What is theater that doesn’t reflect contemporary realities? What kind of life can theatrical storytelling have if it doesn’t exist within the world it’s born into?
As the nation’s fourth largest city, Houston is home to more than 2.1 million people (over 5 million in the metro area). The city’s Latina/o residents comprise roughly 41 percent of the population. As I have detailed before (See: “Excluding Latina/o Stories in Tejas”), Houston’s arts scene has seen a major boom in capital projects, funding, and national exposure.
I've had the great privilege to see James Belcher on many a Houston stage. Right now, he's entrancing audiences in August Strindberg's The Ghost Sonata, through Feb. 26 at Classical Theatre, where he is a member of the resident company.
Like its hometown, the Landing Theatre was born on the banks of Buffalo Bayou and its meandering, ebbing and flowing evolution has turned the company into an eclectic, yet distinctly American theatrical entity.
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.
A large dead dog lies motionless on stage, a garden fork skewered into it’s side. That’s the sight theatergoers see immediately upon taking their seats to witness the first national tour of the wonderfully strange and heartfelt The Curious Incident of the Dog in the Night-Time, now playing at the AT&T Performing Arts Center in Dallas—through Jan 22—before moving south to Houston's Hobby Center Jan. 24-29.
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.
Experimental plays and intimate dramas set in homes typically belong in black box theaters. The nuance and detail of these productions cannot be captured in larger theaters.
When Mara Richards Bim landed back in Texas, she wanted to offer young people something she felt her adolescence had lacked: Edgy, raw theater making. And thus, Cry Havoc Theater Company was born.