I would wager that anyone familiar with Texas dance would say that it was only a matter of time before Jennifer Mabus initiated her own creative platform.
When the English National Ballet first commissioned international superstar choreographer Annabelle Lopez Ochoa to create the ballet that would become Broken Wings, the original concept was to create a dance about “a woman from literature or history that was damned and doomed.”
Time is a precious commodity, and as we move further away from the standstill of the pandemic years, many of us are finding that we have far less than we would like.
Making dances can be an unrelenting cycle of creative ideation, talent management, and administrative multitasking; finding a platform to show the work once it is complete can be just as unforgiving.
Indefatigable Alexa. That’s the only way to describe Austin’s Alexa Capareda, whose professional artistic engagements include dancing, choreography, teaching, film, drawing, arts administration/organization, and now additionally, acting.
This fall, Dallas once again becomes a crossroads of Latinx voices as Cara Mía Theatre launches its 2025–26 season with the sixth-annual Latinidades Festival & Symposium.
The three witches in Shakespeare’s Macbeth, nursing their cauldron of toil and trouble, rank among the most chilling characters ever set loose onstage. Imagine what might happen if they found an apprentice to carry on their dark arts.