The Groundbreaking 1927 Masterpiece By Jerome Kern and Oscar Hammerstein II
Starring Andriana Chuchman as Magnolia, Michael Todd Simpson as Gaylord Ravenal, And Morris Robinson as Joe
An Acclaimed Francesca Zambello Production
Conducted by Music Director Emmanuel Villaume
Directed by E. Loren Meeker
In Artistic Partnership with Dallas Black Dance Theatre
Underwritten by Tom and Phyllis McCasland and TACA
Opening Friday, April 15, 2016, 7:30 p.m.
The Margot and Bill Winspear Opera House at the AT&T Performing Arts Center
DALLAS, TX, MARCH 29, 2016 – The Dallas Opera is proud to present the final production of the company’s ambitious 2015-2016 Season, composer Jerome Kern and Oscar Hammerstein II’s SHOW BOAT. This groundbreaking 1927 masterpiece marks TDO’s first ever presentation of a Great American Musical, providing a showcase for a host of stars from both the opera world and Broadway, as well as the company’s first major artistic collaboration with Dallas Black Dance Theatre in the Winspear Opera House.
SHOW BOAT will open on the evening of April 15, 2016 at 7:30 p.m. for the first of six performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas.
This production stars Canadian soprano Andriana Chuchman, praised by The Chicago Tribune for radiating “enough vocal allure, physical beauty and charm to light up the stage,” in the role of Magnolia Hawks and “elegant” baritone Michael Todd Simpson (Huffington Post), a Dallas Opera favorite, as the irresistible Gaylord Ravenal.
SHOW BOAT also marks the company debut of “fearless” soprano Alyson Cambridge (Milwaukee Magazine) as Julie LaVerne, a mixed-race singer at a time when social conventions and unjust laws conspired to keep blacks and whites apart.
In the iconic role of “Joe,” bass Morris Robinson, a commanding Commendatore in TDO’s 2010 Don Giovanni, “brings a penetratingly deep operatic bass to ‘Ol’ Man River’,” according to Mark Swed of the Los Angeles Times.
Soprano Angela Renée Simpson, with a sublime vocal instrument that can “bring the house down” (Opera News) will perform the role of Queenie.
Broadway dancer, singer and actor Lara Teeter charms as Cap’n Andy Hawks, the owner of The Cotton Blossom, and mezzo-soprano Mary-Pat Green makes a delightful Parthy Ann Hawks—both, in their Dallas Opera debuts.
Conducted by Mrs. Eugene McDermott Music Director Emmanuel Villaume—fresh from triumphant productions in London’s Covent Garden and at Lyric Opera of Chicago—and directed by E. Loren Meeker (Manon), “whose megawatt talent lights up the stage” (Berkshire Fine Arts), our season finale is a high watermark in this season’s altogether extraordinary journey.
This production of SHOW BOAT is made possible through the generous contributions of Tom and Phyllis McCasland and TACA.
Additional performances will take place on April 17 (2:00 p.m. Sunday matinee), April 20, 23 and 29 at 7:30 p.m., and Sunday, May 1, 2016 at 2:00 p.m. Ticket prices for SHOW BOAT start at just $19 and can be purchased conveniently online at www.dallasopera.org or by contacting The Dallas Opera Ticket Services Office at 214.443.1000.
SHOW BOAT courageously addressed some of the most contentious social issues of the day within the context of a beautifully told story of a bittersweet, lifelong romance. Originally produced by the legendary showman Florenz “Flo” Ziegfeld, this musical also marked one of the first times Anglo and African-American performers shared the same stage and equal billing on “The Great White Way” (an early twentieth-century reference to the theater district’s dazzling electrical lights). Broadway would never be the same.
Based on the best-selling 1926 novel by Edna Ferber, SHOW BOAT is the source of many memorable and much-loved musical numbers including “Make Believe,” “Can’t Help Lovin’ Dat Man” and “Ol’ Man River.” The landmark musical also tackled such taboo subjects as racism, alcohol addiction and miscegenation on this journey through several transformative decades of American life in the rural south and urban north.
