If you are familiar with a certain popular space franchise enjoying a reboot right now, you might see some similarities with this years Panto at Stages Repertory Theatre, which promises to take us to a galaxy far, far away.
In Obie Award-winning playwright Will Eno’s latest work, Wakey, Wakey, the endearingly befuddled Guy takes the audience along on a somewhat bumbling memorial journey through his life on the way to his death.
When Matt Hune, artistic director of Houston’s Rec Room Arts, talks about his role as a theater director, he speaks of perspective, space, color and texture, words that seem more the purview of the visual artist than the vocabulary of someone audiences might imagine as that mysterious person behind the scenes bossing about all the actors.
Ah, young love, that time in life when two star-crossed lovers might feel they exist in a world to themselves or the whole world is out to pull them asunder.
As more instances of sexual harassment and abuse of power are being uncovered, especially in the theatrical community, more companies are realizing they need an important addition to their creative team: an intimacy director.
When should we fight the good fight? When do we surrender to survive another day, and when should we give up and put on the comfortable armor of cynicism?
In 2014, internationally renowned playwright Suzan-Lori Parks began her much-discussed “Watch Me Work,” an occasional performance on Monday evenings in which audiences can quite literally watch Parks working on her newest writing projects on the mezzanine of the Public Theater in New York.
If you check out what Austin’s Long Center has in store for its 10th anniversary season, you’ll find theater, dance, music of many genres, and more. But the bill of fare leaves out a staple of performing arts centers nationwide: Broadway shows.
When Tony®-Award-nominated director and choreographer Dan Knechtges took the helm of one of Houston’s oldest and largest theater companies, Theatre Under the Stars, he knew the artistic director title might require steering the organization through some stormy times, but he likely wasn’t ready for a real hurricane.
In May 2018, Teresa Coleman Walsh published an essay on HowlRound, the popular online platform for theater makers sponsored by Emerson College, titled “The Ugly Truth about Arts Institutions Led by Women of Color.”