At the end of every Peanuts cartoon special, there is a scene where Charlie Brown and Linus are together, reflecting on what just happened. The scene typically unfolds with them resting their arms on a wall next to each other, with Charlie Brown making a comment about another year having come and gone. It’s with that same feeling that I reflect back on another year of FAN EXPO Dallas having come and gone.

For those unfamiliar, the FAN EXPO Dallas is a three-day pop culture convention that draws over 60,000 fans each year to the Kay Bailey Hutchinson Convention Center. This year’s convention proved to be as fun, exciting, and crowded as years past. Some of the big highlights and trends from this year were:

Mandalorians everywhere. Fans are definitely still firmly behind all things Mandalorian, with many people dressed up as their favorite character from the hit Disney show. The Mando Mercs Costume Club area was a big hit with fans.

There were some unique surprises in the community area this year, such as the British Emporium located in Grapevine was a welcome surprise. They had an awesome Dr. Who diorama, complete with a Mini Cooper and a Dalek.

Jedi are still very popular. The force remains very strong with all things Star Wars. There were a number of custom lightsaber creation booths at the show as well as Jedi themselves who were ready for battle.

A very cool corner of this year’s festivities was a life-size replica of a Battlestar Galactica Colonial Viper, which fans could sit in and get their full Starbuck on.

The Artists Alley was a real who’s who of talented creators. My favorite fanboy moment had to be seeing Dan Parent of Archie fame, sitting there sketching scene after scene of Archie drawings. One of my personal hobbies is drawing, and it is amazing to see someone quickly create a perfect sketch of a character, something that would take me hours to try to replicate if I even could. Next year, I already plan to purchase some original artwork.

Did I mention crowds? Yes, there were a lot of people, but that’s what makes it interesting. There were certainly plenty of amazing Cosplay costumes to marvel at. They ranged from simple Ash from Pokémon outfits, to elaborate Ghostbusters displays and even Batman himself.

So, as I sit here leaning on my wall with my arms folded, thinking about how another FAN EXPO Dallas has come and gone, I can’t help but get excited about what might be in store for next year.

Sherlock Holmes is one of the most beloved detectives of all time, and what better way to treat such a revered character than to throw popcorn at him? That’s what the audience has in store for them when they attend “Sherlock Holmes – The Melodrama,” running from March 29 through May 11 at Pocket Sandwich Theatre in Historic Downtown Carrollton. 

“Sherlock Holmes – The Melodrama” features what everyone has come to expect from a Sherlock Holmes story: the iconic sleuth and his sidekick, Dr. Watson, taking to the streets to solve all sorts of nefarious schemes set in motion by Holmes’ archnemesis Professor Moriarty. What makes this version of the Holmes legend so memorable is that it is based on the script written by Joe and Brad Dickinson, which mixes all the logic and sleuthing of a Holmes’s story with all the drama, puns, and hilarity of a Pocket Sandwich Theatre melodrama. 

“Sherlock Holmes – The Melodrama” is especially meaningful to Pocket Sandwich Theatre Director Lauren Hearn and Assistant Director Jake Shanahan. The play was last performed 14 years ago when Joe Dickinson passed away, and the play has been on hiatus ever since. “We’re definitely doing this show with Joe Dickinson in mind, “said Hearn. “Getting to revisit the show again as director and it’s been a little emotional, but it’s been so exciting and so fulfilling.”

Hearn was in the play’s cast in 2010 and will now make her melodrama directorial debut with this production. This also marks the first time that she will be directing along with Jake Shanahan, although Hearn said, “Jake and I have worked together on stage in shows for a number of years.”

A new directorial team might take the easy way out and choose a cast that has performed numerous melodramas, but Hearn and Shanahan made it their mission to seek out actors who were new to this theater style. “We really wanted to help encourage a kind of a new generation of melodrama actors and actresses,” Hearn said. That encouragement meant a huge turnout for auditions, some late nights, and some very tough decisions, given how incredibly talented all the actors were.

Hearn and Shanahan focused on casting the Holmes and Moriarty dynamic and then building around that. “We’re incredibly lucky to have gotten the cast that we did; we are so happy that everybody said yes,” said Shanahan.

The talented cast has led to a smooth rehearsal process throughout the production. Shanahan stressed how the cast showed up on day one ready to perform and how rewarding it has been to see the new Pocket Sandwich Theatre actors grow over the rehearsals. “It’s been awesome to watch, especially the new folks…understand how melodrama is supposed to flow,” said Shanahan, “It’s been wonderful to watch them come up with all these new things we would not have even thought of.”

