Dallas Opera announces 6-show season

KM Stairs

Kevin Moriarty, DTC’s artistic director, will cross Flora Street to direct the season opener for the Dallas Opera, ‘The Marriage of Figaro.’

After several seasons of belt-tightening that reduced the number of fully staged operas from the usual five or six to three and then four, the 2014–15 season roars back with six productions — five classics of the canon and a world premiere for its 58th year.

The season, labeled Heights of Passion, launches (as usual) in October with Mozart’s The Marriage of Figaro — conducted by the DO’s new music director, Emmauel Villaume and directed by Dallas Theater Center artistic director Kevin Moriarty — followed by Richard Strauss’ Salome. The season continues the following spring in rapid succession with the remaining four productions:  Catalani’s La Wally (Act IV) on a double bill with the world premiere one-act opera Everest by composer Joby Talbot and librettist Gene Scheer, then the ever-popular La Boheme by Puccini and concluding with Tchaikovsky’s Iolanta.

Moriarty returns to opera with Figaro, having helmed the one-act The Lighthouse in a limited run in March 2012. Salome will be directed by lesbian stage director Francesca Zambello, whom we profiled here in 2010. Villaume will team with gay German stage director Christian Rath for the final production of the season, the rarely-seen Tchaikovsky piece Iolanta.

Here’s the full lineup:

The Marriage of Figaro, Oct. 24, 26 (matinee), 29, Nov. 1, 7 and 9 (matinee).

Salome, Oct. 30, Nov. 2 (matinee), 5, 8 and 16.

La Wally (Act IV) and Everest, Jan. 30, Feb. 1 (matinee), 4, and 7, 2015.

La Boheme, March 13, 15 (matinee), 18, 21, 27 and 29 (matinee).

Iolanta, April 10, 12 (matinee), 15 and 18.

New company subscribers can purchase subscriptions starting June 1; packages for all six productions start at $76. Single tickets will go on sale around July, and will start at $19. All performances will be at the Winspear Opera House. Learn more at DallasOpera.org.

—  Arnold Wayne Jones

REVIEW: Joan Rivers at the Winspear

AWJ Joan HLR

“It’s great to put a face to a voice,” Joan Rivers told me when I met her after her show last night at the Winspear (I’m pictured, from left, with her her and Voice contributor Howard Lewis Russell). “Phone interviews are hard, but you were a good one.”

Even if she hadn’t paid me a compliment, it would have been easy to say nice things about Joan’s 65-minute act, where she stays in constant motion and talks even faster. (After the set was over, Howard and I were exhausted from laughing; only then did we realize Joan never so much as took a sip of water the entire time.) At 79, she’s an unstoppable force, going to far as to do a sight gag involving climbing on top of a piano — what septuagenarians do you know that still do physical comedy?!?!

But that’s Rivers, who famously never slows down — not in her career, and not onstage. The jokes were more rapid-fire than a sub-machine gun: Some induced groans from audience members uncomfortable with jokes about pedophilia (read: Michael Jackson) and how Chaz Bono needed liposuction more than a new penis. But, as Joan says, if you don’t get some walkouts, you’re not doing your job right.

Of course, she embraced “my gays” — her shout-out to them (“Where are you?”) resulted in a roar and nearly the entire front two rows standing up and hollering. “I love my gays — my one great disappointment is my grandson is not gay,” she joked. “Who else is going to say to me, ‘Really, you knew Judy Garland?!’” Still, she said, gays don’t like two kinds of jokes: Those that poke fun at Princess Di and at Barbra Streisand. She did jokes about both.

And she was right: The gays were out in force. The line at the men’s room before the show looped around the lobby. “Why is the line here longer than at the ladies’ room?” wondered one man aloud. “Because,” I said, “Joan Rivers has turned the Winspear into Dallas’ largest floating gay bar.” “Oh, right,” he agreed.