Stylistically, Kern and Hammerstein combined the traditions of Vaudeville, African- American musical entertainments, and operetta to craft something altogether new.
This brilliant Francesca Zambello production of SHOW BOAT was first created for Lyric Opera of Chicago and subsequently performed at Houston Grand Opera, Washington National Opera and San Francisco Opera. This groundbreaking musical carries us down the Mississippi, through love’s choppy waters, as life rolls on for the inexperienced daughter of a show boat captain and the gambling man she genuinely adores.
“SHOW BOAT was one of the first musicals to tell our story, the American story, in all its diversity and complexity,” explains The Dallas Opera’s Kern Wildenthal General Director and CEO Keith Cerny. Its heroes and heroines are ordinary human beings—working hard, struggling with oppression, addiction and despair; yet finding love, success, and forgiveness along the way.
“Although Hollywood often attempted to ‘sugar coat’ SHOW BOAT’s messages, the lyricist Oscar Hammerstein II, who tackled the topic of racial prejudice on more than one occasion, never allows us to forget the injustice at the heart of this culture and time period. And it is a work,” Cerny adds, “that continues to speak to us today.”
The massive set pieces for this production were designed by Peter J. Davison (The Rake’s Progress, Le nozze di Figaro and Cyrano de Bergerac for The Met), the colorful and authentic costume designs are by Paul Tazewell (Hamilton, On the Town, In the Heights, Guys and Dolls) and the original lighting design by Mark McCullough.
For these performances, lighting design is by Erik Watkins and sound design by Mark Grey. Wig and make-up design is by David Zimmerman.
Dance is a major element in SHOW BOAT, here choreographed by the dynamic Michele Lynch. Assistant Choreographer and Ballet Master William Gill, a former performing artist at Dallas Black Dance Theatre now based in Chicago, returns to familiar territory to both work and perform with artists from Dallas Black Dance Theatre II on a host of musical numbers designed to move both SHOW BOAT’s story—and timeline—forward.
The DBDT II dancers participating in this production are: Akila Brooks, Ricardo Burgess, Lailah Duke, Herman Houston III and Christen Ashley Williams.
“Dallas Black Dance Theatre is looking forward to this artistic partnership with The Dallas Opera and our DBDT II dancers, as we bring to life a groundbreaking American musical that courageously addressed contentious social issues in its day,” said Dallas Black Dance Theatre Founder Ann Williams.
“We are looking forward to this unique adventure of collaborating with another resident company of the AT&T Performing Arts Center to present a high-caliber performance in the Dallas Arts District.”
“One of my goals since coming to The Dallas Opera six years ago has been to seek out impactful artistic collaborations with our peers in the Arts District,” explains Mr. Cerny. “Dallas Black Dance Theatre was one of the arts organizations at the top of that wish list and I am enormously grateful to Ann Williams, Zenetta Drew and Nycole Ray for responding with such enthusiasm to our overtures.”
“I am confident that the participation of dancers from DBDT II will lend an even greater dimension of elegance, vitality and authenticity to these outstanding performances.”
Other members of the SHOW BOAT dance ensemble include Caradee Cline, Bryan Cunningham, Jason Fowler, Jen Gorman, Tony Howell and Devyn Woodruff.
The chorus will be prepared by the distinguished Dallas Opera Chorus Master, Alexander Rom.
The Dallas Opera performs all works in their original languages. Easy-to-read English language supertitles are projected above the stage during every Dallas Opera performance and special headsets are available for the hearing impaired.
No late seating is permitted at Dallas Opera performances once the house doors are closed.
For additional information about SHOW BOAT or the productions of the 2016-2017 Season, call The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.