Fans of Sherlock Holmes will spot different classic references alongside “the comedy that I know the team of Lauren and Jake know how to bring into it,” said producer Nick Haley. Holmes fans will even have some new twists to look forward to. Hearn doesn’t want to give away any plot details but promises, “we do have some unique parts…that I hope will be a nice surprise for the audience.”

Haley said he wants people to forget about their problems and enjoy themselves when they come to the play. “We want people to have fun,” said Haley. Hearn also wants to ensure that the show honors Dickinson’s legacy, “I think Joe [Dickinson] would be proud of us. Wherever he is sitting in the theater watching the show, I think he’ll be really, really pleased.”

“Sherlock Holmes – The Melodrama” runs from March 29 through May 11 at Pocket Sandwich Theatre in Historic Downtown Carrollton. For information and tickets, visit: https://www.pocketsandwich.com/main-stage

Teachers often say not to second-guess yourself and stick with your first choice. That might be sound advice for test-taking, but what about in life? What if you had the chance to see how your life would turn out if you took the other option? MainStage Irving-Las Colinas looks to answer those questions with its latest production of “Dear Brutus” running through March 23.

“Dear Brutus” is a play about second chances, different decisions, and those outcomes. It’s a very complex theme, especially considering that (the creator of Peter Pan), J.M. Barrie, originally wrote the play. “No, it’s not about never growing up,” said director Rose Anne Holman, “It’s certainly about looking at whether or not you are satisfied with the life you’re living.”

“Dear Brutus” marks Holman’s fourth time directing with MainStage Irving-Las Colinas, but first time working with stage manager Lindsey Humphries. “I must be one of the luckiest people around,” Holman said regarding how valuable Humphries has been to the production. Holman said that casting the show had its challenges, given the 11-person cast and the relationships between certain characters in the show. “I really didn’t build off any one character,” she said, “but you always want to make it look like, especially if they are a couple, there is some chemistry there you can build with.”

“Dear Brutus” takes place over three acts. In Act I, the characters are called together to a mansion and meet a mysterious host named Lob, who offers them the opportunity to see what their lives would be like if they made other choices. Act II takes place in a forest by the mansion, where the audience gets to experience those “what ifs” along with the characters. Act III involves the characters reconnecting in the mansion to discuss what happened and what happens next now that they have that insight. 

Holman has made it a point to try and keep the rehearsal time manageable given how large the cast is. “I’m a firm believer that you need to value your actors’ time,” she said. Holman makes it a point to stagger rehearsal start times and days of the week to maximize the actors’ time at rehearsal. For example, if an actor is in Act I and Act III, then Holman will call in the actor and let them focus on their complete role “so that they get their practice in yet they’re not having to be there every night,” she said.

That respect for actors’ time helps at the beginning of rehearsals, but eventually, everything needs to come together into a complete, straight-through rehearsal. It’s that time that Holman really felt the show come together as the actors progressed from just reciting lines to a deeper understanding of their characters. “When they ran the show in order and they could feel how their characters are developing. I think that I could sit back and go, ‘I believe that,’” she said.

Holman went on to praise the entire cast, noting that running through scenes has sometimes necessitated changes to keep sight lines and blocking clean. “I will say my cast has been wonderful about adapting to those changes,” she said.

While the plot of “Dear Brutus” may evoke memories of the old TV show “Fantasy Island,” Holman stressed that it’s not. Holman went on to say that “Fantasy Island” involved everyone simply getting what they wanted, while “Dear Brutus” is more about the deeper revelations of understanding what it is you exactly do want.

“I want people to feel good that (they) have choices,” Holman said, and that people can “make other people’s lives better (and) can have a wonderful life.” She also wants people to remember that sometimes, rather than wishing for things and what might have been, “maybe you need to be grateful for what you do have.”

“Dear Brutus” runs through March 23 at MainStage Irving-Las Colinas. For tickets and information, go to https://mainstageirving.com/dear-brutus/

Mention the name Shakespeare, and people get nervous. Theatergoers wonder if they can understand and enjoy it, and some actors wonder if they have the mettle to perform it. The latter reaction is at the heart of the Pocket Sandwich Theatre production of “I Hate Hamlet,” which opens Friday, February 23, in Historic Downtown Carrollton.

