The City of Arlington and Walkable Arlington discussed the city’s form-based code changes Tuesday at the Central Library. During the Q&A, the speakers touched on zoning codes, how to connect UTA to Arlington’s Entertainment District and updating the city’s bike network system. Form-based code, unlike traditional zoning methods, focuses on the physical form of buildings and public spaces, not the land usage. It emphasizes how buildings interact with streets, sidewalks and public spaces. Principal planner Tharani Devi Palma said there are different types of zoning known as “land uses.” The form-based code will not be about the uses but about the look of the building. Palma said an example of a form-based code can be seen with infrastructure improvements like traffic lighting and a designated pedestrian walkway. “The vision here is to create a more walkable and pedestrian-friendly environment,” she said. Jay Narayana, consultant project manager at Livable Plans and Codes, said in order to improve the bike network, bikes should have dedicated right of ways. They’ve looked into implementing “shared streets,” where pedestrians, bikes and cars all share the right of way, as seen in Europe. “We’re looking at some of those ideas, not on the main corridors but at least where you can actually take advantage of future redevelopment,” she said. Software engineering sophomore Liam Crowley said he believes in the power of UTA students’ involvement in Arlington’s development and said their presence in community planning meetings can help shape the city’s future. “Arlington has good bones and a lot of good potential and good plans, I want to see those plans realized,” he said. “I think Arlington is currently not a great place for cycling and for walkability, but it could be a lot worse, and I think we have good momentum.” Walkable Arlington President Hyacinth Szabó said they envision an affordable and pedestrian-friendly university. “We share a vision for what the City of Arlington should be like,” Szabó said. “We all care about sustainability, we all care about safety.” news-editor.shorthorn@uta.edu

The dream took center stage as the Black Theater Society’s rendition of Cinderella sprang to life in the Rosebud Theater on Sunday afternoon, offering audiences a fresh, heartfelt retelling of the classic fairy tale. Gabrielle Malbrough, Black Theater Society president and scene designer for the play, said the organization centers artists of color. It focuses on advocacy, education and celebration within the theater world, and aims to create a safe space for artistic growth, mentorship and community. Malbrough said theater often isn’t catered toward minorities, so the play provided an opportunity to represent Black culture in a unique space. “I'm happy to be able to have a space like this, and to have people be on the stage and feel themselves and learn,” Malbrough said. “I'm just happy I could be a cultivator of that.” The Black Theater Society played a significant role in the production, with many members involved onstage and behind the scenes, she said. Nearly half the cast were members, and several students on the executive board held production roles. Malbrough said that the decision to produce this particular play, a reimagining of Cinderella, was largely influenced by London Crawford, the playwright and associate director, who saw a need for more Black voices in the department. “I think London did a really beautiful job of trying to integrate culture into this story, and having a story where Black people can look there and kind of see themselves,” she said. T’niyah McLaughlin, actress executive producer, production manager and interim costume designer for the production said their work came at a critical time. The Black theater community was pushing for a show reflecting their identity and were tired of being overlooked, she said. This production ensures every detail, from costumes to crew, was rooted in shared cultural experience and feeling. “We're gonna do our own thing, and we're gonna make it as Black as possible,” McLaughlin said’ “And that's exactly what you see up here.” GeCamri Amberay, who stars as Cinderella, said representation means feeling included and seen. She said it's about being visible from a young age and not being restricted or hidden for who we are. Crawford said what sets this version of Cinderella apart is the emotional depth given to characters overlooked in other renditions. Characters like the prince and stepmother, who tend to be flat in traditional tellings, were given backstories and growth. “I wanted to show a positive relationship between a Black boy and his father, but also that Black boys can also get wishes,” he said. “So, I think those things make it stand out.” Seeing the show come to life was a deeply emotional experience for Crawford. He said he cried through the first few numbers, overwhelmed by hearing his words brought to life on stage. The journey from script to stage took several months. Crawford completed the script in October, then casting followed in November and full rehearsals began late February. One of the most powerful shifts in this reimagining is the redemption of the stepmother Mona. Crawford said no one is inherently evil in this version. This layered portrayal of McLaughlin, who played Mona. While she’s played many villains in the past, Mona was one of the few characters where she felt the audience could truly sympathize with, she said. McLaughlin said portraying Mona was a challenge because her cruelty stems from deep pain. She’s a wounded woman whose harshness stems from misplaced attempts to protect Cinderella from the world. “London did not want the ‘angry Black woman, mother’ to be portrayed. Although that is her character, I didn't want it to fall into that stereotype,” she said. McLaughlin, who stepped in as interim costume designer just three weeks before the show, said the team had to be resourceful with their tight $1,200 budget, relying on collaboration and creativity to make costumes work. She worked closely with director co-choreographer Jess Anoruigwe to reflect the characters' emotional journeys through their clothing, especially Cinderella’s transformation, while encouraging actor input to ensure authenticity. “A lot of those costumes you see from their closets and ensemble members, they created, their own name, their own story, their own everything,” she said. “You see the costumes kind of reflect that.” Anoruigwe, described the production as a blend of play and musical, with dance replacing traditional song. Movement was used as a storytelling tool to express the characters’ internal emotions — desire, conflict and longing — especially where words fell short, she said. She said in one scene the lack of synchronicity in the choreography between the king and queen physically represents tension in their relationship. Kalumbu Tshibangu, who plays King Marcellus, said he begins with breathwork and warmups, then mentally steps into the role by doing dialogue with the character until the lines blur and he fully embodies the the role. A collective favorite memory among the cast is their water gun rehearsal. Tshibangu said it not only helped the actors understand their characters' intentions in the scene, but also gave them a chance to let loose and have fun. Amberay said the cast grew close while working. It started with a simple ritual where the cast would go around sharing what they’re thankful for, and over time, they started saying each other. She said that even though she was pre-casted as Cinderella, she still auditioned to keep the process fair. She worked hard to differentiate the character from other meek characters she's played, focusing on making her quirky, yet strong. Even while nearing opening night, Amberay continued to discover new aspects of her character. Prince Williams, who plays the Emcee, said her character process draws heavily from her love of Dungeons & Dragons. She builds each role from the ground up — crafting traits, flaws and even objects the character would carry. “I always have an objective for the character in each scene and also throughout the show,” she said. “Even though the character might not have lines, the character still has an objective.” Williams said performing with the cast required a lot of trust and energy-sharing, especially in big ensemble scenes like the buzz drumline. She said moments like that worked because the cast supported each other and gave energy when others needed it and to create space to lead or follow as needed. Williams said she hopes audiences walk away knowing this shouldn’t be the last all-Black reimagining of a classic. She said the show is a reminder that traditions can be reshaped, and now is the time to change things for the better. “For some of the people who are in the audience that have a dream to dance, have a dream to write, have a dream to tell stories like these. This is to show that things are possible,” she said. @taylor._.sansom news-editor.shorthorn@uta.edu