“I'm sort of a frustrated writer, in a sense,” Candace Hicks tells me over Zoom. “And so, making artist books is a way of self-publishing. It’s also a way of making things permanent.”
In Zalika Azim: Blood Memories (or a going to ground), the ground is never just ground; it is a witness and a griot, a surface that keeps score of what passes over it and what takes root.
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.
“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.
The three witches in Shakespeare’s Macbeth, nursing their cauldron of toil and trouble, rank among the most chilling characters ever set loose onstage. Imagine what might happen if they found an apprentice to carry on their dark arts.
As we celebrate season announcement season at Arts and Culture, it’s time once again for this resident theater cartographer to unroll her maps and season schedule to chart the ebb and flow of big Broadway musicals as they tour the Lone Star State.
Everyone loves a good first, from races to teams to a step on the moon, but when it comes to theater, being the first to offer a brand new work is not without risks.
It’s doubtful that a mystic Carmelite nun was the inspiration for scientists at the German company Merck when they developed 3,4-Methylenedioxymethamphetamine, also known as ecstasy and molly, in 1912.