The play is a comedy following a young Hollywood TV actor, Andrew Rally (played by Mario Aguirre IV), in his New York apartment as he grapples with his upcoming portrayal of Hamlet onstage. Andew’s life is complicated. His TV show is on hiatus. He just moved to New York City, and now a séance in his apartment has summoned the ghost of its former inhabitant, one of the finest actors ever to play Hamlet, John Barrymore (played by Dennis Millegan), who is here to give him advice.

The play’s director is Carol M. Rice, the multi-talented actor, director and playwright who serves as the executive artistic director of Plano’s Rover Dramawerks. “I Hate Hamlet” marks her return to the Pocket Sandwich Theatre after a seven-year hiatus. Many things changed during that time. The world got hit by the COVID-19 pandemic, and Pocket Sandwich Theatre moved to its current location in Historic Downtown Carrollton.

Rice said that although the location has changed, the theater space has the same feel. “It definitely has that same feel of being at the Pocket,” Rice said, calling her return to the theater “like going home.”

She also feels “I Hate Hamlet” is a good fit for the Pocket Sandwich Theatre stage. “It’s very funny, but it’s also very smart,” Rice said. The play combines the Shakespearean elements of Hamlet, along with a good dose of comedy, a sword fight, and plenty of emotion. “It also has a lot of humor and pathos in it,” Rice added.

“I Hate Hamlet” creator Paul Rudnick stated that when he cast the show’s Barrymore, he wanted someone with a significant presence, a cross between an “Olympian Hamlet…and everyone’s favorite scoundrel.” With that sense of gravitas in mind, Rice built the cast around the image of the Barrymore character. She cast veteran actor Dennis Millegan as her Barrymore. “He is such an amazing actor,” Rice said of Millegan.

This is Rice’s first time working with Millegan, but she is a longtime admirer of his work. “When he came to audition, I was really excited about that,” Rice said. Her excitement was justified with Millegan’s strong audition. “It was a kind of no-brainer for me to cast him.”

She felt Mario Aguirre IV, who plays TV actor Andrew Rally in the play, was a perfect fit given his strong acting ability and contrasting style with Millegan. “I felt [Aguirre] and [Millegan] would work really well together,” Rice said. The remainder of the show’s cast consists of Rebecca Litsey, who plays Felicia; Jennifer Nachazel, who plays Deirdre; Ivy Opdyke, who plays Lillian; and Nolan Spinks, who plays Gary.

Rice credits the professionalism and commitment of the cast for keeping rehearsals running smoothly even as the production faced hurdles due to COVID-19. “I actually didn’t have my whole cast together for a couple of weeks at one point,” Rice said. She credited the hard work and diligence of the cast in picking up rehearsals seamlessly after the setback. “It was smooth sailing because they put in the work…they worked on their lines on their own time. They knew who their characters were,” Rice said.

Veteran set designers Jeff Vance and Joey Dietz brought the vision of Andrew Rally’s mid-century, gothic-style apartment to life for Pocket Sandwich Theatre attendees. Rudnick based the original play on his own apartment, which was the real-life home of the late John Barrymore himself.

Rice also praised her fight choreographer, Andrew Dillon, for giving the show’s sword fight such character. She stated that the fight is more than just a straight duel as it contains pauses and comedic moments as the characters of Rally and Barrymore argue with each other. “I think Andrew Dillon did a really nice job,” Rice said.

Rice said that beyond the show’s message of perseverance, she wants people to leave the show feeling happy. “I’m looking forward to people seeing it and laughing,” Rice said. “I can only laugh so much at rehearsals.”

“I Hate Hamlet” runs from now till March 23, 2024, at the Pocket Sandwich Theatre in Historic Downtown Carrollton. For more information, including how to purchase tickets, visit https://www.pocketsandwich.com/.

This interview has been edited for clarity.

One of the memorable pleasures of growing up in the late 1970s and early ’80s was listening to K-tel records. K-tel became synonymous with compilation records and built a reputation on giving consumers more bang for their buck by producing greatest hits records centered around different themes. It’s in that same artistic style that Theatre Frisco is bringing fans “A Grand Night for Singing,” a musical revue showcasing some of Rodgers and Hammerstein’s greatest hits.

“You get a little bit of ‘Sound of Music,’ you get a little bit of ‘The King and I,’ you get a little bit of ‘South Pacific’…all of these classics are in the same show,” Kris “KA” Allen, director of the Theatre Frisco production, said.

“A Grand Night for Singing” is a musical revue that presents some famous and lesser-known songs from numerous Rodgers and Hammerstein musicals. A musical revue differs from a musical in that it focuses its energies on the music rather than telling a complex story. In “A Grand Night for Singing,” Theatre Frisco treats audiences to 30 songs spanning Rodgers and Hammerstein’s illustrious career. KA said that he wanted audiences “to walk away and take the genius of Rodgers and Hammerstein with them” after seeing the show.

