It’s 1992 at Glasgow School of Art. A seven-foot-by-six-foot painting that portrays a thick, fleshy female nude, subtly snarling and sitting on a pedestal, towers above visitors to an undergraduate exhibition.
In Zalika Azim: Blood Memories (or a going to ground), the ground is never just ground; it is a witness and a griot, a surface that keeps score of what passes over it and what takes root.
Is it strange for an opera company to stage Fiddler on the Roof? Showcasing the Broadway landmark makes total sense to Annie Burridge, Austin Opera’s CEO.
Everybody appreciates a little recognition from their peers, right? It came to the Apollo Chamber Players from Chamber Music America, which promotes their field nationwide.
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.
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.
Derek Charles Livingston took his place as Stages artistic director a little over a year ago, but he lost little time immersing himself in Houston life and its theater community.
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.
