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.
A city floats a mile above the earth. Transparent modules glint with water vapor, neon pulses like a heartbeat, and the promise of a different kind of life hums in the air. This is The Hydrospatial City, the centerpiece of Gyula Kosice: Intergalactic, on view Oct. 26-Jan. 25, 2026 at the Museum of Fine Arts Houston.
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.
There is a certain charge that comes when artists insist that the stuff of daily life, its toys, its rituals, its messes, belongs on the same stage as monuments and masterpieces.
If you’ve ever wanted to watch molten glass stretch and curl into a goblet while an opera aria drifts through the autumn air, Fort Worth has just the weekend for you.
In Timothy Harding’s paintings, there’s a kind of friction at play, a low hum between precision and improvisation, between gesture and grid, between what is seen and what is suggested.
“We can’t build sets in here. We have to build a real thing,” says Azizi of what he approximates is a 20 feet by 70 feet space, with half of that reserved for the audience.