Dallas’s Avant Chamber Ballet is taking the plunge: The seven-year-old company unveils its first staging of The Nutcracker, complete with a live orchestra, on Dec. 20.
A visit to the cavernous EaDO warehouse at 908 Live Oak Street in Houston, the physical home of the groundbreaking non-profit design house Magpies & Peacocks (M&P), leaves a mélange of aesthetic impressions that reflects the environmental sustainability mission of the organization, yet defies definition.
Every once in a while, an artist steals our attention and shakes, shocks, or stuns us into awareness. Colombian artist Beatriz González also graciously opens our minds in the process, exposing the world to us in ways we may not have considered.
The phrase “art studio tour” doesn’t typically bring to mind mass crowds of visitors, city-wide organizational partnerships, or heated discussions about escalating real estate prices.
“I’ve tried to make an intentional shift in the work in the past few years,” Marcelyn McNeil tells me, recently. When we talk, her exhibition of new paintings, Slow Eddy, is about to open at Conduit Gallery (Oct. 19-Nov. 23).
Coming of Broadway age in the shadow of the Hamilton juggernaut, Dear Evan Hansen, the seemingly unassuming musical about an unpopular high school kid with social anxiety, managed to turn its misfit story into a multiple Tony® Award winner.