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.
Ever since she can remember, Emily Levin has loved putting stuff together: Crossword puzzles, planning vacations, hosting murder mystery parties—being an organizer is sort of her thing.
This fall, The Dallas Opera launches its fifth residency of the Linda and Mitch Hart Institute for Women Conductors Oct. 27-Nov. 9—designed to help female opera conductors take their careers to the next level.