As a curmudgeonly connoisseur of holiday performing arts, I’m always on the lookout for the innovative, quirky or simply new shows to devour like Christmas candy each most-wonderful-time-of-the-year
In Heinrich Hoffmann’s 1845 children’s book Struwwelpeter, a little boy is warned by his mother to stop sucking his thumbs, lest they be cut off by a scissor-wielding, red-legged tailor.
The hot-button issue of casting has recently received a lot of ink as directors, actors, and audiences try to grapple with how to even out a traditionally imbalanced art form.
I think of Houston as a creative Bento box, in the way that New York is a melting pot. Art people go to galleries and museums, music people go to the opera and symphony, and so on.
Houston audiences will get a rare glimpse into the Bayou City’s pre-boom, Jim Crow-era art scene when the exhibition Planned, Organized and Established: Houston Artist Cooperatives presents paintings and ephemera from two 1930s collectives—one white, one black.