As Dallas Contemporary turns 35, Charissa Terranova surveys the venerable yet agile art space's history, while Dan R. Goddard looks at how San Antonio's art scene is spreading beyond the gentrifying Blue Star Arts Complex.
How many dance devotées first became entranced with ballet as children, watching a swirl of human snowflakes float across the stage? How many regional theater season subscription holders had their first taste of an onstage happy ending when a gleeful Ebenezer Scrooge saves the Cratchit family through the magic of a giant turkey for Tiny Tim?
Artists are leaving Texas, and for good reason. Touring equals two important things for the state's performing artists: unprecedented exposure and a chance to get off the island. An invitation to perform on the road carries with it a certain cachet, elevating an artist’s hometown reputation and expectations.
Click. A key turns, unexpectedly. Locked in? Panic rises as the clock keeps time. Alone and defenseless, the mind runs wild with what horrific end one might meet;
The season is off and running. At press time, Texans and Cowboys are off to an OK start, the Mack Brown drama continues, and Johnny Football had three seconds on the bench.
The Book of Mormon is the most over-hyped Broadway musical of the last decade. But no doubt you’ll still be laughing about it to your friends long after the touring musical leaves Texas.
For lovers of Shakespeare and Molière, Ibsen and Chekhov, Miller and Williams, declaring our time a new Golden Age of the playwright might seem delusional, or at best, a flourish of hyperbole from some theater’s marketing department. But if you ask the artistic directors of some of the most respected ensembles in Texas, they’ll assure you such claims are hardly ridiculous.