Poignant DCT production shut down in final rehearsals before opening in March 2020 makes its debut
(DALLAS, TX) – Dallas Children’s Theater (DCT) is excited to finally bring LAST STOP ON MARKET STREET, to the stage March 18 – April 2, 2023 at the Rosewood Center for the Arts. With production halted days before the COVID-19 shutdown in 2020, this heartfelt spectacular has been years in the making! Based on The New York Times bestseller that won a Newbery Medal, Coretta Scott King Illustrator Honor, and a Caldecott Honor, LAST STOP ON MARKET STREET is a compassionate tale filled with both the mature joy of a grandparent and the pure wonder of a child.
The story follows young CJ and his Nana on their journey as they board the public bus for their weekly trip across town to help out at a soup kitchen. Along the way, CJ notices the many differences among people and asks tons of curious questions: Why don’t we have a car? How come that man can’t see? How come it’s always so dirty over there? How? Why? With Nana’s fearless and compassionate guidance, CJ discovers that everyone and everything has a unique rhythm and purpose; that the world’s got answers if CJ listens with more than his ears and sees with more than his eyes.
Directed by vickie washington (North Texas director, actress, and teacher at Booker T. Washington for the Performing Arts) LAST STOP ON MARKET STREET carries the poignant message of the picture book without ever losing the fun. While the premise appears ordinary, a trip to the soup kitchen across town, colorful stagecraft, and plenty of spectacle and music work together to create a memorable experience for the young and young at heart. “While riding the bus with CJ and Nana, we learn the value of meeting people where they are, and the joy of opening our hearts and minds to the experiences of others.” washington says, smiling. “With all that is happening in our city and in our world today, these are very important lessons for all of us.”
Playwright Gloria Bond Clunie was in Dallas for three weeks working with the team to further develop the play. Some of the scenes will make their debut here in Dallas.
Imaginative and hopeful in its capture of a genuine experience of everyday beauty, LAST STOP ON MARKET STREET is a gentle journey recommended for ages 4 and up. In the spirit of true kindness, these funders have stepped up to make this production a reality: The Howard Family in loving memory of Eleanor “Gammy” Howard, Jean Baptists(Tad) Adoue III Fund of The Dallas Foundation; TACA Donna Wilhelm Family New Works Fund; The M.R. & Evelyn Hudson Foundation; Capital One; the National Endowment for the Arts, the Cece Smith Lacy and John Ford Lacy Fund of Communities Foundation of Texas, the Texas Commission on the Arts, and Southwest Airlines.
The DCT staff dedicates this production to the amazing Ms. Bonnie Jean Stoner who introduced us to this book almost five years ago. While she is no longer with us, Bonnie Jean will forever live in our hearts because of the gifts of advice, support and kindness that she gave to us over the years. DCT also dedicates the production to the March 2020 stage manager, Ashley Newman, a compassionate person and wonderful colleague that we lost way too soon.
LAST STOP ON MARKET STREET
By Matt de la Peña, Illustrated by Christian Robinson
Winner of the 2016 Newbery Medal
Adapted by Gloria Bond Clunie
Directed by vicki washington
March 18 – April 2, 2023
Recommended for ages 4 and up
Cast:
CJ – Jori Jackson*
Nana – M. Denise Lee*
Reverend / Guitar Man / Ensemble – Randy Pearlman*
Mr. Dennis / Blind Man / Ensemble – Nik Blocker**
Butterfly Lady / Ensemble / Dance Captain – Monalisa Amidar*
Woman with a Lovely Hat / Ensemble – Melissa Crouch
Tattoo Man / Mumford the Dragon / Ensemble – Austin Hines**
Street Man / Musician / Ensemble – Gerald Taylor II*
Understudy – Tiana Alexander
Production Team:
Director – vickie washington
Scenic/Video Designer – Kristina M. Miller
Lighting Designer – Troy Carrico
Props Designer – Lauren Wheat
Sound Designer – Marco Salinas
Costume Designer – Cat Dillon & Lyle Huchton
Original Composition & Musical Direction – Steven A. Taylor
Puppetry Design – Sally Fiorello
Stage Manager – Davvi Solomon*
Production Manager – Janel Villatoro
Technical Director – Josh Smith
*Denotes member of Actors Equity Association.
