Even in a canon filled with political advising witches, fairy marriage wars and revenge seeking ghosts, Shakespeare’s The Winter’s Tale still stands–statuesque–as an odd chimera of a play.
In one of his most recent works, The Hard Problem, getting its regional premiere at Main Street Theater (through Oct. 6), Stoppard goes in heavy on the head, rather literally as the play follows scientists looking into questions of how the brain creates the mind, how we are conscious of our own consciousness.
What do Carrie Fisher, the Wicked Witch of the West, and a rabbit have in common? It’s not a trick question, but a sampling of the roles Shannon McGrann has played over her years onstage and in front of the camera.
Anthony Brandt urges his composition students at Rice University to keep an open mind about the musical styles that influence them. “I often say, ‘Don’t put a fence around yourself. Feel the joy of having an open field around you, and discover what you might love that you didn’t know you would,’” he explains.
When Seth Knopp plans out the Soundings new-music series for Dallas’ Nasher Sculpture Center, he likes to leave audiences free to spot resonances and parallels among each season’s concerts.
TITAS stands for Texas International Theatrical Arts Society, but not since the 1999-2000 season has the presenter put so many international acts on stage.
The problem with bringing a groundbreaking work of art into the world is that sometimes it alters the landscape so much that when we revisit it we might forget that such a wonder didn’t always exist.
Meg Booth worked with organizations like North Carolina Dance Theatre, White Oak Dance Project, Twyla Tharp Dance and Dance/USA before spending 11 years directing dance programming at the John F. Kennedy Center for the Performing Arts in Washington, D.C.