Theatre Too announces upcoming season

nancegroup2BBruce R. Coleman, the acting artistic director of Theatre 3, has announced the 2016–17 season for the company’s downstairs black box space, called Theatre Too.

The season starts with The Sum of Us (Sept. 1–25), a comedy-drama about the relationship between a widower and his gay son. Mark C. Guerra will direct. Next up will be A Christmas Carol: The Radio Show (Nov. 25–Dec. 11), which returns from last year’s run. B.J. Cleveland, pictured, once again performs the one-man tour-de-force. Another popular staple takes over after that, with I Love You, You’re Perfect Now Change (Dec. 29–Feb. 12, 2017… though expect an extension, as usually happens with this show). The romantic musical revue will be directed by Cleveland.

There’s another revival of sorts with The Empress, The Lady and The Pearl, Part II: Miss Billie and Miss Freddie (March 23–April 16, 2017). Denise Lee, who played blues legend Bessie Smith (“The Empress”) in Part I earlier this year, comes back, this time as Billie Holliday. The season will end with Con McPherson’s thriller The Birds (May 25–June 18, 2017), based on the Daphne Du Maurier novella (and also the basis for the Hitchcock film). Tickets are available here.

—  Arnold Wayne Jones

Time and tide

‘Show Boat,’ ‘Big Meal,’ ‘Empress’ movingly portray the full landscape of life

KA2_2896

Lara Tetter, above right, steals scenes in Dallas Opera’s ‘Show Boat. (Photo by Karen Almond)

ARNOLD WAYNE JONES  | Executive Editor
jones@dallasvoice.com

Theater is a matter of life and death in North Texas this month — literally.

Screen shot 2016-04-21 at 3.00.58 PMAt WaterTower Theatre, the entire life-cycle is at issue in The Big Meal, a tender, funny, painfully real portrait of a family from courtship to death. It starts with two 20somethings Nicki and Sam (Kia Boyer and Garret Storms), meeting for an awkward first date or two, usually over dinner and drinks. With the chime of a bell, it’s now at least a decade later, with Nicki and Sam now played by Sherry Hopkins and Jakie Cabe. They reignite their relationship, and to the surprise of both, agree to marry … just so long as they don’t have children. A chime later, and two rug-rats (Kennedy Waterman and Alex Duva) come running in — apparently the call of biology was too much to resist.

The play continues on that way, with abrupt changes of setting and time … as well as cast. At first, John S. Davies and Lois Sonnier Hart play Sam’s parents; by they end, they are portraying Sam and Nicki themselves, now great-grandparents of pairs of kids (Cabe and Hopkins), grandkids (Storms and Boyer), etc.

Sound confusing? It’s really not, though it does demand your attention, something you willing give over as you become inextricably rapt by the authenticity of the lives of this family, which include dating, divorce, infidelity, cancer and of course death — the “big meal” in playwright Dan LeFranc’s construct. Each time the stage manager steps onstage with a full plate of food and a napkin-wrap of silverware, it’s someone’s turn to eat … and walk off-stage forever. Dinner becomes a form of Russian roulette.

Initially, the speed of the transitions, and the unmiked voices, force you to strain a bit to catch everything. And then you realize that director Emily Scott Banks is doing that intentionally, making you lean forward and engage. It’s a crafty way to rope you in, and for 100 uninterrupted minutes, she makes you laugh and breaks your heart. By the end, with Sam quaking from Parkinson’s, his mind fading as Nicki feeds him one last time, you’re wrecked. (Damn her montage of couples — gay and straight — and exquisite use of music to pluck at our emotions!)

The cast ably serves Banks’ vision. Storms is a protean actor who, better than anyone on North Texas stages right now, fluidly transforms from one type to another (a scene where he portrays every boyfriend Boyer’s character ever brought home is a subtle tour-de-force). Waterman — barely a teen — wowed audiences in Harbor and Daffodil Girls, and cements her rep as a “kid” actor with mature talent. Of all local theater companies, WaterTower seems the one most consistently occupied with telling the human experience with kitchen-sink verisimilitude. The Big Meal adds to that catalogue, a kind of modern-day Our Town. Come prepared to cry.

