MOMA’s acclaimed retrospective, Cindy Sherman, makes its final stop at the DMA, and it’s a landmark show of disguises and female identity, of brilliant photographic fakery and caricature.

What’ll good looks get you? In WaterTower Theatre’s quick, bright production of the comedy, The Ugly One, they’ll get you everything — and nothing.

Kitchen Dog offers a handsomely upholstered production of some threadbare, post-war surrealism.

The 40-some works were never supposed to be seen by the general public. They were disposable. But Bernini’s clay models – and the way the Kimbell presents them – make these small, hasty preparations loom large.

The 140 items in the DMA’s first exhibition of the Russian-Jewish modern master are not about color. That’s what everyone knows Chagall for – that, plus floating couples and rooftop fiddlers. No, this lovely show is Beyond Color. But is it?

It’s the Mt. Everest of Western drama; it took a co-production with Trinity Rep to bring King Lear to the Dallas Theater Center. The surprise is how quick, clean and clear it is. But the question is, does it reach the mountaintop?

Lyric Stage dug up a long, lost musical from the great creator of Guys and Dolls. But is Pleasures and Palaces a real pleasure? Or just another walking dead from the Broadway crypt?

The Undermain’s An Iliad downsizes Homer’s vast war song, his epic of rage and Bronze Age manhood, into just two guys with a tale to sing. You’ve rarely felt so close to the screams and the bloodspray.

Ed Bark, former Dallas Morning News TV critic, gets called in to write a review for The New York Times. Does this make him a ‘replacement reviewer’? Can he call a ‘holding penalty’?

The new jazz reference work by North Texas writer/historian/musician Ted Gioia has been getting some very nice ink.