Bios / SHOW BOAT:
Emmanuel Villaume (Conductor) (Mrs. Eugene McDermott Music Director in honor of Graeme Jenkins) is in his third season as Music Director of The Dallas Opera and recently conducted the world premiere of Mark Adamo’s Becoming Santa Claus, as well as Tosca. He recently led acclaimed productions of Tosca for Royal Opera House Covent Garden and Roméo et Juliette for Lyric Opera of Chicago and remains a frequent guest conductor at the world’s leading opera companies including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, the Washington National Opera, Santa Fe Opera, Paris Opera, Monte Carlo Opera,Venice’s La Fenice, the Munich Staatsoper, Berlin’s Deutsche Oper, the Hamburg Staatsoper, Madrid’s Teatro Real, and Buenos Aires’ Teatro Colón. He has led the Montreal Symphony both in Montreal and at Carnegie Hall, the Chicago Symphony, the Boston Symphony, the orchestras of Los Angeles, San Francisco, Houston, St. Louis, Detroit, Minnesota, Orchestre de Paris, Orchestre Philharmonique de Radio France, Beethovenhalle Orchestra of Bonn, and the China National Opera Orchestra for the 2008 Olympic Games. He is currently Chief Conductor of the National Slovak Philharmonic Orchestra. He served as the Spoleto Festival USA’s Music Director for Opera and Orchestra from 2001 to 2010. Maestro Villaume has recorded for Deutsche Grammophon, Decca, and EMI. In addition to his work in Dallas, Maestro Villaume serves as Music Director and Chief Conductor of the PKF – Prague Philharmonia.
Francesca Zambello (Stage Director) An internationally recognized director of opera and theater, Ms. Zambello’s work has been seen at the Metropolitan Opera, La Scala, Bolshoi, Royal Opera House, Munich State Opera, Paris Opera, New York City Opera, Lyric Opera of Chicago, Houston Grand Opera and The Dallas Opera. Her work ranges from her recent production of The Ring in San Francisco, a co-production with Washington National Opera, to her acclaimed Show Boat presented recently in Chicago, Houston, Washington and San Francisco. She has staged plays and musicals on Broadway, at the Royal National Theatre, BAM, the Guthrie Theater, Vienna’s Raimund Theater, the Bregenz Festival, Sydney Festival, Disneyland, and at the Kennedy Center. She is Artistic Director of the Washington National Opera and General and Artistic Director of Glimmerglass Festival.
Loren Meeker (Stage Director) made her Dallas Opera debut with Manon and has returned to lead Show Boat. She is a diverse artist with a background in dance and theatre that allows her to bring a unique vision to her work. As a director, she has received critical acclaim for recent productions of Die Fledermaus at Lyric Opera of Chicago and The Tales of Hoffmann at Martina Arroyo’s Prelude to Performance. Other recent directing credits include Die Fledermaus (San Francisco Opera), La bohème (San Diego Opera), Manon Lescaut (Singapore Lyric Opera), Manon (Teatro Colón), Trial by Jury and the HGO Studio Showcase (Houston Grand Opera). She has directed five world premieres for Houston Grand Opera’s HGOco initiative and she has directed Così fan tutte, Don Giovanni, La Cenerentola and Don Pasquale for the Lyric Opera of Chicago’s Ryan Opera Center.
Peter J. Davison (Set Designer) Tony and Olivier Award nominee Peter J. Davison returns to The Dallas Opera with Show Boat after making his debut with Salome in the 2014-2015 Season. Other opera credits include The Rake’s Progress, Le nozze di Figaro, and Cyrano de Bergerac for the Metropolitan Opera; Porgy and Bess and Heart of a Soldier for the San Francisco Opera, The Queen of Spades for the Royal Opera House Covent Garden; Manon Lescaut for Opera Australia; Der Rosenkavalier, Carmen, and Maria Stuarda for English National Opera; Guillaume Tell for Paris Opera; Anna Bolena for the Bavarian State Opera; La Rondine at Venice’s La Fenice; Cyrano de Bergerac at Milan’s La Scala; and Mitridate, re di Ponto for the Salzburg Festival, among others.
