
525 Commerce St., Fort Worth
Friday–Saturday at 8 p.m.
Saturday–Sunday at 2 p.m.

Friday 06.03 — Saturday 06.19


­­Uptown Players opens first of two Terrence McNally plays this season

Imagine the doorbell ringing and it’s your ex-mother-in-law. And your ex is dead. And you have a new boyfriend. And a child. That’s the fraught premise of Mothers and Sons, Terrence McNally’s Tony-nominated comedy-drama about complex relationships in the modern world. It’s the first of two McNally plays presented this season by Uptown Players.

Kalita Humphreys Theater
3636 Turtle Creek Blvd.

This article appeared in the Dallas Voice print edition May 27, 2016.

—  Arnold Wayne Jones

Play memory

Forgetfulness as self-preservation in ‘God Pan’


Drew Wall and Alex Organ ‘The Great God Pan.’ (Photo courtesy Karen Almond)

Frank (Drew Wall) and Jamie (Alex Organ) haven’t seen each other in 25 years, but have met at a Brooklyn coffeehouse to catch up on old times: Jamie — a buttoned-down journalist with a bad memory — still visits the boys’ old babysitter, who’s in an old-folks home; Frank — tatted and pierced — lives with his boyfriend in Upstate New York. It’s all just so much awkward reminiscing, until Frank mentions that he’s instituted a criminal case against his own father for molesting him, and other boys, when they were children. And, he says, since Jamie was one of his admitted victims, would he like to participate.

Say what, now?

Jamie balks at the suggestion. He has no recollection of being molested, and only vague memories of Frank’s dad at all. His mom (Cindy Beall) dismisses the suggestion out of hand; his girlfriend Paige (Natalie Young) assumes it means nothing. But Jamie’s dad (Bob Hess) is concerned. Doesn’t Jamie remember staying over at Frank’s house for several weeks at age 4? Might something have happened?

I don’t think it spoils anything to say (1) there’s never any proof or acknowledgment that Jamie was abused; and (2) there’s no doubt in our minds that he was.

Such is the intriguing premise of Amy Herzog’s The Great God Pan, a one-act mental gut-punch of a play — a mystery whose central conceit is shrouded only by man’s capacity for self-deception. But unlike, say, other similarly basically-unresolvable dramas like Death and the Maiden or even Extremities, revenge is not the thrust of the story; how we deal with the spectre of trauma is.

Screen shot 2016-04-28 at 12.05.43 PMHerzog approaches the material obliquely. We only learn elliptically about Jamie’s occasional impotence, his inward-looking homophobia (“you get weird around gay men” Paige observes), we infer his commitment issues (six years with Paige and still no engagement ring), and capacity to put off confronting unwelcome truths. “You listen, you don’t act,” Paige diagnoses; Jamie is a Hamlet for the post-modern world.

The play itself is almost the inverse of The Glass Menagerie: It doesn’t filter the past through the unreliable narrator’s memory, but rather sets up an opaque screen that the narrator himself cannot pierce.

Not all of it comes together. Herzog’s thesis can’t quite sustain the structure, and a side plot about Paige counseling a bulimic girl feels like wasted time. But you can’t deny the power of its message: That some things are worth forgetting.

It comes off strongly with Alex Organ in the lead. Organ is the artistic director of Second Thought, but he looks like he might be Chris Hemsworth’s understudy for the Thor movies: Tall, handsome, imposing but also vulnerable. He modulates the sine-curve of Jamie’s emotional journey like a surfer, exploding in denial only after smilingly dismissing the idea of being a victim while desperately trying to convince himself as much as anyone else.

He’s helped along by veterans like Beall and Hess, as well as Wall and Young (a mini-reunion of STT’s memorable Red Light Winter a few seasons back). Director Carson McCain also reinvents the Bryant Hall performance space with an angular but utilitarian and oddly nostalgic set designed by Jeffrey Schmidt. The dead branches of ominous, unseen trees linger through upstage windows, menacingly brooding over the action that flows briskly on the stage. Like Neil LaBute’s In a Forest Dark and Deep, The Great God Pan unfolds the psyche like a dark piece of origami, revealing its crevices while destroying what makes it whole.

— Arnold Wayne Jones

This article appeared in the Dallas Voice print edition April 29, 2016.