Kia-Boyer-and-Garret-Storms-in-The-Big-Meal-at-WaterTower-Theatre-photo-by-Karen-Almond

Kia Boyer and Garret Storms, above, begin a romance that becomes an entire lifetime in WTT’s ‘Big Meal.’ (Photo by Karen Almond)

You might well cry throughout Show Boat, too — the final production of the Dallas Opera’s current season and the first time the company has produced an American-style musical, not a traditional opera (though it’s actually more of an operetta). The songs — “Ol’ Man River,” “Can’t Help Lovin’ Dat Man,” “Bill” — are firmly ensconced as charter entrants in the Great American Songbook, and as delivered here, wrenching arias as well-honed as Mozart’s “Porgi amor” or Offenbach’s “Barcarolle.” Jerome Kern and Oscar Hammerstein II may not have reputations as “opera composers,” but their work stands with some of the greats.

It helps that the Dallas Opera has assembled a cast that not only sings with the strength of opera, but can act up a storm.
The story revolves around Magnolia Hawks (soprano Andriana Chuchman), a young girl touring with her parents about the Cotton Blossom, a moving river boat that wanders the Mississippi at the turn of the last century, performing overwrought melodramas for residents of the port towns. She meets the gambler Gaylord Ravenal (baritone Michael Todd Simpson), a tall and impressive dandy who sweeps her off her feet, giving her and their daughter a good life until his losses pile up, and Magnolia is forced to work for a living, becoming a celebrated singer.

Chuchman and Simpson have real chemistry, which you feel during their duet “Make Believe.” But it’s soprano Alyson Cambridge as the tragic Miss Julie LaVerne, a half-black actress “passing” for white in the segregated south, who delivers the show’s major knockout punch. “Bill” sounds like a novelty song — a sweet, goofy ballad about a woman infatuated by her seemingly average boyfriend — but Cambridge turns it in a breathtaking torch song of an alcoholic has-been, giving her all at the end of her career. And basso-profundo Morris Robinson brings it for his (and the show’s) signature song, “Ol’ Man River.”

As is often the case, the comic role of Cap’n Andy is a scene-stealer, and the limber dancer Lara Teeter commits grand theft. It’s a joyously upbeat performance in a show filled with as many dour moments as colorful bustles — the prototype for the modern musical, conducted with brio by Emmanuel Villaume.

Music is essential to another downbeat story about life and death. It’s Oct. 4, 1970, and Janis Joplin (Marisa Diotalevi) is drowning her sorrows in an L.A. hotel room when her idol — the late blues great Bessie Smith (M. Denise Lee) — seems to step out of the album she’s listening to and enters Janis’ world. Janis has died of a drug overdose and is just beginning to realize it; Bessie apparently is there to ease her transition into the afterlife.

The meeting of these musical greats, both cut down at the peak of their skills (Joplin at age 27, Smith at 43), forms the crux of Dianne Tucker’s reverie on American Music The Empress and the Pearl, now at Theatre 3’s downstairs space. Through songs (mostly Smith’s), conversation and some theatrical exposition, Tucker delineates the similarities between the performers, but also their differences as people and artists.

It’s not a balanced portrait. Joplin comes off as the more ungrateful and self-destructive of the two, a self-indulgent narcissist who ruined her raspy voice by burning out her soulfulness too recklessly, as well as ill-conceived romances with men and women. That’s something she shared with Smith, a sexually voracious singer who truly lived the blues.

Neither Lee nor Diotalevi look or sound much like their avatars, but it hardly matters; Lee in particular has the rich vocal chops to turn the small underground space into a Depression-era speakeasy. You can practically smell the gin in this cabaret.

This article appeared in the Dallas Voice print edition April 22, 2016.

—  Arnold Wayne Jones

STAGE REVIEW: ‘Light Up the Sky’

1_T3_LUTS_Top-Bottom_Bob Hess_Jessica Cavanagh_David Coffee_Lydia Mackay_Photo by Stephanie Drenka

Hess, Cavanaugh, Coffee and Mackay play up the comedy in ‘Light Up the Sky’

Post-modernism has made it all but impossible to enjoy certain mid-century comedies anymore. Audiences are savvy now — they carry irony with them like rosaries at a convent. At times, it’s more of an impediment than it should be, as with Light Up the Sky, the Moss Hart-written play now at Theatre 3.

The premise is pure Inside Showbiz: A new play is getting its first out-of-town tryout in Boston and all those who’ve read it agree it’s a work of genius on par with Aristotles Poetics. At least until opening night, when walkouts, titters and the opinions of the producer (David Coffee), star’s mom (Ivy Opdyke) and even a rival playwright (Doug Fowler) proclaim it an allegorical disaster. That’s when the star (Lydia Mackay), producer and director (Bob Hess) start blaming each other, and especially the playwright (Seth Monhollon), for saddling them with a bomb.

