Ballet Austin’s spring season at the Long Center for the Performing Arts is composed of a mix of comedic, contemporary and canonical ballets that range from Artistic Director Stephen Mills’s A Midsummer Night’s Dream (February 11-13), to Her Stories (April 1-3) with unique works by three female choreographers, to the traditional Swan Lake (May 6-8).
Take one look at Invoke’s website and it’s clear they’re not your typical classical string quartet.
It only takes one summer in Texas to feel the heat, and the City of Austin Aquatics Division is feeling it these days in more than one way.
When Jennifer Hart founded Performa/Dance in 2014 with Ballet Austin dancer Edward Carr, she wanted a platform not only to show her own work, but to feature work by other local artists, as well as innovative national choreographers.
When it comes to Austin’s 50-year-old radio station, KMFA Classical 89.5, it’s almost better defined by what it isn’t than what it is.
Frustrated by the awkward process of giving and receiving critical artistic feedback, dance/theater legend and MacArthur Fellow Liz Lerman developed her own system in the early 1990s, her Critical Response Process — an approach based on the principle that the best possible outcome from a response session is for the maker to want to get back to work.
You may be hard-pressed to explain what ZZ Top, Eva Longoria, Willie Nelson and Walter Cronkite have in common, but for the Texas Cultural Trust, the answer is simple: Texas.
Even if you’re never seen Pilobolus in concert before, you’re probably familiar with the acrobatic dance troupe’s work. After starring in a Ford commercial over a decade ago, in which the dancers’ silhouetted bodies became the car, the commercial opportunities kept coming: a high-flying performance at the 79th annual Academy Awards, appearances on Sesame Street, Oprah, Ellen, The Today Show, Late Night with Conan O’Brien and more.
For San Antonian Barbara Felix, the human form is a never-ending source of fascination.
Convention is not a part of Allison Orr’s vocabulary. The Forklift Danceworks artistic director has carved out a particular niche in the site-specific performance world of Texas—one that draws attention to the people and systems that keep our communities ticking, often without thanks or notice. This is Orr’s specialty: bringing the invisible to the forefront.
In traditional versions of Giselle, the worlds of the living and the dead are separated by an intermission, each confined to its own act. In Houston Ballet’s brand new version, at Wortham Theater Center by Artistic Director Stanton Welch, the worldly and the ethereal overlap to come full circle.