—  Arnold Wayne Jones

Best Bets • 04.29.16

Friday 04.29— Sunday 05.01


Purple Party spins a weekend of partying for a cause

Although they call it the Purple Party (singular), there are actually five events all weekend long at this circuit party and fundraiser from the all-volunteer Purple Foundation. It kicks off with the Ignite party on Friday, followed by a daytime pool party at Sisu Uptown on Saturday and the main event that night at South Side Music Hall. Sunday welcomes a tea-dance and then closing-night party. Among the spin doctors coming to town are DJ Paulo, Isaac Escalnate, Eddie Martinez and more. Get your Purple on!

For details of the events, prices on passes and a full schedule, visit

Saturday 04.30


Steve Grand goes unplugged

We have no shame in admitting we love Steve Grand — sure, his music is good, and he’s an out-and-proud gay man… both excellent reasons to be fans. He’s also quite dreamy. And why not love a performer for how they make us feel as we watch them entertain us? We’re not monks! He performs Unplugged at the COH Saturday.

Cathedral of Hope
5910 Cedar Springs Road
7 p.m.

Thursday 05.05 — Sunday 05.08


Uptown Players returns with Broadway Our Way

When Uptown Players presents their annual benefit revue Broadway Our Way — where the actors flip the sexes of who sings the songs — it usually previews the entire season. Well, this year the first show (End of the Rainbow) came first, and if it’s any indication, you don’t wanna miss what they are up to for the rest of the year. B.J. Cleveland directs an all-star cast, that also features stallwarts like Coy Covington, pictured. Fasten your seatbelts, dolls — it’s gonna be an adventure.

Kalita Humphreys Theater
3636 Turtle Creek Blvd.

This article appeared in the Dallas Voice print edition April 29, 2016.

—  Arnold Wayne Jones

A star is born

Janelle Lutz and company send audiences over the ‘Rainbow’


ARNOLD WAYNE JONES  | Executive Editor

When Janelle Lutz, as Judy Garland in the last months of her life, strides onto the stage of the Kalita Humphreys Theater, the audience can’t help but spontaneously cheer. Like Garland, Lutz has that most mysterious quality of a star: charisma. She’s full-bore, don’t hold back, give-it-all-ya-got gumption. Garland probably learned its value as a kid in Vaudeville; I don’t know Lutz’s excuse.

And she holds that level of captivation for the more than two-and-a-half hours of End of the Rainbow, playwright Peter Quilter’s rendering of Judy’s last major concert in London, when pills, booze and a lifetime of failed relationships had really taken their toll. “There’s nothing left,” she sighs in Act 1, realizing that the toughest role she ever played was living up to the legend of Garland herself.

Screen shot 2016-04-07 at 11.38.38 AMThat spunk is what made Judy the glamorous avatar for gay men for several generations: If she could do it, so could we. That her death, at age 47, helped trigger the modern gay rights movement seems almost inevitable. “What is it with you people? The more she falls apart, the more you adore her,” Judy’s boyfriend Mickey (Alex Ross, good as always) hisses at her gay accompanist (Christopher Curtis, who nails his role). He was wrong, but it was easy to see why he — or she — felt that way. The audience kind of does, too — you can’t help but stare at her, wondering what comes next.

Like the play Piaf, Quilters combines dramatic scenes with concert footage, which allows director Cheryl Denson to turn the Kalita into an exquisite cabaret — foggy with stage smoke that suggests a faded memory, a last breath of life. And Lutz delivers there as well. She’s a deft interpreter of the music, giving her own twist to “The Trolley Song” while staying true to Judy’s version. But by the time she wails out “The Man That Got Away” in a plaintive, heartbreaking emotional breakdown set to music, you realize: She could be even better.

End of the Rainbow exudes desperation from every syllable, sweating out its forlornness like a marathon runner, and the anchor is Lutz’s magnificent portrayal. In the hotel scenes, she embodies the junkie’s hairpin turns of mood, but also the genuine need to always try to live up to being Judy Garland. “You could have shoved cables in me and powered Manhattan!” she oddly brags about how lit she has been. Stars burn bright, after all. The brightest ones die out in a blaze that sends worshippers to their knees, aware they are basking in the presence of something magical, something divine.

This article appeared in the Dallas Voice print edition April 8, 2016.

—  Arnold Wayne Jones

What would Judy do?

Janelle Lutz, one of North Texas’ best musical actresses, revisits the giant among all gay icons


MERIT OF GARLAND | ‘The End of the Rainbow’ is a ‘play with music,’ interspersing live concerts late in Judy Garland’s life with scenes of her and the (gay) men in her life. (Photo courtesy Uptown Player)

ARNOLD WAYNE JONES  | Executive Editor

Janelle Lutz has no problem admitting that she’s one of those actresses who gets very, very nervous before any show opens … but especially this time.
Even though she has played Judy Garland in the past (about two years ago, in the musical The Boy from Oz), when it sank in that she would once more portray Garland in The End of the Rainbow — a play-with-music opening Friday at the Kalita — she confesses that she did something of a double-take.