“A Grand Night for Singing” marks the first production under new Theatre Frisco Artistic Director Andi Allen, who replaced Neale Whitmore, who retired in December 2023. It also marks the first collaboration between KA and musical director M. Shane Hurst. The face-to-face meeting between the directors happened at the first audition. KA praised Hurst’s knowledge and expertise and highlighted their complementary strengths as one of the reasons why the production went smoothly. “He has such knowledge and several degrees in music,” KA said of Hurst.

KA attributes the key to the show’s success to his “stacked cast” of “seasoned professionals,” which made rehearsals a joy and helped everything come together quickly. The show stars Theatre Frisco alumni Kelly Holmes and Theatre Frisco newcomers Elyse Allen, Grant Palmore, Phoebe Adams, and Levi Skoog. “The rehearsals were smooth. I mean, they just pick up the music so quickly,” KA said of the cast. “When you get professionals, it works that way,”

Upon arrival, theatergoers can expect to see Frisco Discovery Center’s Black Box Theater transformed into an attic as the setting for the show. KA said that “it’s been a challenge to try to keep movement throughout the piece.” He chose the inspiration of an attic and the items located in it as a means to tie the diverse set of songs together into a loose story.

He stated that the attic was meant to symbolize creativity and dreams, much like his favorite medley from the show featuring “Impossible” from “Cinderella.” He said that he wanted people to appreciate not only the genius of Rodgers and Hammerstein but also the beauty of the songs and what they have to say about the power of dreams.

“It’s all about dreaming and creativity and what could be versus what is,” KA said. “So, can you take the lemons in your life…and can you turn it into a dream, even when it is impossible.”

The Theatre Frisco production of “A Grand Night for Singing” runs from now till March 3. For more information about the show, including how to purchase tickets, visit https://www.theatrefrisco.com/shows

This interview was edited for clarity.

The 11-time Tony Award-winning musical “HAMILTON” is back for a limited summer engagement running from June 11-23 at Bass Performance Hall. The play is part of the 2023-24 Broadway at the Bass Season presented by PNC Bank. Performing Arts Fort Worth and Producer Jeffrey Seller made the announcement.

“HAMILTON,” conceived by Lin-Manuel Miranda, made its Off-Broadway debut in February 2015, and went on to become a cultural phenomenon, spawning multiple touring productions while continuing on Broadway to this day.

“HAMILTON” is based on Ron Chernow’s biography and follows the life of Alexander Hamilton, including his involvement in the American Revolutionary War and his lasting contributions to the founding of our country.

Besides the multiple Tony, Grammy, and Oliver Awards, “HAMILTON” also won the Pulitzer Prize for Drama and received an unprecedented Kennedy Center Honors citation for leaving a lasting mark on culture.

Tickets are on sale now at www.basshall.com/hamilton or by calling 817-212-4280. Ticket prices range from $69 to $189, with a select number of premium seats available for $199.

For more information, see the full Performing Arts Forth Worth press release below.

HAMILTON RETURNS TO FORT WORTH’S BASS PERFORMANCE HALL JUNE 11-23

TICKETS ON SALE NOW!

FORT WORTH, Texas (February 12, 2024) – Producer Jeffrey Seller and Performing Arts Fort Worth, the non-profit owner and operator of Bass Performance Hall, announced today that tickets are on sale now for HAMILTON, returning to Bass Hall in a limited engagement June 11-23. On the heels of a return engagement presented by Broadway Dallas at the Winspear Opera House, HAMILTON will play Fort Worth’s Bass Performance Hall as part of the 2023-2024 Broadway at the Bass Season presented by PNC Bank.

Tickets prices currently range from $69 to $189 with a select number of premium seats available from $199. There is a maximum purchase limit of nine (9) tickets per account for the engagement. There will be a digital lottery for 40 $10 seats for all performances. Details will be announced closer to the engagement. Tickets can be purchased online at www.basshall.com/hamilton or by calling 817-212-4280. The Performing Arts Fort Worth (PAFW) box office hours are Monday-Friday 9:00am – 5:00pm and Saturday 10:00am – 4:00pm. For group sales discounts please visit www.basshall.com/groups.

Jeffrey Seller notes, “It’s tempting to get tickets any way you can. There are many sites and people who are selling overpriced, and in some cases, fraudulent tickets. For the best seats, the best prices and to eliminate the risk of counterfeit tickets, all purchases for the Fort Worth engagement should be made through www.basshall.com.”