—  Arnold Wayne Jones

Overtures: Notes on the classical scene

Van Cliburn - pianist  1960Gregory Sullivan Isaacs and I have prepared this rundown of the upcoming month in classical music news.

The biggest news in local classical music is, of course, international news: The death this week of gay maestro Van Cliburn. More than even his virtuosity on the piano, his sponsorship of the Cliburn competition and performance series made him not just a force for nurturing creativity, but a magnificent asset to local culture. His impact, and his loss, cannot be overstated.

You might, then, choose to honor him by checking out one of these who benefited from his largesse. Yeol Eum Son will perform a piano recital on March 12 under the Cliburn at the Bass banner. She took the Cliburn competition 2009 silver medal and second prize in the recent Tchaikovsky competition in Moscow. Many critics call her one of the best pianists alive. Her program has lots of fireworks and Beethoven’s Diabelli Variations. Show at 7 :30 p.m.

The Soundings series at the Nasher is always fascinating. On March 8, the program features two cellists, one surprisingly doubling on a piccolo, and a pianist who also plays the harpsichord. No hint on what they will play, but history says that it should be excellent. It starts at 7:30 p.m.

Chamber music fans have two concerts. On March 10, in the new City Performance Hall, Chamber Music International presents pianist Chih-Yi Chen and violinist Clara-Jumi Kang in sonatas by Beethoven and Mozart and what they call  “showpieces TBA.” (Curtain at 7:30 p.m.) On March 11, Dallas Chamber Music brings the outstanding Artemis String Quartet to SMU’s Caruth Auditorium at 8 p.m. In the 1990s, they won all the major competitions and their appearance should draw a full house.

Symphonic music is surprisingly scarce this month. The Dallas Symphony continues its performances of Mahler’s Sixth Symphony tonight and tomorrow at 8 p.m. and at 2:30 p.m. Sunday at the Meyerson. Musical director Jaap van Zweden shines in these sprawling works so this should be a moving experience.

Music director Miguel Harth-Bedoya leads the Fort Worth Symphony in the popular Sibelius Second Symphony March 15–17. If he minds his manners and doesn’t blow your ears out, it should be a fine performance. The young violinist Stefan Jackiw joins him playing a warhorse. Bruch’s Scottish Fantasy. All performances are at Bass Hall.

Looking ahead to April, get your tickets for Puccini’s Turandot, presented in all its splendor at the Winspear Opera House by the Dallas Opera. It is doubtful that there is anyone who hasn’t heard the big aria, “Nessun Dorma,” sung by everyone  from Aretha Franklin to reality TV competitors. Out baritone Jonathan Beyer takes on the role of Ping. (Look for an interview with him in an upcoming issue of Dallas Voice.) Performance are April 5, 7, 10, 13, 19 and 21. Not to be missed.

—  Arnold Wayne Jones

For ‘Holidaze’ creator Neil Goldberg, life is but a Cirque Dream

Throughout the 1980s and ’90s, Neil Goldberg was incredibly famous in corporate America … and virtually unknown to the public at large. He wasn’t a CEO or banker or lawyer; he specialized in parties. Huge, lavish soirees that were common … at least until the Dot-Com bubble burst and belt-tightening became the order of the day.

Goldberg still stages huge events for private clients, but for more than a decade he has become more famous as the man behind Cirque Dreams, a theatrical enterprise that puts on lavish spectacles in shows across the globe. His signature Christmas show, Holidaze, plays at the Winspear through Sunday.

The journey from party planner to impresario isn’t such a big one — especially not considering where he started. Growing up in an Orthodox Jewish family, Goldberg stood out from an early age. Rather than showing an interest in becoming a physician or businessman like his brothers, Neil was the gay one who wanted to be a scenic designer. He did that for years, from window designs to stage productions. A theatrical spirit is in his blood.