Paul Tazewell (Costume Designer) has received five Tony Award nominations for costume design, four Helen Hayes Awards for Outstanding Costume Design, and two Lucille Lortel Awards (On the Town and Hamilton). He is also the recipient of the Princess Grace Statue Award bestowed by the Princess Grace Foundation to artists of excellence in various disciplines. Mr. Tazewell’s Broadway credits include Hamilton, Memphis, In the Heights, Guys and Dolls, and The Color Purple. His opera credits include Faust at the Metropolitan Opera; Porgy and Bess at Washington National Opera, LA Opera and the San Francisco Opera; Magdelena at Théâtre du Châlet; Margaret Garner at Michigan Opera Theatre, Little Women at Glimmerglass Opera Festival and New York City Opera and Treemonisha at Opera Theatre of Saint Louis.
Mark McCullough (Original Lighting Designer) made his Dallas Opera debut in 2001 with Tobias Picker’s Thérèse Raquin, and has subsequently lit Anna Bolena, Roberto Devereux and Le nozze di Figaro. Among the other opera companies for whom he has designed lighting are the Metropolitan Opera (Le nozze di Figaro), Washington Opera (Die Walküre, Das Rheingold and Porgy and Bess), Royal Opera House Covent Garden (The Queen of Spades), Boston Lyric Opera (Aida, Madama Butterfly and Tosca), Glimmerglass Opera (The Glassblowers and The Mother of Us All), San Francisco Opera (Rigoletto and The Mother of Us All), Teatro Real de Madrid (Luisa Miller). The American designer is an alumnus of the North Carolina School of the Arts and holds a Master of Fine Arts degree from the Yale School of Drama.
Erik Watkins (Lighting Designer) creates lighting designs for opera and theatre and is currently based in Chicago. Recent engagements include productions at Opera Santa Barbara (A Streetcar Named Desire), Kentucky Opera (A Streetcar Named Desire), the Lithuanian National Opera and Ballet Theatre (Il barbiere di Siviglia), and the world premiere of the klezmer opera The Property for Lyric Opera of Chicago. Active in the Chicago theatre scene, he recently designed lights for the world premiere of Fallen with Mozawa, an international multidisciplinary performing arts company. He holds a Master of Fine Arts in lighting design from Boston University and a Bachelor of Science degree in Electrical Engineering and Physics from the University of Alabama.
Mark Grey (Sound Designer) made history as the first sound designer for The New York Philharmonic (On the Transmigration of Souls, 2002) and The Metropolitan Opera (Doctor Atomic, 2008; Nixon in China, 2011; Death of Klinghoffer, 2014; and others). He designed and toured extensively with Kronos Quartet for 15 years and has been a close collaborator of composer John Adams for more than two decades. As a composer, he has currently undertaken commissions by The Atlanta Symphony Orchestra and The Los Angeles Philharmonic, and is writing an evening-length opera, Frankenstein, for the Théâtre Royal de la Monnaie in Brussels. In 2016 works premiere with Atlanta Symphony, Berkeley Symphony and the New York Philharmonic’s Biennial festival.
Alexander Rom (Chorus Master) is a native of Kharkov, Ukraine, and holds a Master’s Degree in Choral Conducting from Leningrad Conservatory of Music. Since immigrating to the U.S., he has worked as a performer, conductor, educator, voice teacher, opera coach, and composer. He has been the chorus master for The Dallas Opera since 1990 and an opera coach with the Metropolitan Opera, Houston Grand Opera, Savonlinna Opera Festival (Finland), Cincinnati Festival, and Ravinia Festival. He has worked with world renowned singers including Paul Plishka, Mirella Freni, Nicolai Ghiaurov, Jorma Hynninen, Helga Dernesch, Martti Talvela, Joyce DiDonato, and Jerry Hadley. Maestro Rom is an honorary Visiting Professor at Sibelius Academy Helsinki Conservatory and was a Visiting Professor at Savonlinna Opera Festival Music Institute.