“You wonder why I’m terrified and have been for months — ‘I’m doing who-what-where?’” she laughs just hours before her first dress rehearsal. Yes: She would play Judy Garland — that avatar of gay culture, for whom the term “friend of Dorothy” became code for “gay” (owing to her performance as Dorothy Gale in The Wizard of Oz), and who surrounded herself with gay men her entire life, including a few husbands and sons-in-law — for Uptown Players, known for its gay-themed shows with loyal gay audiences. The potential judginess was almost intimidating.

Still, while Lutz admits that she was aware of Garland’s status as an icon of gay culture, she was not full schooled in the lore (legend?) of her role in the Stonewall Riots and the advent of the modern gay rights movement. Then again, why should she be? Garland herself never knew the full scope of her impact, since it was police harassment on the night of her funeral that triggered the uprising at the New York City gay bar in June 1969. And The End of the Rainbow is set over the course of a few weeks less than a year before she died, of a drug overdose, at just age 47. Which meant that Lutz doesn’t need to know about it. Not that it stops her from soaking up as much information as possible about the actress, singer and mother (to Liza Minnelli among others) who remains one of the most iconic artists of the 20th century.


It takes a lot of stage magic to turn Lutz into the much older Garland. (Photo by Craig Lynch)

And therein lay another trap for Lutz: How much of her role should be interpretation, and how much recreation?

“My thing is to try to be the most like her, as a tribute,” Lutz says. “It isn’t that I was gonna try to be her. That was my goal, even back to The Boy from Oz. The fear is to go too far. I’m not an impersonator, I’m an actress. There are going to be times I don’t look like her — she was 4-foot-11 and I’m just shy of 5-8 — and times I don’t sound like her, though I try. If you put two recordings next to each other [of her and me], they won’t be the same. But [the idea is] to use how she gestures or uses her body so that it [doesn’t] become a caricature. She was a real human being — she wasn’t [just an accumulation of tics].”

That’s also where all her research came in handy.

“I was very much a fan [of Garland] growing up on old movies,” Lutz says. “I don’t remember what first movie I saw her in, but I don’t remember thinking of her as Dorothy, but maybe Meet Me In St. Louis, and then putting it together.”

The play is made up of set-piece scenes, broken up with concerts Garland delivers before a live audience. And for the concerts, Lutz had not only vinyl recordings and old movies, but also access to YouTube.

“All but one of the songs I perform is in a concert setting, so I could go and watch her perform those specific songs as a reference — Oh, that’s her singing ‘The Trolley Song.’”

Because Lutz plays Garland near the end of her life — at an age fairly far from Lutz’s — she also has to convey the weary, doped-up, hardened Judy, not the perky teen when she became famous. Then again, there was always a ribbon of sadness threading its way through Judy’s songs. She couldn’t help it.

“I think it first hit me in college, when I started looking into music and would watch her, [that I realized] how sad her music sounded,” Lutz explains.
“She could sing ‘Come On Get Happy’ or ‘Have Yourself a Merry Little Christmas,’ that are so sad and heartfelt but also just beautiful … because she sings from the soul. She means it, every time she sings. She always has this one moment, even in happy song, where there’s this click and it would turn into this sad, desperate love song that would reflect her life. And it blows my mind even more that she could sing that way when she was [so addicted].”

Screen shot 2016-03-31 at 11.20.06 AMThat, of course, has been part of the appeal of Garland to generations of gay men: Her survivor instinct, her sticktoitiveness, her endurance in the face of obstacles. And it’s also something that made, ultimately, Lutz a huge fan.

“When I watched those old Judy movies, I never dreamed this would ever happen,” she gushes. The thrill is enough to send her over the rainbow.

This article appeared in the Dallas Voice print edition April 1, 2016.

—  Arnold Wayne Jones

Uptown Players face possible protests over ‘Most Fabulous Story’

Uptown Fabulous Story 087KOThis year, Uptown Players got to do something they haven’t done since their first season: Open a late-autumn production. Since it was close to the Christmas holiday, they chose a (kinda) religious-themed play to inaugurate their new time-slot: Paul Rudnick’s sassy The Most Fabulous Story Ever Told. A riff on the right-winger mantra of “The Bible speaks about Adam and Eve, not Adam and Steve,” Rudnick goes ahead and makes it about Adam and Steve (and their lesbian counterparts, Jane and Mabel … instead of Cain and Abel). Adam and Steve are mostly naked for the first 15 minutes or so.

