Arts & Entertainment

‘Dallas’ reboot in fine form

Continuation of classic series deftly balances old and new

Published

14 years ago

June 16, 2012

I finally caught the “Dallas” reboot (Wednesdays at 9 on TNT) last night on DVR — busy week — and though thoroughly prepped for disappointment, was delighted to find a tightly paced, deftly edited take on one of my all-time favorite shows that struck a perfect balance between edgy/hip/new and familiar/nostalgic/endearing.

Which is saying a hell of a lot — classic franchise reboots are notoriously hard to pull off. They always sound good on paper but when a show takes on a life of its own and becomes a cultural touchstone, as the ’78-’91 classic installment did, it’s practically impossible to catch lightening in a bottle twice. Who knows if it will last, but this week’s two-hour pilot did everything it needed to do to relaunch the series in a gripping, promising way. It’s light years better than “J.R. Returns” (1996) and “War of the Ewings” (1998), the two TV movies that continued the storyline and thankfully removed the bitter aftertaste left by the show’s bizarre 1991 finale (“Conundrum”) in which Joel Gray appeared in an “It’s a Wonderful Life” takeoff that ended with a shoddily ill-conceived cliffhanger with supernatural overtones.

The cast of 'Dallas.' (Photo courtesy TNT)

So it’s thrilling to see the old warhorse, which struggled mightily in both quality and ratings its last few seasons, doing well — 6.9 million viewers tuned in to this week’s launch making it the most-watched scripted cable series so far this year and outranking anything the regular networks had in its time slot.

Twin heartthrobs Josh Henderson and Jesse Metcalfe play Ewing offspring John Ross (J.R. and Sue Ellen’s son) and Christopher (Bobby and Pam’s son) all grown up. One can’t help but wonder, of course, what became of Ormi Katz and Joshua Harris, the two actors who played the characters for years as kids on the original show, but their absence is quickly forgotten as Henderson and Metcalfe are so easy on the eyes and good actors too.

John Ross wants to drill for oil on Southfork Ranch against the wishes of Miss Ellie’s will. Christopher is pursuing an alternative energy venture that has had devastating consequences in Asia. He’s about to get married at the ranch to Rebecca (Julie Gonzalo). His old flame Elena (Jordana Brewster) is now dating John Ross. It’s a clever premise reviving a theme from the original series — early in the show, one of JR.’s deals left the family in a precarious spot financially and Miss Ellie had reluctantly agreed to let them drill on the ranch, something she’d never wanted to do. At the 11th hour, they didn’t have to.

The older generation is still kicking, though barely in some cases. Bobby (Patrick Duffy) is battling a cancer diagnosis (he’s married now to a third wife, Ann, played by Brenda Strong) and J.R. is in a nursing home suffering from depression. Sue Ellen (Linda Gray) is also in the cast. Cliff Barnes (Ken Kercheval) will be in future episodes. Ray Krebbs (Steve Kanaly) and Lucy Ewing (Charlene Tilton) are sadly reduced to cameos. Let’s hope if the show is a hit, they’re invited back and fleshed out. Tilton, especially, is a fan favorite from years ago. I never had Lucy’s hair but I did appreciate her taste in men — from gay Kit Mainwaring to her hunky doctor husband Mitch (Leigh McCloskey).

“Dallas” 2012 works for several key reasons — one, it’s been long enough now since the original show ended, that it feels fun, not tired, to revisit these characters. Nobody can say how long has to pass for such things to make sense, but pop culture very much unofficially dictates there has to be significant time — decades — before such ideas can float. “J.R. Returns” and “War of the Ewings,” while fun to watch, felt like everyone was beating a dead horse, and few horses were more dead than “Dallas” in its last couple regular seasons when most of the original cast had either long defected or were reduced to glorified cameos or mentions. The reboot, however, manages to revive the long-dormant excitement the show lacked in its final years by casting charismatic young actors in the key roles — Henderson and Brewster especially stand out — but having enough of the original cast around to keep it all grounded in authenticity. Using the original Texas-based exteriors, where several reunions have taken place over the years, is as key as the presence of Hagman, Duffy and Gray.

