102 articles • page 1 of 3
Austin Lyric Opera offered something to delight everyone with its funny and excellent 'Marriage of Figaro'
Arts Review, May. 6, 2005
Arts Feature, Jan. 7, 2005
Austin Shakespeare Festival's second bout with 'A Midsummer Night's Dream' in four years offers much by way of manic disposition, but not much by way of substance
Arts Review, Oct. 29, 2004
As produced by Austin Playhouse, Tennessee Williams' 'Cat on a Hot Tin Roof' leaps and lands on its feet with aplomb
Arts Review, Oct. 8, 2004
Two years after her debut with the Austin Symphony at age 14, Caitlin Tully offered a superb, assured performance, with a cool mastery of a demanding Sibelius concerto
Arts Review, Oct. 1, 2004
Both Anna Deavere Smith's script for 'House Arrest' and Zachary Scott Theatre Center's production of it fall short as meaningful political theatre
Arts Review, Aug. 13, 2004
"New American Talent The 19th Exhibition" merits repeated visits, for the abundance of energy and originality of vision among its many featured artists
Arts Review, Aug. 6, 2004
If Brecht's The Good Woman of Setzuan drags some, the actors in the Vortex Summer Youth Theatre production don't, and that keeps the evening engaging
Arts Review, Jul. 30, 2004
When a true artistic talent is at home with watercolor, the results are stirring, and so it is with Jan Heaton
Arts Review, Jul. 23, 2004
In Second Youth Family Theatre's The Lion, the Witch, and the Wardrobe, two energetic actors perform a brisk version of the book with ingenuity and unexpected flair
Arts Review, Jul. 16, 2004
Like The Mountains' tale of two brothers fighting to survive the division of Berlin into East and West is little more than a soap opera sketched from history
Arts Review, Jul. 9, 2004
Conspirare's midsummer concert of choral works from the Renaissance provided yet another example of enchanting song by this local treasure
Arts Review, Jul. 2, 2004
In producing Wallace Shawn's The Fever, Physical Plant Theater issues a call to think, from your car radio, and it's worth heeding
Arts Review, Jun. 25, 2004
Michael Healey's The Drawer Boy is a sweet, sometimes hilarious, and ultimately moving story of lifelong friendship well-staged at Hyde Park Theatre
Arts Review, Jun. 11, 2004
Friendship was the theme of the Budjanova Chamber Orchestra's A Night in Vienna, which was dedicated to the memory of Danielle Martin, the late UT professor whose life touched many of those at the concert
Arts Review, May. 28, 2004
Blending eerie reminiscence and the trappings of outright hostility, Vortex Repertory Company production of Ghost From a Perfect Place feels as if it ought to be more provocative than it is
Arts Review, May. 14, 2004
The trick in staging Romeo and Juliet has ever been keeping the suspense in the second half that the first half never really needs, and the Austin Shakespeare Festival almost manages it
Arts Review, Apr. 30, 2004
The House, director J. Ed Araiza's third collaboration with the student artists at St. Edward's University, is unapologetically about them, which makes for the show's strengths and its weaknesses
Arts Review, Apr. 23, 2004
Adam Holzman, the man largely responsible for Austin's burgeoning classical guitar scene, gives a rare recital off the UT campus
Arts Feature, Apr. 16, 2004
What makes this production of The Foreigner such a joy is seeing those familiar faces from the Greater Tuna franchise working together so sharply for such an appreciative audience
Arts Review, Apr. 9, 2004
On the first anniversary of the American-led invasion of Iraq, the Austin Symphony offered a pleasing variety of views of the American landscape through music by 20th-century composers
Arts Review, Mar. 26, 2004
Cole Porter's 'Kiss Me Kate' is revived by the Austin Playhouse in such an atmosphere of fun (and ever-so-slightly wicked humor) that the production is rather endearing
Arts Review, Mar. 19, 2004
For all its luscious designs and fine actors who work exceptionally hard, Mary Moody Northen Theatre's production of Amadeus winds up more dull than daring
Arts Review, Mar. 5, 2004
In Austin Playhouse's production of Private Lives, an excellent ensemble mines Noël Coward's witty wordplay and his characters' spectacular self-absorption with comedic aplomb
Arts Review, Feb. 27, 2004
Le Muse Giocose took Italian Baroque love songs as its
heart, and the quality and approachability
of the enchanting soprano Jenifer Thyssen and
her musical collaborators was of the highest magnitude
Arts Review, Feb. 20, 2004
Arts Feature, Jan. 30, 2004
Arts Feature, Jan. 2, 2004
Calaf's quest for the heart of the icy princess Turandot is the stuff of legend and, in Austin Lyric Opera production of Puccini's opera, was an opportunity to hear some exquisite music excellently performed.
