Theater Review

Fort Worth's ballsy sports agent play is ready for primetime

There's a note in playwright Fernanda Coppel's bio that mentions King Liz has already been sold to Showtime, to be developed as a half-hour TV show. After seeing the smart, sharp story of a woman scoring big in the traditionally testosterone-ruled world of sports, it's not surprising that the well-written piece is a hot commodity.

At Amphibian Stage Productions, it all hinges on Kenneisha Thompson as Liz Rico, an ambitious sports agent who's worked like hell to finally have the throne within reach. Her boss (a blustering big shot played with panache by Bob Hess) is readying for retirement, and plans to leave his agency to the top-producing and top-performing Liz, whose client roster is a who's who of sports royalty.

Liz's long-suffering assistant Gabby (Olivia de Guzman, who expertly restrains from showing her character's hand too soon) sets the tone for us by executing a typical morning routine with serious Devil Wears Prada vibes. She scurries into the office, places her boss' coffee just so on the desk, changes into power heels, and then starts a beat to which Liz enters, throwing down raps to pump herself up.

It's an entrance that director William "Bill" Ray lets build to a crescendo, showing us from the start the massive amounts of confidence and swagger that Liz possesses. It also quickly shows off the sleek set designed by Seancolin Hankins, which works beautifully well with Jon Felt's lighting (look for the faint outline of a basketball court on the floor — it's a subtle but effective detail). David Lanza's sound design plants us in locker rooms, press conferences, and courtside, letting our imaginations fill in the visual clues.

The NBA draft is quickly approaching, and Liz has a troubled-but-talented high-schooler named Freddie Luna in her crosshairs. As Gabby is invited to finally watch Liz close a deal, first securing Freddie's signature on a contract and then convincing the New York Knicks to take him with their first pick, we too get to watch this smooth operator do her thing. Thompson amps up her already considerable charisma here, manipulating Luna and the NBA coaches with a mixture of business savvy and genuine charm.

What Coppel rarely does — and thankfully so — is make Liz use her sexuality as a bargaining chip. This character may be more successful than everyone else in the room, but she relies on intelligence and experience rather than her feminine wiles. Even her wardrobe from costumer Aaron Patrick DeClerk is a sensible yet stylish array of button-downs, trousers, and shift dresses, all grounded by authoritative heels.

That's not to say Coppel doesn't explore the more tender side of Liz, and it's those scenes that give Thompson something extra to chew on. Freddie's new coach (a straightforward Sam Henderson) reveals himself as Liz's sometimes lover, and their awkward dinner date forces Liz to reflect on her choice to pursue business over a family. It doesn't get too preachy, but instead allows Thompson space to experience a range of emotions.

Telvin Marjuan Griffin also avoids being boxed into a stereotype, though his Freddie could easily be just another entitled jock with anger issues. Griffin keeps Freddie's insecurity and immaturity simmering just below the surface, so that when he does go off, it feels earned instead of cheap.

Have you waited this long for the Jerry Maguire comparisons? Congratulations, here they are: Yes, both properties follow a cocky sports agent who topples because of their difficult star client, but King Liz eschews the schmaltzy rom-com subplot in favor of a more nuanced dive into how its main character ticks. It shows us the person, instead of simply the money.

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Amphibian Stage Productions' mounting of King Liz runs through August 5.

Telvin Griffin and Kenneisha Thompson star in King Liz.

Telvin Griffin and Kenneisha Thompson in King Liz at Amphibian Stage Productions

Photo by Evan Michael Woods

Telvin Griffin and Kenneisha Thompson star in King Liz.

Ancient Sculpture News

Fort Worth museum one of only 3 in U.S. to get rare sculpture exhibit

Lorenzo di Masi/Torlonia Collection

The Torlonia Nile

A major exhibition of ancient Roman masterworks is coming to the U.S. for the first time to be viewed at only three museums — including the Kimbell Art Museum in Fort Worth.

Called Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection, it's an assemblage of works stewarded by the Torlonia Family beginning in the early-19th century, and will be installed at the Kimbell from September 14, 2025 – January 25, 2026.

As part of the Foundation’s mission to showcase these historical works to the public, the exhibition will premiere at the Art Institute of Chicago on March 15 through June 29, before traveling to the Kimbell Art Museum in Fort Worth. Its third stop will be at the Montreal Museum of Fine Arts, from March 14 - July 19, 2026.

The Torlonia Collection was established during the course of the 19th century by the Franco-Italian banker Prince Giovanni Torlonia and his son Alessandro, then handed down over generations, eventually growing into the largest private collection of ancient Roman sculptures.

Today, the Torlonia Foundation represents the culmination of the Family’s continued passion for art. Created at the behest of Prince Alessandro Torlonia (1925–2017), the Foundation’s mission is to preserve and promote the Torlonia Collection and Villa Albani Torlonia.

In 1876, Prince Alessandro Torlonia (1800-1886) created a museum to house and exhibit the Family’s holdings, which was open to small groups until its closure at the onset of World War II. The sculptures remained unseen by the public from that time until the Foundation’s first exhibition at the Musei Capitolini in Rome in 2020. That was followed by a stint at the Louvre, the first presentation of the collection outside of Rome, where it has drawn more than 600,000 visitors to date, an unprecedented feat.

The exhibit
The curators of Myth & Marble: Ancient Roman Sculpture from the Torlonia Collection are Lisa Ayla Çakmak and Katharine A. Raff of the Art Institute of Chicago. The exhibition is co-organized by the Art Institute of Chicago and the Torlonia Foundation, in collaboration with the Kimbell Art Museum, the Montreal Museum of Fine Arts, and The Museum Box. All of the sculptures in the exhibition have been restored by the Foundation with the support of Bvlgari.

The exhibition is accompanied by a catalogue co-published by the Art Institute of Chicago and the Torlonia Foundation, edited by Lisa Ayla Çakmak and Katharine A. Raff, with essays by Silvia Beltrametti and Salvatore Settis.

The North American presentation will feature 58 highlights from the Torlonia Collection, including 24 newly restored works that have not been on view in nearly a century. The sculptures date from approximately the 5th century BCE to the early 4th century CE, with the majority of the works dating to the High Imperial period (1st–2nd centuries CE). Highlights include examples of the most emblematic genres of ancient marble sculpture, acquired by the Torlonia Family from the most prominent collections of Rome’s patrician families, as well as from excavations made on the Family’s own estates throughout Italy.

“The Foundation is excited to be sharing the Torlonia Collection with audiences in North America for the first time. This exceptional group of ancient sculptures is a testament to the enduring cultural legacy of ancient Rome, as well as the vision and passion of multiple generations of the Torlonia Family,” said Alessandro Poma Murialdo, President of the Torlonia Foundation.

The presentation is organized thematically in six sections, featuring sculptures found on the Torlonia Family’s properties in Rome and the surrounding suburbs and their estate in Porto, Portugal, as well as a number of exceptional sarcophagi (stone coffins), among the largest sculpted works in marble to survive from ancient Rome.

The tour reinforces the work of the Foundation to advance the appreciation and understanding of this unparalleled collection and the rich cultural heritage it represents. The Foundation’s mission is carried out through a continuous joint effort between the public and private sectors, including with the cooperation of the Italian Ministry of Culture. The Foundation is supported by a longstanding collaboration with Bvlgari as the principal sponsor of the restoration project since its inception in Rome and throughout the global tour, and Chiomenti, who has lent invaluable support to the Foundation’s core activities.

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