—  Arnold Wayne Jones

This week’s takeaways: Life+Style

The most important thing you need to know this weekend is that there are only a few chances left to see On the Eve, and all shows are currently sold out. So if you can’t get on the waiting list, look for a reprise of this show next year. In other theater news, there are still numerous holiday-themed plays to choose from (A Christmas Carol, It’s a Wonderful Life, Mother Goose, Bur-Less-Q Nutcracker, Cirque Dreams: Holidaze opening Tuesday at the Winspear), as well as a real Nutcracker over in Fort Worth.

The Turtle Creek Chorale continues its concert season, with another performance of Comfort & Joy in McKinney and the new show, Naughty & Nice, opening Thursday at the new City Performance Hall. You can also check out the CPH earlier, with the Women’s Chorus of Dallas doing their holiday show, Believe, there on Saturday.

On Wednesday, the Cathedral of Hope gets a jump-start on Christmas as well with their “Travelers’ Silent Night,” a worship service for congregants who won’t be in town on Dec. 24.

And of course there’s sad news, as well: Monica Greene is no longer owner of her eponymous restaurant at the ilume, which seems to be shuttered for the time being.

—  Arnold Wayne Jones

Come see me at the Winspear tonight for ‘Jekyll & Hyde’

What, exactly, is gay about Jekyll & Hyde? You can find out tonight at 7 p.m. I’m continuing my chat series at Hamon Hall inside the Winspear prior to tonight’s performance of the show. It’s only about 15 minutes, and I talk about the show from a queer perspective. Best of all: You get a complimentary glass of wine and the best parking by arriving early! (You can come to the chat even if you don’t have a ticket for the show, though you can always get one and stay.) See you there!

—  Arnold Wayne Jones

BREAKING NEWS: Lill stepping down from Arts District post

Veletta Forsythe Lill, the former Dallas City Council Member who since 2009 has been the executive director of the Downtown Arts District, spearheading development there since the opening of the AT&T Performing Arts Center, is stepping down, effective Nov. 1.

The move was timed in part because the City Performance Hall, which has spent the last week celebrating a week-long opening gala, was the last piece in the puzzle for the Arts District.

“I have spent 15 years on the frontlines of change. With the final opening celebrations this fall and a blueprint for the future of commercial development I believe the time is right to pass the torch to a new generation.”

Among her accomplishments was lobbying for rules that would allow food trucks in the Arts District, making it a more desirable location not just during evening performances but during the day and weekends.

Lill, a long-time friend of the gay community (she’s pictured here posing for the NOH8 campaign opposing Prop 8′s anti-gay movement in California), Lill served on City Council  for eight years.

—  Arnold Wayne Jones

STAGE REVIEW: ‘War Horse’

It would be impossible to spend more than 20 minutes sitting in the audience of  War Horse, now at the Winspear, and not be bowled over by its excellent stagecraft. Of course, there are the celebrated life-sized puppets — not just of full-grown horses, but of foals and birds. But you can see a puppet show at any state fair midway. What makes War Horse special is the evocative way those creatures are presented.

The (for want of a better word) protagonist — the title Thoroughbred mutt Joey — is made of a pinkish metal exo-skeleton whose mechanisms (including the three actors who manipulate him) are clearly visible at all time. Plainly, as Rene Magritte might observe, “This is not a horse.” And yet for two-and-a-half hours, you believe it to be one. The first time Joey’s master, the young farmboy Albert, living in Devon, England, at the outbreak of The Great War, strokes his muzzle, you can sense the horseflesh under his hand, the warmth and force of Joey’s breath. In movies, to convince an audience of a horse storming through the fields of France, you need expensive CGI effects; onstage, you just need your imagination.

And lighting. Very, very good lighting.

—  Arnold Wayne Jones

Theater troupes to release seasons, but we already know one by the Bard

It’s that time of year when theater companies begin to unveil their seasons, and nowadays, they like to make it a show. Tonight, the Lexus Broadway Series will reveal its third season at the Winspear (look here on Instant Tea this weekend for an update!) and next week, the Dallas Theater Center and Theatre 3 both have ceremonies to announce their seasons.

