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.
Very few artists create in a cultural or political vacuum, and some of the greatest artists in history have produced work that reflects and confronts the societal issues and struggles of their era.
When a writer pitched a story about an actor leaving Texas I immediately said, “No thanks, I need to focus on those staying.” Although, now I can't help wondering what would have been in that exit interview.
Late modern and contemporary Cuban art has gotten increased international exposure in recent years thanks to improved relations between the United States and Cuba, laying the groundwork for the Museum of Fine Arts, Houston’s unprecedented exhibition Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950.
Stanton Welch prefers strong heroines. So it's no wonder that his Cinderella knows her own mind. Houston Ballet fans will find that out for themselves when the company performs Welch's beloved story ballet Cinderella, March 2-12, 2017.
When I saw that Dance Source Houston cooked up a follow-up project for their AIR residency artists I had to go, mostly because it's just such a smart move.
The word is out: renowned American choreographer Trey McIntyre calls Texas his home once again. McIntyre cut his teeth as a dancer and a choreographer at Houston Ballet.
When Vinod Hopson of FotoFest suggested that I check out the work of Tad Beck, I figured dance was involved. And indeed, Beck's work with renowned downtown dancemakers is compelling on several levels, from the detailed process to the end image, which involves re-photography and some actual dancing.
This year I unintentionally celebrated National Bird Day (Jan. 5) at an avant-garde jazz show. The newly-established Austin Cultural Exchange, together with local record label Astral Spirits and Brooklyn-based journal Sound American, presented Nate Wooley (Brooklyn) on trumpet and Ken Vandermark (Chicago) on clarinet and saxophone—in solo and duo sets that destroy common notions of what these instruments can do or the fullness of sound one or two horns can create.
In the front hallway of the 6th Ward’s MECA building, you can scan a QR code and hear the creaky strains of an old violin from the Veracruz region of Mexico. Another digital scan of a jumbled-looking square produces a complex tapestry of rapidly overlapping strings known as El Siquisiri. The style of music is known as Son Jarocho, and it is a blend of “musical and dance tradition from the Sotavento, the southern regions of Mexico’s Veracruz state.”