Samuel Weber

From WTT's hilarious PR over the last month I knew what I would find in the space: a catholic schoolchurch basement filled with debaucherous puppetry.  What I didn't know, however, was how compellingly performed and joyously inquisitive Joanie Schultz's staging would be.

Lyric Stage closes their 25th season with an ambitious Guys and Dolls that shows off some incredible voices, but misses timely opportunities.

Aaron Loeb's new play The Trials of Sam Houston directed by Kevin Moriarty seeks to rediscover the narrative of one of this period's most notorious figures.

While the most recent show of TITAS Presents may be over, the dance scene at the AT&T Performing Arts Center is far from winding down.

It may not be Halloween anymore, but there are still monsters in Uptown. Nick Dear's Frankenstein, presented by Dallas Theater Center in association with the Theatre Division of the Meadows School of the Arts at Southern Methodist University, revisits the classic story with a gritty, humanistic twist. Helmed by director Joel Ferrell, Frankenstein lurks at the Kalita Humphreys Theater with a menacing, if not slightly gapped retelling.

After 18 years, a Dallas theatre staple is coming to an end of its time. For nearly 2 decades, Theatre 3 has presented Joe Dipietro and Jimmy Roberts' musical revue I Love You, You're Perfect, Now Change in what had become a Dallas tradition. Though I am personally not a fan of the book of the show, or musical revues in general, this earnest production in the heart of Uptown clearly has earned its place.

Cirque Du Soleil closes one of its longest running tours, Varekai, this month right here in north Texas. I was able to catch the show in Fort Worth last week, and as my first Cirque show, it did not disappoint.

Saracho's story is almost cheekily influenced by her own time as a television writer, though instead of being the Rom-Com one might expect from the aforementioned scenario, she uses the setting to cleverly approach the concepts of Latinx identity, class, and (in a silver-screen-reminiscent twist) appropriation in a way that is more personal than cultural.

The holidays in Dallas would not be complete without the gorgeously wrapped trees of Mockingbird, Mariah Carey, and a production of A Christmas Carol. For at least ten years now, Dallas Theatre Center has brought the wintry story to life right in the heart of balmy Texas. Though the adaptation isn't the most dramaturgically sound, the production is flashy and fun, especially for young families.

Oh Secret Garden, a show that is both close to my heart and vastly under produced but sort of for a reason. Despite having several strong voices and bold design choices, Brick Road's version is not quite one of these.

Fairies and wolves leap and shout in Dark Circles' refreshing performances of Les Fairies and Big Bad Wolf. Choreographer Joshua L. Peugh reimagines Les Sylphides and takes a dark look at fairy tales in the night's two pieces. Despite limitations of space, Dark Circles manages to bring their sensibility and style in a way that is always surprisingly joyous.

Fun Home will always have a special place in my heart. The score and source material are some of the most thoughtful work on the stage in recent years - not to mention the innovation of the Broadway staging. Needless to say, I was curious how well the show would lend itself to tour, perhaps even a bit wary. And yet, with all my expectations, the Fun Home tour indeed made me want to play airplane.

Boo Killebrew's new play rips into the twisted world of family in the Civil Rights era south. This gothic tale packs more than a punch, and provides thrill and drama in equal measure.

Firehouse Theater once again takes a bite of a huge show with Pippin - and though at time it felt like more than the space was prepared to chew, some great comedic timing and a strong supporting cast make the evening a fun one.

BWW Review: INTO THE WOODS at Winspear Opera House

The Firehouse Theatre's recent production of PETER AND THE STARCATCHER manages a challenging text in an unconventional space.

PrismCo strikes again in Bruises: Animal vs Machine, the next in their line of wordless, movement theatre pieces. While this production is a revival of PrismCo's well-received Animal vs Machine from last year, it remains fresh in this ambitious new touring venture.