With a quick glance at the synopsis, playwright Rebecca Gilman’s Luna Gale, now at Stages Repertory Theatre through May 28, would seem to possess all the serious markings of an issues play.
Long before Facebook and Twitter, neighbors exchanged information about the real lives of people making up their communities by gossiping and conversing in front yards and stoops.
What do we mean when we talk about Latina/o theater in Texas? This was the question I kept pondering at the beginning of yet another one of the wandering/mapping jaunts I occasionally take when I find myself yearning to exploring more Texas theater.
The metaphor that life is a journey, a road we trek, and the decisions we make, the diverging paths we must choose, is probably almost as old as roads themselves, and an analogy not confined to any one culture or era.
Very few artists create in a cultural or political vacuum, and some of the greatest artists in history have produced work that reflects and confronts the societal issues and struggles of their era.
Fusebox, Austin’s contemporary, cross-disciplinary visual and performing arts festival, and all round benevolent force in the struggle to keep Austin weird, consolidated its offerings in 2016, going from a 10 or 12 day schedule to a five-day festival lineup.
Like its hometown, the Landing Theatre was born on the banks of Buffalo Bayou and its meandering, ebbing and flowing evolution has turned the company into an eclectic, yet distinctly American theatrical entity.
Depicting the everyday wonders and occasional psychological horrors of childhood and adolescence on stage and screen is something of a specialty for British writer Jack Thorne. In fact, his latest theatrical exploration of those painful growing years is the obscure little play Harry Potter and the Cursed Child.