The leading roles are as impeccably performed as the script allows. Hess received an ovation for his entrance before delivering a line of dialogue, coming at us with more camp than a Boy Scout Jamboree. Coffee’s blustery slow-burning mogul and Mackay’s cryptic diva banter like The Honeymooners. Opdyke’s droll, drunken sass and Jessica Cavanaugh’s charm add fine support.

But the script is its own distraction. We know too much now about how the business — and art — of the stage really work; musicals like The Producers and Curtains are set in basically the same era, but written with a contemporary eye that let’s you know they’re in on the joke. Not so here, where the very conceit of the plot is hard to swallow. The dialogue is frequently clunky and painfully expositional; Monhollon and Fowler in particular are sentenced to speak Hart’s Big Pronouncements about The Theatuh. That’s a big hurdle to clear, but this cast does its game best.

Theatre 3, 2900 Routh St. Through April 3.

—  Arnold Wayne Jones

Stage reviews: ‘Grand Hotel,’ ‘Picnic’

Pyeatt and Deaton in ‘Grand Hotel’

Maybe you can blame the rain, but opening night at Lyric Stage‘s production of Grand Hotel was not a sellout, and that’s a shame. For some years now, Lyric has been doing the kind of musicals no one does anymore outside the opera world: Large-scale, huge cast, full-orchestra full-on revivals of classics of the Golden Age of B’way and beyond. It’s easy to get folks excited about Rodgers & Hammerstein and Sondheim; it’s a harder sell, apparently, to let them know just how good a forgotten hit like Grand Hotel is (in ran from 1989–1992, and won Tommy Tune one of his gazillion Tony Awards).

The upside is, you should be able to score some good seats to the final performances of the show, being given a glorious production in Carpenter Hall. The score, largely rewritten by the great Maury Yeston prior to its original opening, is a lush and extravagant old-school collection of waltzes and jazz and assorted genres that all come together in a sung-through presentation. When Christopher J. Deaton — playing the beleaguered, cash-strapped, but endlessly charming Baron — hits the final note on the ballad “Love Can’t Happen,” you’re convinced we are living in our own Golden Age of musicals … and its center is Irving, Texas.

Grand Hotel is a portmanteau of stories, all intertwining in the lobbies and suites of a Berlin luxury hotel in the interbellum just before the Great Depression. A beset bellhop (Anthony Fortino) must choose between career and family (and the unwanted advances of his supervisor); a 50-ish ballerina (Mary-Margaret Pyeatt) struggles with self-doubt while her devoted, closeted assistant confidante (Jacie Hood Wencel) pines unrequited; a dying bookkeeper (Andy Baldwin, who lets loose in a heart-breaking turn) finds new meaning when he meets an conniving secretary (Taylor Quick) intent on becoming a star; and on and on. Fully 28 actors appear with three dozen musicians, hoofing and huffing for two-and-a-half hours. This truly is a grand Hotel.

2_TheatreThree_Picnic_L-R_Maya-Pearson_Stephanie-Dunnam_Haulston-Mann_John-Ruesegger_Grace-Montie_Photo-by-Linda-Harrison

Maya Pearson, Stephanie Dunnam, Haulston Mann, John Ruesegger and Grace Montie in ‘Picnic’ (Photo by Linda Harrison)

Over at Theatre 3, things are getting steamy with William Inge’s satire of sexual hypocrisy, Picnic. Inge was a closeted gay man who explored the realities of sex in the 1950s in a way no one other than Tennessee Williams was attempting, but unlike Williams’ Southern Gothic excesses, Inge imbued his stories with a Midwestern sensibility. Blanche DuBois was unstable; schoolmarm Rosemary is simply horny and desperate.

People were horny before the sexual revolution, something that made Inge’s plays a decade earlier seem quaint; he fell out of favor in the 1960s, after winning an Oscar for Splendor in the Grass, one of the most frank depictions of teenaged puppy love put onscreen.