Let’s face it: This is provocative stuff for the Bible Belt. Co-founder Craig Lynch even acknowledged that some gay theatergoers may not appreciate a satire of the Old Testament. Then again, isn’t pushing boundaries what theater is supposed to do sometimes?

Apparently, not everyone agrees. Lynch informs me that as of the start of this week, the company had already received 800 protest emails, though he attributed the vast majority of them to a robo-email program sponsored by a right wing religious organization. One patron even called and offered to buy out every seat for the entire run with the intent not to use the seats, to prevent any audience for the gay-themed play.

Similar protests have been logged in Oklahoma City and Austin, with varying degrees of success. One Catholic group has even called for a “Rosary of Reparation” on Sunday, to protest the show at the Kalita Humphreys.

Call me naive, but inviting hundreds of your followers to show up at a theater is a great way to give a troupe free publicity — which, I admit, is what I’m doing as well.

Of course, peaceful protests and disagreements are one thing; intimidation, violence and threats are another. So far, The Most Fabulous Story Even Told — which opens tonight, and runs until Dec. 15 — seems to have avoided any scary-level protests. I expect it will stay that way. After all, doesn’t the Bible say something about turning the other cheek? A good Christian should know about that.

—  Arnold Wayne Jones

Ryan Roach memorial, fundraisers set

Ryan and Robert Rain

Ryan Roach and Robert Rain in a production of ‘Blood Brothers.’

We reported yesterday about the passing of beloved local actor Ryan Roach. In addition to the viewing scheduled for tonight, and the funeral tomorrow morning (both in Denton), there are other developments in honoring Ryan.

On Saturday, Aug. 10 at 11 a.m., friends and family will gather at the Kalita Humphreys Theater for a memorial service celebrating his life. On Aug. 26, Amy Stevenson’s cabaret show Mama’s Party in Grand Prairie will be dedicated to Ryan, and donations will be taken.

Finally, an online fund has also been established already to help defray to medical and funeral expenses to Ryan’s family. In just two days, it is already nearly 40 percent funded. You can help out by clicking here to contribute.


—  Arnold Wayne Jones

Dazzling affair for the holidays


In 2009, local actors and singers came together as DFW Actors Give Back to release Holidazzle, a CD of holiday music all for the benefit of Jonathan’s Place, an organization that serves the needs of children suffering through abuse. As it turned out, the match was successful enough for performers to assemble again for Holidazzle: Act II.

The collective raised close to $10,000 for the organization.

The CD will be available at several theaters through the holiday season for $15. Performers in this second edition include local faves like Gary Floyd, Denise Lee and B.J. Cleveland.

DFW Actors Give Back will host a CD release party this Monday which also provides a preview of what’s on the disc. Along with appetizers and drinks, featured artists will also perform songs from the CD. Oh, and they want you to dress in festive attire.
If that doesn’t get you in the holiday mood, then bah, humbug to you.

— Rich Lopez

Kalita Humphreys Theater,
3636 Turtle Creek Blvd.
Nov. 7 at 7 p.m.

—  Kevin Thomas

Pride Performing Arts Fest wraps up

Uptown Players’ inaugural performing arts festival, timed to coincide with Dallas Pride, was a risky venture, if only in training theatergoers to seek out new plays mid-week and in repertory. But the experiment has paid off so far; co-producer Craig Lynch reported that most of the performances in the upstairs Frank’s Place space were complete or near sell-outs last weekend. Good for them, but even better for audiences, getting to see Paul Rudnick’s hilarious New Century, where Lulu Ward gives the best performances I’ve seen on a stage this year, and a fully-dressed staged reading of the lesbian melodrama Last Summer at Bluefish Cove — both of which you can still see one more time (New Century on Saturday at 4 p.m., Bluefish on Friday at 8 p.m.). The whole event wraps up Saturday night at 7:30 p.m., with a cabaret performance RSVP Vacations vets by Amy Armstrong and Freddy Allen, pictured.

— A.W.J.

All performances at the Kalita Humphreys Theater, 3636 Turtle Creek Blvd. Through Sept. 17.

This article appeared in the Dallas Voice print edition September 16, 2011.

—  Michael Stephens

Enter, stage left

After a decade, Uptown Players, Dallas’ gaylicious theater troupe, finally gets its Pride on with Performing Arts Fest

GAY PLAY BUFFET | Uptown Players’ inaugural Dallas Pride Performing Arts Festival features musicals, plays, staged readings, comedy and cabarets, including, ‘Beautiful Thing,’ left, ‘Last Sunday in June,’ below and ‘Crazy Like Me,’ above.

