Growing up, jhon r. stronks was never in one place for long. Born in Fresno, his childhood was spent globetrotting to accommodate his stepfather’s occupation as an airline pilot.
One shouldn’t read too much into serendipitous timing, but I can’t help noting that Rebel, Jester, Mystic, Poet: Contemporary Persians —The Mohammed Afkhami Collection, on view through Sept. 24 at the Museum of Fine Arts, Houston, is the fourth exhibition of post-revolutionary art the MFAH has mounted in 2017.
Entering the lobby at Houston Ballet's Center for Dance for Project REACH on balmy Saturday night felt like going to a club where all of the city's A-lister dance folks had gathered for something big and important.
Freelance conductor and Big Spring,Texas native Viswa Subbaraman, most known in Houston as the mastermind behind the chamber opera troupe Opera Vista, returned to Houston just over a year ago.
I’ve always had a pestering curiosity about Anna Sokolow. A great American choreographer who influenced the development of modern dance in America, Israel, and Mexico—to say nothing of the famous actors who credit her as a force in their training, including Faye Dunaway, Julie Harris, Eva-Marie Saint, Jean Stapleton, Eli Wallach, Patti LuPone, and Kevin Kline—Sokolow nevertheless remains at the periphery of the canon.
In a Texas State University production of A Midsummer Night’s Dream, the only thing visible to the audience until the play began was a ghost light on the stage.
When Dave Steakley, producing artistic director of The Zach in Austin, decided to stage the first of two Robert Schenkkan plays about the presidency of Lyndon Baines Johnson, he thought it might have special meaning to Texans. After all, Johnson was a Texan from the day he was born till the day he died, and he made sure the entire world knew it.
Depicting the everyday wonders and occasional psychological horrors of childhood and adolescence on stage and screen is something of a specialty for British writer Jack Thorne. In fact, his latest theatrical exploration of those painful growing years is the obscure little play Harry Potter and the Cursed Child.
In the months following our two comedy improvisation classes with Beta Theater last year, our teacher, actor Jerry Emeka remarked candidly, “I could not for the life of me figure out what your collective ‘deal’ was.”