Principal, sixth from left, joined the cast for a 2004 non-dramatized reunion.

Sadly, but unsurprisingly, Victoria Principal (whose Pam was the original series’ central character in its early years) is a no show. She hasn’t fully shunned the show that made her famous — she showed up for a classic Vanity Fair photo shoot in the mid-’90s and for the 2004 “Return to Southfork” reunion (which featured cast members in a non-scripted format appearing as themselves), but has eschewed any thoughts of reviving her role. She told Ultimate Dallas (ultimatedallas.com, the amazingly thorough fan site) a few years ago the notion seemed rather absurd this many years later. Even so, she was never as chummy with the rest of the cast (Hagman, Duffy and Gray are close friends in real life and gathered regularly even before the show relaunched).

If Principal seems only vaguely interested — Duffy told TV Guide last week they talked by phone recently and she wished him the best on the new show — she’s still more involved than the late Barbara Bel Geddes (Miss Ellie) was in her final years. Not only did she sit out the last season (having left once before but come back), she was a no-show for both the TV movies, the Vanity Fair photo shoot and the 2004 reunion (she may have been ill for the latter — she died of cancer in 2005). She wasn’t, however, entirely reclusive in her later years — she did memorable commentary for a “Vertigo” restoration (she played Midge in the ’58 Hitchcock classic) in ’96. It’s a shame. She and Howard Keel (whose Clayton Farlow was a staple for 10 seasons), now both dead, would have been great additions to the Vanity Fair gathering. People always remember Jock (the late Jim Davis), but Clayton was on the show far longer.

The key to the new show’s success will be the degree to which it manages to maintain this delicate balancing act of old and new. Focus too much on J.R., Sue Ellen and Bobby and it looks like a Motown revival tour. But conversely, if the younger cast gets all the air time, there’s no anchor to the past. The scenes in which the two generations interacted were the best on Wednesday’s premiere — Hagman, who at age 80 has lost none of the lip-smaking relish he brought to what should have been an Emmy-winning role, plays especially well with Henderson, whose John Ross is presented as a manipulative chip off the old block.

A short scene by the Southfork pool with Henderson and Gray was the debut’s best. As Sue Ellen offered her son her support in the never-ending battle over the land (a recurring theme in the original series), Gray’s delivery crackled with tension. She looks amazing. Her icy glares shoot the same daggers they did all those years on the original series.

There were a few shoddy elements — the soundstages that are supposed to be the Southfork interiors lack both the floorplan and dimensions of those of the old show (which themselves did not match the interiors or layout of the real Southfork ranch where the exteriors have always been filmed) — but where it really counts, the new “Dallas” works. Even the opening credits, featuring a savvy twist on the original montage and a deliciously effective re-orchestration of the show’s majestic theme music, work.

It’s off to as solid a start as could possibly be expected.

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Calendar: June 22

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Books

Risking it all for love during World War II

New book follows story of Black, gay expat in Paris

Published

1 hour ago

April 5, 2026

Terri Schlichenmeyer

(Book cover image courtesy Viking)

‘The Remarkable Life of Reed Peggram’
By Ethelene Whitmire
c.2026, Viking
$30/308 pages

You couldn’t escape it.

When you fell in love, that was it: you were there for good. Leaving your amour’s side was unthinkable, turning away was impossible. You’d do anything for that person you loved – even, as in the new biography, “The Remarkable Life of Reed Peggram” by Ethelene Whitmire, you’d escape toward danger.

On Aug. 28, 1938, Reed Peggram boarded a ship from Hoboken, N.J., hoping to “become a proper gentleman” and fulfill his dreams. A prolific writer and Harvard scholar of comparative literature, he’d recently been awarded the Rosenwald Fellowship, which put him in the company of literary stars like Du Bois, Hurston, and Hughes.