Michele Lynch (Choreographer) is making her Dallas Opera debut with these performances. She just completed choreography for the movie The Last Five Years by Jason Robert Brown and the movie Joyful Noise by Todd Graff starring Dolly Parton and Queen Latifah. She also choreographed Dolly Parton’s Better Day World Tour. On Broadway, Ms. Lynch choreographed Everyday Rapture directed by Michael Mayer and The Coast Of Utopia directed by Jack O’Brien. For opera she has choreographed three highly successful productions of Show Boat directed by Francesca Zambello at The Kennedy Center, Chicago Lyric Opera, and Houston Grand Opera. She choreographed a benefit of Cabaret at The Public Theatre, starring Anne Hathaway and two National Tours of well-renowned TV series, Little House on the Prairie and Happy Days, The Musical.
David Zimmerman (Wig and Make-up Designer) has worked with The Dallas Opera and other opera companies around the world. These include the Metropolitan Opera, Opera Theatre of Saint Louis, Santa Fe Opera, Paris National Opera, and Opera Santa Barbara. Mr. Zimmerman’s career extends to Broadway as well, where he has worked on shows including Wicked, Rocky Horror, Show Boat, South Pacific and Evita. His personal clients include Deborah Voigt, Joyce DiDonato, Patricia Racette, Martha Stewart, Olympia Dukakis, and Ricky Martin. He has also done the make-up for the DIFFA Fashion Runway, Dallas Fashion and Art Charity, and the Yelp.com fashion event. His print credits include two features in Opera News plus features in both Vanity Fair and The New Yorker. Television and film credits include Glamour magazine’s Women of the Year and a feature film.
Andriana Chuchman (Magnolia Hawks) This season the Canadian soprano sang the title role in Hänsel und Gretel on the Glyndebourne Opera Tour, and made her debut at the Metropolitan Opera as Adina in L’elisir d’amore and Miranda in The Enchanted Island. Recent U.S. engagements have included her debuts at the Washington National Opera, Canadian Opera Company, Glimmerglass Festival, Michigan Opera Theater; Bard Music Festival, Spoleto Festival USA, Chicago Opera Theater, and Lyric Opera of Chicago. Ms. Chuchman is a graduate of the Ryan Opera Center at the Lyric Opera of Chicago and of the San Francisco Opera’s prestigious Merola Program. In concert, she recently made her debut at the Toronto Symphony, Detroit Symphony Orchestra, the Ravinia Festival and with the International Music Foundation of Chicago.
Michael Todd Simpson (Gaylord Ravenal), baritone, returned this season to Washington National Opera as Escamillo in Carmen and Seattle Opera as Cecil in Maria Stuarda. Recent appearances include A Midsummer Night’s Dream at the Metropolitan Opera, The Consul at Seattle Opera and his San Francisco Opera debut as Ravenal in Show Boat. His many roles include the title role or leading roles in Eugene Onegin, Le nozze di Figaro, Così fan tutte, Lucia di Lammermoor, Pagliacci, Carmen, The Pearl Fishers, Manon, Carousel, and The Pirates of Penzance. He has also appeared at opera houses including New York City Opera, Pittsburgh Opera, Cleveland Opera, Florida Grand Opera, Portland Opera, Fort Worth Opera, Opera North (U.K), Opera Australia and the NCPA in Beijing.
Lara Teeter (Cap’n Andy Hawks) The Tony nominee and Broadway veteran is making his Dallas Opera debut with these performances. Broadway credits include On Your Toes (Tony nomination), Seven Brides for Seven Brothers, Happy New Year, and The Pirates of Penzance. Other credits include: the Scarecrow in The Wizard of Oz at Madison Square Garden, Don Lockwood in the national tour of Singin’ in the Rain, Will Parker in the national tour of Oklahoma!, Buddy Plummer in Follies at Barrington Stage Company, Steven Kodaly in She Loves Me at the Ahmanson Theatre, and Henry Higgins in My Fair Lady at North Shore Music Theatre. Other credits: New York City Opera’s Naughty Marietta and The Most Happy Fella at Lincoln Center; Lyric Opera of Chicago’s Street Scene and Show Boat with both Houston Grand Opera and Washington National Opera, directed by Francesca Zambello.
