Articulations

Robert Faires talks FronteraFest.


FronteraFest Mea Culpa

In producing last week's eight-page insert for FronteraFest, we here at the Chronicle tried awfully hard to create a visually striking, information-dense, useful, and accurate guide to this most valuable performance event. Like I say, we tried awfully hard. But we didn't try quite hard enough. The insert went out to be printed without some very crucial proofreading being done, and it ended up in last week's paper -- in about 90,000 papers, to put a finer point on it -- with a number of errors in the center spread schedule. As the guy in charge of getting that material from the friendly Frontera folks onto our flats and off to the printer, I bear responsibility for letting those errors through, and I apologize for that, to Vicky Boone, Julie Mann, Lana Lesley, and all the Frontera company members who work so hard to pull this event together; to the artists in this year's FronteraFest, who certainly deserve to have the information about their projects presented accurately; to everyone at the Chronicle who supported this insert and helped it to happen (at considerable cost to their Christmas vacation); and to the Chronicle readers, who ought to be able to trust the information they find here. I'm deeply sorry to have let this slip by, and I hope that it won't reflect poorly on the festival or the company, or deter anyone from attending FronteraFest 2000. I'm convinced that it really will be an exciting and exceptional event. And if I can reassure you, the Chronicle is providing corrected information in an ad in the current issue, and will continue to provide accurate schedules in the Listings and all future feature material throughout the festival run. And if that doesn't do it for you, go straight to the source: the Frontera ticket line, 479-PLAY.


Bridgforth Honor

Sticking with the Frontera theme for another minute: Local playwright and Frontera company member Sharon Bridgforth has just been awarded a pretty prestigious honor: selection for the National Endowment for the Arts/Theatre Communications Group Theatre Residency Program for Playwrights this year. Bridgforth, the author of lovve/rituals & rage, no mo' blues, dyke/warrior-prayers, and blood pudding, was one of 12 writers chosen for support by this program designed to foster relationships between individual artists and specific theatre companies, as well as the communities those companies serve. Congratulations, Sharon.


Lardo Brunching

An eagerly anticipated event on my cultural calendar this year is In the House of the Moles, a new play by Terry Galloway, produced by Rude Mechanicals. The amazing Galloway is a playwright, poet, performer, activist, philosopher, comedian, and satirist who has produced two dazzling solo works, Out All Night and Lost My Shoes and Lardo Weeping, and whose work with Shakespeare at Winedale and Esther's Follies is the stuff of local legend. Now comes word that the Rude Mechs are offering the chance to brunch with the ever-engaging Galloway this weekend as a benefit for the world premiere production of Moles and command performance of Out All Night. For a measly $5, you can hear Galloway read from her forthcoming memoir. Cost of food and drink is separate. The brunch is at Gaby and Mo's Coffeehouse, 1809 Manor, this Sunday, January 16, at noon.

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KEYWORDS FOR THIS STORY

articulations, arts news, austin arts news, fronterahyde park theatre, vicky boone, sharon bridgforth, terry galloway, rude mechanicals

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