WORTH THE TRIP: If there’s one Horton Foote play even non-theatergoers have heard of, it’s The Trip to Bountiful. So getting to perform the play as part of the Horton Foote Festival already makes Contemporary Theatre of Dallas one of the event’s big winners. But to whom much is given, much is required, and from reading the reviews, it sounds as if the company is holding up its end of the deal – particularly Elly Lindsay. She plays the senior citizen living with her son and daughter-in-law who longs to make one last trip to her birthplace. “There couldn’t have been a better selection from local actresses of a certain age for Carrie than Elly Lindsay,” Mark Lowry writes on theaterjones.com. “There have been a number of local productions of this play in the past decade or so, but not with an actress who so finely balances all the traits that make this character more complex than we think she is.” M. Lance Lusk heartily concurs. “Foote’s dramatic world is recreated here in a straightforward, authentic manner, the play powered by a stellar cast and a tour de force of a performance by Elly Lindsay,” he writes in his Front Row review. Get thee to the theater by May 1.

BACK TO THE BELMONT: Our siblings over at KXT 91.7 have announced this year’s Barefoot at the Belmont series. If you like good music in one of Dallas’ most picturesque settings, this one’s for you. The series kicks off May 12 with Bobby Long and Josh Weathers and later dates include Rhett Miller, Sahara Smith and the Orbans, among many others. Check the full lineup and get your tickets.

TO THE VAULT: Bringing in touring exhibitions and loaned works of art are expensive propositions for museums. And with the economy the way it is, many museums are taking closer looks at their own collections to stage exhibitions, according to nytimes.com. The Dallas Museum of Art’s recent “Re-Seeing the Contemporary: Selected from the Collection,” falls into this category (though it should be noted the DMA still features plenty of traveling shows, including the current Gustav Stickley exhibition). “The public doesn’t care whether you own it or borrow it,” Michael Govan, the director of that Los Angeles museum, tells The Times. “They’re just interested in the presentation and the content.”