Somewhere near the end of the first act of Stages’ sweet and nostalgic production of the classic musical The Fantasticks when a happy ending tableau had arrived but an entire second act still remained to follow, I couldn’t stop thinking of that likely-apocryphal story about the cosmologist confronting a turtle infinity.
As the United States closed its skies on September 11, 2001, thousands of plane passengers found themselves in midair over the Atlantic with only one place to land—the airport near the small town of Gander, Newfoundland.
Nancy Wozny: Pack a lunch, Lady T, we have a year and a decade to discuss. Let’s not be so top ten-ish, but think categorically. I always find what we are still talking about is the most revealing.
“You can’t fly if you have never left the ground,” says Houston’s 4th Wall Theatre cofounder, Kim Tobin-Lehl, when thinking about taking artistic risks.
From Shakespeare to SciFi, actors often return to a beloved character to find new life in the role. Yet, very few of these revisits hold such a unique offstage story like acclaimed international film, television and stage actor Sasson Gabay.
Coming of Broadway age in the shadow of the Hamilton juggernaut, Dear Evan Hansen, the seemingly unassuming musical about an unpopular high school kid with social anxiety, managed to turn its misfit story into a multiple Tony® Award winner.
When New York native Jessica Green took the position of artistic director of Houston Cinema Arts Festival this year, she decided the best way to program the sprawling arts-based film festival for Houston was to let this enigma of a city become her muse.
Now a new exhibition, Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement, brings their masterworks and stories to the San Antonio Museum of Art (Oct. 11, 2019-Jan. 5, 2020).
Even in a canon filled with political advising witches, fairy marriage wars and revenge seeking ghosts, Shakespeare’s The Winter’s Tale still stands–statuesque–as an odd chimera of a play.