Sex oozes from Picnic, especially in the persona of Hal Carter, played by Haulston Mann. Mann (aptly named) is a muscular, cocky sort, who doesn’t walk on the stage so much as he struts across it. His drool-worthy physique sets the women of this small Kansas town aflutter with desire, from high-school tomboy Millie (Maya Pearson) to randy ol’ gal Mrs. Potts (Georgia Clinton) and the aforementioned Rosemary, played to tragicomic perfection by Amber Devlin. Rosemary pretends to be happily spinstered, renting a room in the house of the widowed Mrs. Owens (Stephanie Dunnam), but secretly craves a man, even if it’s perpetual bachelor Howard (David Benn, who looks like Mitt Romney but who gets a whole lot more sympathy).

Hal’s appearance primarily screws up the budding romance between Millie’s sister Madge (Grace Montie) and her beau, town rich-kid Alan (John Ruegsegger), an old fraternity brother of Hal. Hal “ruins” Madge, but also sets her free. That’s the irony of sex in the 1950s: Folks were starting to realize it wasn’t shameful, but liberating.

Picnic can feel clunky at times (the bromance between Hal and Alan reeks of awkward homoeroticism, and their discussions feel forced), but it can be unexpectedly funny (Inge himself called it a romantic comedy), but the cast at work here — especially Devlin, Ruegsegger and often Mann — makes it endlessly watchable. It’s enjoyable to rediscover a nearly-forgotten classic of midcentury theater.

—  Arnold Wayne Jones

Memorial service tonight for Jac Alder

jacalder01Jac Alder, the long-serving founder and artistic director of Theatre 3 who died in late May at 80 after a long illness, will be remembered in a memorial service tonight.

The service will be held at City Performance Hall, 2520 Flora St., in the Downtown Arts District. Complimentary parking will be provided at the Lexus Silver Parking Garage next door. It begins at 6 p.m.

Friends and colleagues, as well as fans of Theatre 3 and Alder’s more than half-century of dedication to theater in North Texas, are all invited to attend.

—  Arnold Wayne Jones

Lights will be dimmed Friday in honor of Jac Alder

City Performance Hall and the Winspear Opera House will darken their marquee and lobby lights on Friday at 7 p.m. in honor of Theatre 3 founder Jac Alder, who died last week at age 80tides-1. He was the longest  continuously-serving arts company director in the U.S.

Theatre 3’s board also issued a statement mourning Alder’s passing today. The board revealed the establishment of the Jac Alder Memorial Fund to continue the arts leader’s legacy. A memorial honoring him will be held at CPH on July 13 at 6 p.m.

Bruce Coleman was announced as acting artistic director, with Marty Van Kleeck serving as advisor.

—  Arnold Wayne Jones

Remembering Jac Alder

A photo I took of Jac as the Arts District went online.

I’ve known Jac Alder for many years, but not nearly as many — not by a long shot — as he has been an arts leader in Dallas. In fact, he has led Theatre 3 for longer than I have been alive … and I’m not a kid. So yeah, maybe for a decade or so I was privileged to say, “Hi, Jac,” or even set up a photo shoot with him or get an exclusive or two in a private conversation, but if you wanna know someone who knew Jac Alder best, well, hell — it wasn’t me.

In many ways, I bet it was Terry Dobson, who was the music director at T3 for nearly 35 years and worked closely with Jac. Sadly, Terry died of sepsis just a few weeks ago … just as Jac checked into the hospital in respiratory distress. Jac’s condition was serious, but he seemed to be improving last I heard. So when word spread last night that Alder had passed away at age 80 … well, it’s a lot to digest in a short period of time.

Jac was widely acknowledged as the longest-serving artistic director of any arts organization in the U.S., which he cofounded (with his late wife Norma Young) in 1961; notably, Jac died just after the final show of the company’s 54th season concluded — Jac knew how to make a timely exit.

That’s because he did it all — not only as a producer and artistic director, but also as an actor (I saw him several time trod the boards, and he was brilliant each time), an entrepreneur (he turned himself in a puppet to give the curtain speech at Avenue Q), a director and occasionally as a designer. He could be prickly, but also droll; fiercely opinionated but also flexible; charming (the first time I met him he told me, “I’ve heard many excellent things about you … but I won’t say from whom”) and defiant. As a critic, I would sometimes write negative reviews of shows he produced, and I could usually tell when he disagreed with me, but never was he rude. He was the gentleman of Dallas theater.

He was savvy, as well, in helping Theatre 3 grow. When it had a reputation for doing “safe” work, he took some risks and put on plays with nudity (Metamorphoses, The Wild Party, The Full Monty), interspersed with Agatha Christie thrillers and song-filled revues. The mission statement of Theatre 3 says it took its name from the interplay between author, actor and audience; Jac really tried to embody that in every production. No one cared more about theater that Jac.