Alyson Cambridge (Julie La Verne), American soprano, has over a decade of success on the world’s leading opera and concert stages including The Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera, Los Angeles Opera, Carnegie Hall, London’s Royal Albert Hall, Deutsche Oper Berlin, Vienna Konzerthaus, among others. Recent and upcoming engagements: her role debut as Cio-Cio-San in Madame Butterfly with Florentine Opera, her company debuts with Kentucky Opera, and her return to the Spoleto Festival USA for her role debut of Bess in Porgy and Bess. Ms. Cambridge’s recently released debut album, “From the Diary of Sally Hemmings” by William Bolcom premiered at Carnegie Hall’s Weil Recital Hall to rave reviews and she has just released an album of crossover and jazz standards, “Until Now.”
Morris Robinson (Joe), bass, is a graduate of the Metropolitan Opera Lindemann Young Artist Development Program. He has since performed there in several roles. He has also appeared at the San Francisco Opera, Lyric Opera of Chicago, The Dallas Opera, Houston Grand Opera, Florida Grand Opera, Pittsburgh Opera, Opera Philadelphia, Seattle Opera, Los Angeles Opera, Cincinnati Opera, Boston Lyric Opera, Opera Theater of Saint Louis, Wolf Trap Opera, and the Aix-en-Provence Festival. Mr. Robinson has appeared with the Chicago Symphony Orchestra, Atlanta Symphony Orchestra, National Symphony Orchestra, Houston Symphony, L’Orchestre Symphonique de Montreal, Baltimore Symphony, Met Chamber Orchestra, Nashville Symphony Orchestra, São Paulo Symphony Orchestra, and at the Ravinia, Mostly Mozart, Tanglewood, Verbier, and Aspen Music Festivals. Mr. Robinson’s first album, “Going Home,” was released on the Decca label.
Angela Renée Simpson (Queenie), dramatic soprano, is a native of Brooklyn, New York and is a frequent performer in opera and concerts throughout the United States and Europe. Ms. Simpson has had an active performing schedule, including making her debut in Kentucky Opera’s production of Show Boat this past February. Ms. Simpson has performed in many major U.S. opera houses such as San Francisco, Los Angeles, Chicago, Houston, Miami, Seattle, San Diego, Cleveland, Portland, Michigan, Peoria, and Denver. She has also performed to critical acclaim at La Scala in Milan, Italy and the Opera Bastille in Paris, France.
Mary-Pat Green (Parthy Ann Hawks), mezzo-soprano, makes her Dallas Opera debut with this production. She has appeared on Broadway in the original casts of Sweeney Todd and Hal Prince’s Candide, and in the Off-Broadway and multiple regional productions of Nunsense. Her film appearances include Yes Man, The Break Up, In Her Shoes, xXx, and My Best Friend’s Wedding. On television, she recently guest starred on American Horror Story: Asylum, The Mentalist, and Castle, and she had recurring roles on The West Wing, Six Feet Under, Any Day Now, Desperate Housewives, and Cold Case. She is a director and acting coach in Los Angeles and New York.
Kate Loprest (Ellie Mae Chipley), mezzo-soprano, is a native of Deerfield, Illinois. She began her professional acting career at age 15 before attending The University of Michigan’s prestigious Musical Theatre Department. Broadway credits include: First Date (Allison) OBC, Hairspray (Amber Von Tussle), Wonderland, Xanadu, The Drowsy Chaperone. Tours: Wicked (Galinda, Nessarose u/s) Chicago Company, Little House on the Prairie (Nellie Oleson). Off-Broadway: Under My Skin (Victoria), Sistas! (Heather). TV/Film: Boardwalk Empire (Corrine), Running Wilde, All My Children, Made For Each Other. Her regional theatre credits include: Steve Martin and Edie Brickell’s Bright Star (Lucy Grant) The Old Globe, Show Boat (Ellie Mae) Washington National Opera, and others. Concert venues include: Bennett Hall at Ravinia, 54 Below, the Plaza Hotel, the Boathouse in Central Park and Carnegie Hall.