We already know one of the plays on the Lexus slate: The Tony-winning War Horse, pictured, which was revealed last year. But we also know one of the DTC’s upcoming shows.

This fall will mark the start of the company’s fourth season at the Wyly, and artistic director Kevin Moriarty has always opened his season with a Shakespeare play: The comedy A Midsummer Night’s Dream, the history Henry IV (Parts I and II) and the romance The Tempest. That only leaves one of the major tragedies (Hamlet, Romeo & Juliet, Othello, Macbeth and King Lear), and smart money has always been in Lear: It’s less performed than all the others except Othello, and so the production would be pretty fresh. The question was, who would tackle the lead?

Now we know. The DTC may not have released its schedule yet, but Trinity Rep in Providence, R.I. — with which Moriarty has had a long affiliation — has. It released its 2012-13 season brochure a few weeks ago, which I happened upon online, and here’s what it says:

King Lear [Sept. 13—Oct. 21] Our resident acting company joins forces with the acclaimed Dallas Theater Center for a co-production of Shakespeare’s masterpiece. … In the winter, Trinity Rep’s actors will venture to Dallas to remount this thrilling co-production. Resident acting company member Brian McEleney stars as Lear.

It looks, then, like Shakespeare will not kick off DTC’s season for the first time at the Wyly, but will wait until early 2013, following DTC’s annual presentation of A Christmas Carol … another show Trinity Rep is also doing. Might there be other convergences on the two schedules? We’ll find out next week!

—  Arnold Wayne Jones

REVIEW: Loretta Lynn at the Winspear Sunday

I hadn’t invested much time into the lore of Loretta Lynn. I’m a fan of her music, I had seen Coal Miner’s Daughter and applauded her reinvention with Jack White for 2004′s Van Lear Rose. But I did not expect the spectacle of her Sunday night show at the Winspear — and by spectacle, I mean her lavender, bedazzled gown. That thing was a show in itself with its flared out skirt and shoulder pads. Oh, those shoulder pads. Fortunately, someone got a great pic of it.

Gown or not, Loretta Lynn showed why she is the legend that she is. Short and sweet, Lynn managed to jam-pack a career of songs into I’d say less than an hour, and yet, the show was overly satisfying. Mostly singing her classics like “You’re Looking at Country,” “She’s Got You” and “You Ain’t Woman Enough to Take My Man,” she delivered crystal clear vocals against a rich backdrop provided by her very able band. She did shorten some of her tunes to lead into others, but I can’t say I ever felt cheated. The enthusiasm by her fans was contagious. The people around me lost their shit as a big hit bellowed from her microphone and it was both endearing and fascinating to watch.

Lynn sat down after a couple of songs due to her new “titanium knee” and held court with her gown spread out and mic in hand. She never overdid anything and in true diva fashion, she let the band and the audience simply watch her sing and chat. The audience kept shouting out songs they wanted her to sing or mentioned their meemaw’s birthday and none of it shook her. Her game was on and she made it look like it was a breeze. After all these decades of performing, perhaps it was.

Her daughters performed as openers and they sounded fine, but her son, Ernie Lynn was the worst part of the night. At least the daughters inherited good voices, the son did not. He and LL’s backing band, The Coalminers, opened the show with a couple of covers like “Slow Hand,” that did not set any bar high. His scraggly voice and bad stage presence was quickly forgotten thanks to a more inspired showing by his sisters.

As if to make it worse, he chimed in during much of Lynn’s banter with the audience and embarrassingly so. He mentioned trying to find a girlfriend and creepily admitted to his likeness of Taylor Swift. Yuk. Apparently, this is nothing new.

But LL was magic overall and nothing could eclipse what she delivered Sunday night. Although she didn’t do an encore, the audience about fell out when she finished with “Coal Miner’s Daughter” and reminded us of greatness.

Watch a small video clip by ATTPAC live tweeter Brad Ehney (@got80s) after the jump.

—  Rich Lopez