Arts Review, Nov. 28, 2003
Local theatre genius Ron Berry and his talented friends of the Refraction Arts Project have turned the Blue Theater into a snowed-under tundra, with an amazing array of multimedia effects, live performers, sounds, and moments real and imagined, all inspired by the frozen North.
Arts Review, Nov. 14, 2003
A Chuck Mee play is a veritable playground for young artists, but while they put a lot of thought and effort into the UT Department of Theatre & Dance production of The Trojan Women: A Love Story, the students behind it only scratched the surface of his work.
Arts Review, Oct. 31, 2003
The Austin Classical Guitar Society scored a great coup in booking guitar virtuoso Pepe Romero, who treated the sold-out house to a hypnotizing, intoxicating evening of Spanish grace and melody.
Arts Review, Oct. 24, 2003
A concert showcasing a variety of tempos, intensities, and moods -- from cheeky Beethoven to hypnotic Kilar -- made this particular outing of the Austin Symphony with the Eroica Trio a memorable success.
Arts Review, Oct. 17, 2003
Tom Stoppard's Travesties mixes early 20th-century history, European politics, and Oscar Wilde into a typically brilliant work, and the cast of Austin Playhouse's production rises to the intellectual challenges of the script and appears to be having a fine time playing with it.
Arts Review, Oct. 10, 2003
Three highly amusing and personable comic actors skewer, pun, and cook their way through all 37 of Shakespeare's plays in The Complete Works of William Shakespeare (Abridged), a show that launches the Austin Shakespeare Festival's 20th anniversary season with a bang, a few whacks, and a lot of laughs.
Arts Review, Oct. 3, 2003
How Late It Was, How Late, adapted from James Kelman's novel, finds the Rude Mechanicals depicting a sightless, Scottish ex-con's odyssey through the humiliating and confusing bureaucracy of Britain's welfare state with intensity, hilarity, and the company's outstandingly creative theatrical vision.
Arts Review, Sep. 19, 2003
Theater at the J's production of Cabaret makes good use of the large hall at the Dell Jewish Community Center, creatively weaving the cabaret's musical shenanigans into the more serious larger story, in which the central characters fend off the accelerating horror of Nazi Germany by choosing not to see it.
Arts Review, Sep. 12, 2003
Director Blake Yelavich opens his production of K2 with an image that is theatrical in the extreme, powerful and breathtaking, but sadly his Arts Entertainment Group production has no thrills left after that, leaving the show to the mercies of Patrick Meyers' long, tedious, sometimes silly script.
Arts Review, Sep. 5, 2003
With The Heads, Hands, and Toe Show, Tongue and Groove Theatre literally takes out the middle, man, using low-tech effects to create a series of movement pieces where only the arms, feet, and heads of the performers are visible, and the overall effect is simple fun.
Arts Review, Aug. 22, 2003
The artists of Mainline Theater Project have given their all to the characters and story of Stephen Adly Guirgis' Jesus Hopped the "A" Train, but sadly, what they have given their all to is a long-winded, superficial, ultimately unenlightening story of ruined life in the New York City criminal justice system.
Arts Review, Aug. 15, 2003
With Norman Normal Saves the World, writer and solo performer Rob Nash creates a breakout vehicle for the sinus-clearing, "I could kill you right now" über-geek of Nash's Holy Cross Sucks!, and its absurd hilarity, along with Nash's usual clarity in characterization, chameleon comic abilities, and ever-sharp wit, make this Holy Cross installment a fine summer blockbuster of its own.
Arts Review, Aug. 8, 2003