A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation.

Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. In addition to its 11 Tony Awards®, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire.

HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, and casting by Telsey + Company, Bethany Knox, CSA.

The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.

The HAMILTON Original Broadway Cast Recording is available everywhere nationwide.  For information on HAMILTON, visit: HamiltonMusical.com. Follow HAMILTON on Facebook, Instagram, Twitter/X & TikTok @HamiltonMusical.

HAMILTON comes to Bass Hall as part of the 2023-2024 Broadway at the Bass Season presented by PNC Bank. The season continues in May with CHICAGO as a season add-on; And closing the 2023-2024 season, the 25th Anniversary Tour of the global smash hit musical MAMMA MIA! will dance its way to Bass Hall in July.

For those not familiar, Newsted was the bass player for Metallica who took over after the tragic death of Cliff Burton. Robert Trujillo then replaced Newsted in the early 2000s and has held the position since.

So, it is somewhat ironic, then when I listened to Metallica’s new song, “If Darkness Had a Son” I flashed back to those old Jason Newsted Metallica days. The opening sequence and riff from the new song immediately made me think back to the “…And Justice for All” album as this song sounds very reminiscent of “Eye of the Beholder,” which is a good thing.  It’s got that same “I’m gonna plow right through you” head-banging intensity that fits right in with Metallica’s past classic songs. 

Clocking in at just under seven minutes in length, this song grabs you from the beginning and keeps you hooked until the very end. As the …And Justice for All album got maligned for a lack of bass, the same cannot be said for Metallica’s new song as the mixing is extremely tight with the whole band contributing to the overall intensity of the song.

From that opening lick through the familiar wah, wah of Kirk Hammett’s masterful guitar solo, this song shows how a band is able to grow creatively through the years, yet still give its fans exactly what they are looking for.

A word of caution, this song is guaranteed to get your fist pumping and head bobbing along to its chugging, driving beat, so if you don’t want the people in that car next to you staring, then you better wait to listen to this one at home so you can properly ROCK OUT!

Spotlight Score: 9/10

“If Darkness Had a Son” is the latest single from Metallica’s must anticipated album 72 Seasons due out April 14.

That day, I decided to buy that record and my whole view of music after changed. What stuck with me that day was how unique Metallica’s sound was, there was nothing else like it. I was an instant fan.

Fast forward to last week’s release of the new song called, “Lux Aeterna,” and again they hooked me with the strange name, something which appears like a cross between the MTV Cartoon “Aeon Flux” and the name of Elon Musk’s first child with Grimes.

When it comes to what else hooked me on Metallica all those years ago, their unique sound; that’s another story. It seems that Metallica has kept reinventing itself record after record since Master of Puppets, and mostly for the better (I put all blame for “Lulu” on Lou Reed).

Unfortunately, now when I hear this new song, I’m struck by how similar it sounds to their recent offerings. If I had to sum it up, I would say it fits comfortably somewhere between “Spit out the Bone” and “Mouth into Flame” from the album “Hardwired… to Self-Destruct.”

That’s not necessarily a bad thing, as I think that album is a real killer, but after listening to “Lux Aeterna” you can’t help but feel like this is an unreleased track from a previous album rather than an entire new Metallica undertaking.

Onto the specifics, the song starts with a great drum intro by Lars Ulrich who has just been killing it on these last few records. Regrettably, it is this very drumroll that makes you immediately think back to the song format from Hardwired.

After this brief drumroll though, James Hetfield enters with another masterful piece of guitar playing, giving us a new lick that will be sure to stick in your head for quite some time. In fact, a quick YouTube search reveals a handful of videos already out there offering to teach people how to play this new guitar gem.

The point where the song falls a notch down for me are the lyrics and somewhat extensive use of echo behind Hetfield’s voice. Maybe it is a sign of age, but it definitely reminds me a bit of Vince Neil’s seemingly not entirely concert-accurate sound from the Motley Crue records. Does it destroy the song, no, but it would have been nice to have that old Hetfield growl in there. 

This is also a very short song by Metallica standards. I was just settling in for a long winter’s nap so to speak and the song was abruptly over at well under four minutes.

So is this a good song, definitely, but more a good “new” Metallica song as opposed to an all-time classic. Regardless, I’m looking forward to what the tone of the rest of the new album, “72 Seasons”, is.

Spotlight Score: 7/10 (8 for the Metallica fanboys out there)