Seeing how Uptown Players always gives Dallas theatergoers a big gay outlet, it would only seem natural that as the city celebrates Pride in September, the troupe would be in the thick of things, presenting some of their gaycentric shows while the rainbow flags are unfurling.

But that has rarely been the case, and the big hold-up was always limited space. Now that Uptown calls the Kalita Humphreys Theater home, the company finally can go all out, as it will with its inaugural Dallas Pride Performing Arts Festival.

“It’s something we’ve been wanting to do for a long time,” says producer Craig Lynch. “I’m excited to do two weeks of shows that really celebrate the community and to have the opportunity to see it all come together.

With 11 different performances spread across two weekends, Uptown will be able to showcase shows in both the main stage and the upstairs black box theater, Frank’s Place. Juggling drama, comedy and even cabaret, Lynch feels that Uptown, even after a decade, will put the company on the map with a larger audience.

“I’m excited to get some people in here that may not have been here,” he says. “I think people will be able to say, ‘There’s a great theater company here and we need to come back.’ And it’s another way to bring the community together and sort of remember our roots.”

Lynch also thinks it’s a nice alternative to the usual night out.

“Hey, you’ve seen one shirtless twink, you seen ‘em all,” he says.

So true.
— Rich Lopez



Crazy Just Like Me directed by Coy Covington. Simon, Mike and Lauren find that the love of their lives may not be who they thought it would be in this musical. Stars Alex Ross, Kayla Carlyle, Angel Velasco, Corey Cleary-Stoner and Ryan Roach. Sept. 9, 11, 14 and 16 at 7:30 p.m.

lead-2Beautiful Thing directed by B.J. Cleveland. The story of two teenage boys who discover their love for each other and the optimism that goes with it. Based on the popular indie film, the production benefits Youth First Texas. Sept. 10 and 15 at 7:30 p.m. and Sept 17 at 2 p.m.

Pride Cabaret Concert: From Chopin to Show-tunes featuring Kevin Gunter and Adam C. Wright. This musical cabaret takes a whirlwind look at theater music. Sept. 13 at 7:30 p.m.
Amy Armstrong and Freddy Allen close the festival with their brand of music and comedy. Sept. 17 at 7:30 p.m.


The Facts of Life: The Lost Episode directed by Andi Allen. The 2009 cast, including Paul J. Williams as Mrs. Garrett, reunites for this spoof of the 1980s sitcom. Sept. 9 and 14 at 8 p.m. and Sept. 10 at 9:30 p.m.

The New Century directed by Andi Allen. Allen teams up again with Williams alongside Marisa Diotalevi for this new Paul Rudnick short play of tales of gay men and the women who love them. Sept. 10 at 3 p.m., Sept. 11 at 5:30 p.m. and Sept. 17 at 4 p.m.

A Taste of Beauty staged reading is a workshop of a brand new musical by Jeff Kinman, John de los Santos and Adam C. Wright. Audience feedback is encouraged. (Staged reading.) Sept. 10 at 6 p.m.  and Sept. 11 at 8 p.m.

Asher, TX ’82 written and directed by Bruce Coleman. This world premiere by Coleman finds four youths in Texas confronted with violence and how it affects their lives forever. Max Swarner (Equus) and Drew Kelly (Forbidden Broadway’s Greatest Hits) are among the cast. Sept. 11 at 2 p.m. and Sept. 17 at 6 p.m.

Click/A Midsummer Night’s Conversation directed by Kevin Moore. These two shorts by Austin playwright Allan Baker are presented in conjunction with Asher. In Click, two guys try to hook up online but for different reasons. In Midsummer, a same-sex couple finds its time to get real honest with each other. Sept. 11 at 2 p.m. and Sept. 17 at 6 p.m.

Last Summer at Bluefish Cove directed by Cheryl Denson. A key work to lesbian literature, this play by Jane Chambers tells the story of an unhappy married woman discovering a newlead-3 world with a fresh set of friends who all happen to be lesbian. (Staged reading.) Sept. 12 at 7:30 p.m. and Sept. 16 at 8 p.m.

Last Sunday in June directed by Rick Espaillat. This Jonathan Tolins play follows the perfect gay couple on a not-so-perfect gay Pride day. The cast includes Chris Edwards, Jonathan Greer, Lon Barrera, Rick Starkweather, Robert L. Camina, Jerry Crow and Lee Jamison. Sept. 13 and 15 at 8 p.m.

—  Kevin Thomas