Review: Book of Mormon
The Book of Mormon is the most over-hyped Broadway musical of the last decade. But no doubt you’ll still be laughing about it to your friends long after the touring musical leaves Texas.
The Real Thing Main Street Theater
“Loving and being loved is unliterary,” says Annie in Tom Stoppard’s The Real Thing, on stage right now at Main Street Theater
Matthew Keenan on Hamlet at Classical Theatre Company
Actor Matthew Keenan is deep in rehearsals for Classical Theatre Company’s Hamlet, on Sept. 11-29 at Barnevelder.
Pretend Prison
When Jenji Kohan's Orange is the New Black popped up on my Netflix menu, it just screamed A + N. Based on Piper Kerman's best selling book of the same name, the show chronicles the life of Piper Chapman (Taylor Schilling), while she completes a 14-month prison sentence for a decade old crime.
A Decade of Dance
With the 2013-14 season, Stanton Welch moves into his 10th year as artistic director of Houston Ballet, one of the leading companies in the nation.
LAYOUT #2
ark Bradford enrolled in California Institute of the Arts in 1991 as an adult student. He was a...
Sydney Skybetter and the Hacker Ethos
Sydney Skybetter is a keynote speaker at the 2013 Houston Arts Partners Conference, on Sept 13-14 at Houston...
Review: The Aliens
In the Horse Head Theatre Company production of The Aliens, two men of wasted talent, who are likely...
MIRÓ QUARTET: A Texas Beethoven Cycle & More
When violinist William Fedkenheuer steps onto the stage this month with his colleagues in the Austin-based Miró Quartet for a series of six concerts at the Butler School of Music at UT-Austin (Sept. 6-8 & 27-29), he will achieve a distinction that few other professionals can claim. He will be one of the few living violinists who have performed all sixteen of Ludwig van Beethoven's string quartets for two violins, viola and cello as both a first and second violinist.
Playing With Words
For lovers of Shakespeare and Molière, Ibsen and Chekhov, Miller and Williams, declaring our time a new Golden Age of the playwright might seem delusional, or at best, a flourish of hyperbole from some theater’s marketing department. But if you ask the artistic directors of some of the most respected ensembles in Texas, they’ll assure you such claims are hardly ridiculous.
The Lone Star State en Pointe
No, ballet wasn’t born in Texas. But, in accord with the proverbial Law of Attraction, it got here as fast as it could.
Since the arrival of a troupe of traveling Russians during a time when even Hollywood movies were still, literally, finding their voice, the art and practice of ballet has been nurtured by Texans, who support not one, but three multi-million-dollar-budget ballet companies, and a host of smaller, but no less notable, organizations.