Jeffry Denman (Frank Schultz) One of the nation’s foremost song and dance men, Mr. Denman has performed on Broadway, in national tours, with symphonies and in regional theatres all across the country and is proud to be making his Dallas Opera debut. He was nominated for an Astaire Award for his portrayal of the Danny Kaye role in the World Premiere and Original Broadway companies of Irving Berlin’s White Christmas, won an IRNE Award for the Boston run of the show and can be heard on the Original Cast recording. Other Broadway credits: Cats, The Producers, How to Succeed and Dream. He was nominated for Drama Desk, Lortel and Callaway Awards for YANK! and won a Bistro Award – Outstanding Song and Dance Man – for his one man concert at the legendary club, Birdland in New York City. He is author of the critically acclaimed book, A Year with The Producers.
David Matranga (Steve Baker/Max Greene) is making his debut at The Dallas Opera and thrilled to be returning to Show Boat from the Houston Grand Opera production. He recently made his Lincoln Center debut in A Coffin in Egypt opposite the incomparable Frederica von Stade. After premiering A Coffin in Egypt at Houston Grand Opera, he has been a part of productions in Los Angeles, Philadelphia, and Chicago. Recent theatre: Straight White Men, Marie Antoinette, Failure: A Love Story, Dollhouse, Mistakes Were Made (Stages) You Can’t Take It With You, The Hollow (Alley Theatre), Miss Julie (CTC), Pride and Prejudice (Dallas Theatre Center), The King Stag (Yale Rep). Film/TV: Be Not Afraid, Occupy Texas, Patriot Act, Law & Order. He has also voiced over 100 characters in Anime. Training: Yale School of Drama.
Andrew Love (Pete/Manager/Emcee) is delighted to make his debut with The Dallas Opera. He performs regularly at the Houston Grand Opera having appeared in Die Valkyrie, Il Trovatore, and Show Boat (Pete). His previous theatre credits include: Henry V (Westmoreland, Constable and Fluellen) and The Speckled Band: An Adventure of Sherlock Holmes (Dr. Watson) at the Classical Theatre Company; A Christmas Carol (Fred) at the Alley; Cymbeline (Posthumous) and Romeo and Juliet (Romeo) at the Houston Shakespeare Festival. He is known for his voiceover work with Sentai Filmworks and Funimation Studios, where he has voiced more than 100 characters and has appeared on Cartoon Network. Mr. Love won Behind The Voice Actor’s 2013 Best Male Voice Actor of the Year in Anime. Film credits include: Starship Troopers: Invasion.
Katherine Pottkotter (Young Kim) has appeared with the Dallas Opera Children’s Chorus in La bohème and Tosca. She most recently danced in Dallas Ballet Company’s production of The Nutcracker where she was a Gingerbread Child. Along with singing and ballet Ms. Pottkotter enjoys playing the piano, reading and math. She is grateful to be a part of this outstanding production!
Dallas Black Dance Theatre was founded in 1976 by Ann Williams to inspire minority boys and girls to appreciate dance as an art form. Now DBDT offers dance opportunities for the entire population. DBDT is renowned in the U.S. for its high-level of artistic excellence in contemporary modern dance and educational programs. Designated “American Masterpiece Touring Artist” by the National Endowment for the Arts, DBDT has performed across the globe in 31 states, 14 countries; including Lincoln Center in New York City, The Kennedy Center in Washington D.C., and two Olympic Games. DBDT’s is a resident performing company in the Dee and Charles Wyly Theatre in the AT&T Performing Arts Center. DBD Academy offers dance technique classes in ballet, modern, jazz, tap, African, and Hip Hop to 500 students weekly.
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TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR FOR THE DALLAS OPERA’S “SEEKING THE HUMAN ELEMENT” SEASON
Ticket Information for the 2015-2016 Dallas Opera Season
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described. Single Tickets range from $19 to $275. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2015-2016 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Ninth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.