Both Peggram’s mother and grandmother were then domestic workers, and they had big expectations for him. Reed himself was eager to study abroad, for professional and personal reasons; he was “determined to become a French professor and an accomplished linguist” and “He also hoped to find love.”

What better place to do it than in Paris?

Outgoing and confident, Peggram made friends easily and had no trouble moving “through the world of his white male peers.” Where he faltered was in his lack of funds. He relied on the kindness of his many friends – one of whom introduced Peggram to a “man who would become so pivotal in his life,” a Danish man named Arne.

Peggram and Arne had a lot in common, and they began to enmesh their lives and dreams of living in the United States. But there were complications: homosexuality was largely forbidden, World War II was in its early stages, and it quickly became apparent that it was dangerous to stay in Europe.

And yet, Peggram loved Arne. He refused to leave without him and so, while most visiting Black Americans fled the war in Europe, “Reed was trying to stay.”

There’s so much more to the story inside “The Remarkable Life of Reed Peggram,” so much to know about Reed himself. Problem is, it’s a long haul to get to the good stuff.

In her introduction, author Ethelene Whitmire explains how she came to this tale and yes, it needs telling but probably not with the staggering number of inconsequential details here. Peggram moved homes a lot, and many people were involved in keeping him in Europe. That alone can be overwhelming; add the fact that costs and other monetary issues are mentioned in what seems like nearly every page, and you may wonder if you’ll ever find the reason for the book’s subtitle.

It’s there, nearly halfway through the book, which is when the tale takes a tender, urgent turn — albeit one with determination, rashness, and a dash of faux nonchalance. Also, if you’re expecting an unhappily-ever-after because, after all, it’s a World War II tale, don’t assume anything.

Reading this book will take a certain amount of patience, so skip it if you don’t have that fortitude. If you’re OK with minuscule details and want a heart-pounder, though, “The Remarkable Life of Reed Peggram” might be a good escape.

The Blade may receive commissions from qualifying purchases made via this post.

Theater

Iconic Eddie Izzard takes on 23 characters in ‘Hamlet’

Energized take on role offers accessible way to enjoy Shakespeare

Published

1 day ago

April 4, 2026

Patrick Folliard

Eddie Izzard in ‘The Tragedy of Hamlet.’ (Photo by Carol Rosegg)

‘The Tragedy of Hamlet’
Through April 11
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Tickets start at $90
Shakespearetheatre.org

Eddie Izzard is an icon.

Best known for her innovative standup and film roles, the famed British performer is also a queer activist who over the years has good-naturedly shared details from her decades long trans journey. What’s more, Izzard has remarkably run 43 marathons in 51 days for charity.

And now, Izzard finds a towering new challenge with the worldwide tour of “The Tragedy of Hamlet” (at Shakespeare Theatre Company’s Klein Theatre through April 11), in which she plays 23 characters (Hamlet, King Claudius, Queen Gertrude, the ghost, etc.) in a solo performance running just over two hours.

At a recent performance, Izzard, before slipping into character, appeared on the unadorned stage to say that though infused with comedy, “Hamlet” is definitely a tragedy, a story of a family and country both tearing themselves apart. She also warns that there’ll be a lot of breaking the fourth wall. After all, it didn’t exist in 1600 around the time when “Hamlet” was written.

The play unfolds in flurry of movement and scandal as the Danish prince begins to plot revenge after learning that his father, the old king was conspired against and murdered.

While some of Izzard’s character shifts are shown only by a subtle change in stance or modulation of voice, others are more obviously displayed like court sycophant Polonius walking with a stiff leg and mimed cane, or his ill-fated daughter Ophelia trotting girlishly across the upstage platform.

Delivered downstage at the intimate Klein venue, Izzard’s Hamlet soliloquies are performed with striking clarity. The one actor play is adapted and edited by Mark Izzard (the star’s older brother) and directed by Selina Cadell who successfully fosters the visceral connection between the actor and the house. Directly addressing an audience is something Izzard does exceedingly well. You feel as if she’s looking at/speaking to only you.