Performance Dates and Times:
Saturday, March 18, 1:30PM – Opening
Saturday, March 18, 4:30PM (NPD)
Sunday, March 19, 1:30PM
Sunday, March 19, 4:30PM (ASL)
Saturday, March 25, 1:30PM (Sensory)
Saturday, March 25, 4:30PM
Sunday, March 26, 1:30PM
Saturday, April 1, 1:30PM
Sunday, April 2, 1:30PM – Closing
Ticket Prices:
$17-$30 for single tickets. Prices subject to change. Group rates available for parties of 10 or more. Phone reservations required for Sensory-Friendly performances which are $5 per person. Call the Box Office for details, 214-740-0051. General tickets are available online at dct.org
Weekday Student Matinee shows also available Tuesdays through Fridays. Call Dallas Children’s Theater at 214-978-0120 or visit dct.org/fieldtrips
Photo credit: Karen Almond.
2022-23 Season Sponsors are: Texas Instruments, City of Dallas Office of Arts and Culture, March Family Foundation, The Carlson Foundation, The Shubert Foundation, Lyda Hill Philanthropies, TACA, and CARES Act/American Rescue Plan. General Sponsors Include: Hearst Foundations, The Rosewood Corporation, The Holloway Family Foundation, The M.R. and Evelyn Hudson Foundation, The Theodore and Beulah Beasley Foundation, Inc., Harold Simmons Foundation, Sharron Hunt, Lara and Stephen Harrison, and the Carl B. & Florence E. King Foundation. Additional Support is Provided By: Dallas Tourism Public Improvement District, TXU Energy, Frost Bank, Joan Becker, Capital for Kids, Texas Commission on the Arts and the National Endowment for the Arts, The Koz Foundation, Stephen M. Seay Foundation, Margot B. Perot, Maintenance Inc., Central Market, and Green Mountain Energy, DCT’s official renewable energy partner. Sensory-Friendly Sponsors Include: Fichtenbaum Charitable Trust and the Crawley Family Foundation. Building Fund Supported By: The Carlson Foundation, The March Family Foundation, Laurie Sands Harrison, The Rosewood Corporation, Anonymous Family, Elizabeth & Bart Showalter, Karen & Ken Travis, The Hersh Foundation, and Everett & Becky Spaeth.
Dallas Children’s Theater
Rosewood Center for Family Arts
5938 Skillman Street
Dallas, Texas 75231
About Dallas Children’s Theater
Dallas Children’s Theater features professional actors performing for an annual audience of 250,000 young people and their families through mainstage productions and an arts-in-education program. As the only major organization in Dallas focusing solely on youth and family theater, DCT builds bridges of understanding between generations and cultures, instilling an early appreciation of literature, art, and the performing arts in tomorrow’s artists and patrons.
LAST STOP ON MARKET STREET is produced by special arrangement with GURMAN AGENCY, LLC, a theatrical literary agency. gurmanagency[dot]com. World Premiere Produced by Children’s Theatre of Charlotte November 2018. Adam Burke Artistic Director.
As silly as it sounds, it was a controversial decision to not let the Pigeon drive in the original drafts for Don’t Let The Pigeon Drive The Bus. In 2003, when the book was published, editors weren’t sure if the Pigeon’s plight would resonate with younger audiences or frustrate them. The results speak for themselves: Don’t Let The Pigeon Drive The Bus! is one of the most popular children’s books to this day.
Mo Willems has often said that his books are meant to be “played” not read, and this is true for his stage adaptations as well. DON’T LET THE PIGEON DRIVE THE BUS! THE MUSICAL! has a slightly different story than the picture book audiences have come to love. The Pigeon is still very much himself, but the conflict is broadened a bit. The plucky bird still does not drive the bus, but this time, the show asks why? Because he can’t reach the pedals? Because he doesn’t have the training? Because the bus absolutely must reach each stop on time?
The conflict is bigger. It isn’t about simply wanting to do the impossible on impulse, but something larger: wanting to have a thing. Everyone’s got one. The Bus Driver drives buses, the Teenager loves movies, the Little Old Lady likes to throw birdseed around. Everyone has a “thing” that makes them unique, and the Pigeon is feeling insecure because he doesn’t know what his “thing” is yet.
It’s a big conflict, truly worthy of a Mo Willem’s story, and it’s told with the same simple, connective, honesty that fills all of his work.