Few cared more about his fellow man, as well. Jac nurtured the young careers of such folks as Morgan Fairchild and Doug Wright; he was well-known to employ theater professionals who needed work so that they could keep their health insurance; he was supportive of AIDS causes and a long-standing friend of the gay community. Theatre 3 embraced its Uptown neighbors.

So, I didn’t know Jac as well as many other people. But I knew him well enough: Through his largesse, his artistry, his commitment. He wasn’t a tall man; but he was a giant.

—  Arnold Wayne Jones

Terry Dobson, longtime actor and musician, has died

11182129_10153223194264417_6063514439171344223_nTerry Dobson, who for 30-plus years served as a music director, keyboardist, actor, playwright and bon vivant in the Dallas theater community, died last night. He was 59.

It was hard to miss Terry. Standing six-foot-six and cutting a lanky silhouette with a Marty Feldman-esque mug, he towered over theater lobbies. But much of his career, mostly as the musical director at Theatre 3, was spent behind the scenes, arranging scores of the musicals performed there, usually leading the band and playing keyboards. He once arranged a piece for Stephen Sondheim which the composer was pleased with; he loved to tell that story.

But Terry could also be frequently seen in front of the limelights. He performed in the Tony Award-winning three-hander Art at FMPAT, as well as numerous shows at Theatre 3. He last trod the boards in Assassins playing the would-be presidential murderer Sam Byck.

But the show Terry will be most closely associated with will surely be My Own Private Diva, a more-or-less solo show about his journey from his native Slapout, Ala., to the big city of Dallas. The play was also a love letter to his best friend and muse, local actress Sally Soldo.

Soldo was with Terry and members of his family when he passed away last night in New York City. Plans are currently underway to arrange for a cremation. Dallas memorial services are pending.

Terry was a longtime HIV survivor, and was very open about his status. About a year ago, his health took a serious turn which necessitated him stepping down from his duties at Theatre 3. But in recent weeks, he had bounced back. Personally, I ran into Sally and Terry about a month ago at the Dallas Summer Musicals. He was in good spirits and alert and friendly. “He was in great shape and happy,” Soldo told me. “We were [recently] at [Theatre 3’s production of] Hot Mikado and a big Easter celebration with his extended family. This was very sudden.”

His fatal illness was not only unexpected, but unrelated to his HIV status.  A few weeks ago, Terry took a trip to New York City to take in some Broadway shows. The day after one, he fell quickly ill and was admitted into a hospital. He had developed sepsis owing to a perforated ulcer. He was treated with antibiotics and seemed to be improving. Then he developed some abscesses and his condition worsened over the weekend. Soldo flew to his side Tuesday to meet with the family.

This is one of several sadnesses visited upon Theatre 3’s staff recently. The company’s founding producer, Jac Alder — the longest-serving artistic director of an arts organization in the U.S., having helmed it for more than 50 years — was recently admitted to Baylor’s ICU for treatment of pneumonia. Until he is released, which will hopefully be in a few days, plans for a memorial for Dobson are on hold.

“Terry hated memorial services,” Soldo said. “When he had to play music for them, he ducked out as soon as it was over. So I don’t know what we will be doing, but I am sure it will involve chocolate.”

Terry would have appreciated that.

—  Arnold Wayne Jones

REVIEW: ‘Shear Madness’ at T3

shearmadness_verticle_1Theatre 3 has turned its smaller, downstairs Theatre Too space into a kind of living museum of reliable shows. I Love You, You’re Perfect, Now Change keep coming back, an Avenue Q ran there for upwards of a year. Currently, it’s the home for Shear Madness, one of the more enduring regional shows for nearly four decades. (It’s been playing in Boston since about 1980 and has been in the District of Columbia for 27 years.)

As much a game as a piece of theater, it’s set in Uptown Dallas’ Shear Madness salon (the location is flexible from production to production, as are the time-sensitive jokes with pop culture references). Run by flamboyant stylist Tony Whitcomb (B.J. Cleveland), it’s the setting for a murder, a respected concert pianist and Tony’s landlady. Who committed the crime? Tony? His saucy assistant, Barbara (Sherry Hopkins)? Muddle-headed socialite Mrs. Schubert (Gene Raye Price)? Shady antique dealer Eddie Lawrence (David Meglino)? Cops Nick (Bradley Campbell) and Mikey (Matthew Clark) want to find out.