Cuts and choices are made that might not please traditionalists. The stabbing of eavesdropping Polonius might prove disappointingly underplayed to some. Whereas, the subsequent satisfying dual/death scene is long and precisely choreographed. Fear not, Izzard doesn’t flag a bit, not even when battling a cough (as was the case on the night of No Kings Day).

Not surprisingly, Izzard leans into the comedy. Her deliciously placed pauses, lines read ironically, and double takes, all gifts of comedy sharpened to perfection over a long career that kicked off as a street performer in the early eighties in London’s Covent Garden.

The play within a play scene finds Hamlet slyly rattling the conscience of King Claudius. As played by Izzard, it’s wickedly delightful and especially good. And the back and forth between the grave diggers done as a clever Cockney and his green assistant is a master class in how to play a Shakespearean clown.

Kitted out in a black peplum jacket over leather leggings and boots, Izzard gives gender fluid shades of contemporary diehard scenester and a Renaissance courtier. (Design and styling by Tom Piper and Libby DaCosta)

Attention has been paid to the blonde high ponytail, crimson lips and matching lacquered nails. The hands are important. Whether balled into fists or fingers fluttering, they’re in use, especially when playing Hamlet’s ex-friends Rosencrantz and Guildenstern (a clever surprise that can’t be spoiled).

Tom Piper’s set is wonderfully minimal. It’s an empty white walled space with three narrow windows that appear cut deeply into stone like those of a castle. These white flats serve as the ideal canvas for lighting designer Tyler Elich’s looming shadows, ghostly green light, and other unexpected flourishes of drama.

Izzard fills the stage. Her presence is huge, and her acting first-rate. At times, you forget it’s a one-person show.

I’d like to say, prior knowledge of the Bard’s best tragedy isn’t necessary to enjoy this fast-paced production. Despite a halved runtime and obscure words replaced with modern equivalents (“tedious old git” Hamlet says of Polonius), familiarity with the play is helpful.

With “The Tragedy of Hamlet,” Izzard secures a place among fellow queer Brits like Miriam Margolyes (“Dickens’ Women”), Sir Ian Mckellan (“Ian McKellen on Stage”), and more recently Andrew Scott (“Vanya”) in the solo players’ pantheon.

Izzard’s energized take on Hamlet is terrific. The way her powerful public persona bleeds into the work without taking over is exciting, and a uniquely accessible way to enjoy Shakespeare.

Calendar

Calendar: April 3-9

LGBTQ events in the days to come

Published

2 days ago

April 3, 2026

Tinashe Chingarande

Friday, April 3

Center Aging Monthly Luncheon With Yoga will be at 12 p.m. at the DC Center for the LGBT Community. Email Mac at [email protected] if you require ASL interpreter assistance, have any dietary restrictions, or questions about this event.

Go Gay DC will host “First Friday LGBTQ+ Community Social” at 7 p.m. at Silver Diner Ballston. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.

Saturday, April 4

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.

Nellies Sports Bar will host “Nellies DC Drag Brunch” at 12 p.m. Come get served like a queen, by a queen at the top rated Drag Brunch in DC! Join Sapphire Blue, Deja Diamond and their team of amazing drag performers, for the most fun you’ll have all weekend. Tickets start at $58.51 and are available on Eventbrite.

Monday, April 6

Center Aging: Monday Coffee Klatch will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).

Go Gay DC will host “LGBTQ+ Community Happy Hour Meetup” at 5:30 p.m. at Freddie’s Beach Bar and restaurant. This event is ideal for making new friends. It’s free to attend. The group will gather inside at the purple booth to the left. Attendance is free and more details are available on Eventbrite.

Tuesday, April 7

Universal Pride Meeting will be at 7 p.m. on Zoom. This group seeks to support, educate, empower, and create change for people with disabilities. For more details, email [email protected].

Wednesday, April 8

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit www.thedccenter.org/careers.

Thursday, April 9

The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. To be more fair with who is receiving boxes, the program is moving to a lottery system. People will be informed on Wednesday at 5:00 pm if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.

Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breathwork and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.