And that’s where the audience comes in. Midway through Act 1, the house lights come up, and attendees are invited to ask questions, assist in restaging the events and suggest theories (which the characters might be able to explain away). The audience then even votes on who the killer is.

This isn’t the inventor of audience participation theater. Peter Pan requires children to clap if they want Tinkerbell to live, and British pantos — children’s holiday plays — rely on hissing, sing-alongs and such. And of course, both the musical The Mystery of Edwin Drood and the film Clue vary their endings (one with audience votes, one with the luck of the draw). The effectiveness usually depends upon the improv skills of the cast and the engagement of the audience.

At press night for Shear Madness, the audience was involved but sometimes puzzled about how to proceed, and the finale lacked some punch. Until then, though, the play is a hoot — not subtle by any means, but silly fun. The one-liners include a slew of groaners (as up-to-date as references to Solange Knowles) with a Mad-Libs mentality (insert cagey reference to Dallas culture here). But the cast is energetic, with Cleveland exhausting as the frenetic flirt (following Pageant, this is the second show in a row with Cleveland where the audience votes on the outcome), and the slapstick works most of the time, especially in the garishly decorated set. Shear Madness is set to run most of the summer in Theatre Too; it’s a good way to get away from the heat and have a rollicking few hours of nonsense.

Through July 20 at Theatre 3.

—  Arnold Wayne Jones

T3, TITAS unveil 2014-15 seasons

Dallas’ Doug Wright

It’s art awareness week in Dallas (unofficially), with Theatre 3 and TITAS announcing their new seasons, and WaterTower’s due on Thursday.

Theatre 3’s mainstage season officially opens in August, with Candy Barr’s Last Dance, by local playwright Ronnie Claire Edwards. It tells the story of the colorful Dallas stripper of the 1940s and ’50s. (Aug. 7–31.) It’s followed in the fall by gay Dallas-bred playwright Doug Wright’s most recent Broadway show, the musical Hands on a Hard Body, based on the documentary set in Texas. (Sept. 25–Oct. 19.)

The holiday production will be a musical by lesbian playwright and Pulitzer Prize-winner Paula Vogel (How I Learned to Drive) called Civil War Christmas, set along the Potomac during the bitter winter of 1864. (Nov. 20–Dec. 14.)

Texas favorite Jaston Williams is on deck for the debut of Jay Presson Allen’s Tru, a one-man show about Truman Capote. Williams has performed the play elsewhere, to great acclaim. (Jan. 8–Feb. 8, 2015.)  That’s followed by Hot Mikado, an outlandish adaptation of the Gilbert & Sullivan classic. (March 12–April 5.)

The sixth show of the season (scheduled for May 2015) has not be announced, but the season closer will be The Liar, Corneille’s classic comedy adapted by David Ives. (June 25–July 19.) In addition, the black box Theatre Too space will, once again, bring back gay writer Joe DiPietro’s I Love You, You’re Perfect, Now Change in time for Valentine’s Day. (Jan. 15, 2015 with no set closing date.) You can see more about the season, including season tickets, at Theatre3Dallas.com.

Over in the Arts District, TITAS — which is recent seasons has cultivated a dance-centric program — brings back some old favorites and new groups.

Alchemia_3_Credit_Max_Pucciariello

MOMIX

The season kicks off with the popular experimental dance troupe MOMIX for two shows Sept. 12–13. MOMIX will be quickly followed by the debut of Senegalese singer Youssou N’Dour — a music, not a dance program — on Sept. 19, then as quickly followed by the debut of Spectrum Dance Company on Sept. 27. All of those performances will be at the Winspear Opera House.

TITAS moves across the street to City Performance Hall for another debut, Brian Brooks Moving Company, Nov. 21 and 22.  It’s back to the Winspear in January for Ronald K Brown/Evidence on Jan. 17 (at the Winspear), then two shows from debut music artist Maya Beiser on March 6 and 7 (at CPH).

The architectural movement of Diavolo returns (again at CPH) for two shows on March 27 and 28, and the popular Parsons Dance Company is back at the Winspear with its sexy choreography April 25.

The season wraps up in May with two shows from Malandain’s Ballet Biarritz (May 1 and 2, at CPH), and the local debut of Ballet West (May 29 and 30, at the Winspear). And as always, TITAS hosts its Command Performance Gala at the Winspear on May 16. Tickets and more information available at ATTPAC.org.

—  Arnold Wayne Jones