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Arts Reviews 2,477 results

Woman in Black at Scottish Rite Theater

Skilled actors and atmospheric design combine to make this co-production a spine-tingler ideal for Halloween

Reviewed by Shanon Weaver, Oct. 19, 2017

Zach Theatre's Singin' in the Rain

This stage take on the silver-screen musical really comes alive when it breaks free of the familiar film's grip

Reviewed by Robert Faires, Oct. 19, 2017

La Follia Plays J.S. Bach’s Greatest Chamber Music

Choosing Bach’s top chamber works may be impossible, but the baroque ensemble made a convincing case for five not-easy pieces in this concert

Reviewed by Robert Faires, Oct. 19, 2017

The Vortex's Vampyress

Chad Salvata’s gothic opera is the perfect treat for the season of ghouls, sensual and spooky

Reviewed by Shanon Weaver, Oct. 12, 2017

Austin Symphony Orchestra: Feast of Voices

The ASO and Chorus Austin combined forces for an evening of music that was gorgeous, sensual, and sometimes hall-shaking

Reviewed by Robi Polgar, Oct. 12, 2017

“Marta Lee & Anika Steppe: Kind of About Michigan” at UT VAC

A road trip to adolescent haunts in Michigan results in a touching collaboration that stops short of sentimentality

Reviewed by Melany Jean, Oct. 12, 2017

Hyde Park Theatre's The Wolves

This fun, honest, real production of Sarah DeLappe’s play zeroes in on the best part of playing a sport: being on a team

Reviewed by T. Lynn Mikeska, Oct. 5, 2017

Filigree Theatre’s Betrayal

The studied, steady cast make bold choices with Pinter’s familiar script and show us a side of adultery not often considered

Reviewed by Shanon Weaver, Oct. 5, 2017

“Fool’s Romance / Books From Aeromoto” at the UT VAC

The interactivity of Aeromoto’s installation seizes the spirit of collective action seen in the response to the Mexico City earthquake

Reviewed by Melany Jean, Oct. 5, 2017

Jarrott Productions' Prodigal Son

The opposing worlds of John Patrick Shanley’s textured script are conjured with powerful stillness and restless energy

Reviewed by Shanon Weaver, Sep. 28, 2017

Ground Floor Theatre’s Gibberish Mostly

This production of Max Langert’s brave play breaks the silence about autism and the stigma and shame surrounding it

Reviewed by T. Lynn Mikeska, Sep. 28, 2017

“William Geisler + John Peralta” at Wally Workman Gallery

Peralta’s deconstructed machines and Geisler’s encaustic abstracts turn painstaking toil into patterns of brilliance

Reviewed by Wayne Alan Brenner, Sep. 28, 2017

The Hidden Room Theatre's Henry IV

Beth Burns' latest foray into Shakespeare will school you on how to present plays penned by the Bard

Reviewed by T. Lynn Mikeska, Sep. 21, 2017

Paper Chairs’ Catalina de Erauso

Elizabeth Doss’ latest plays with history in a way that serves its feminist hero, and it’s also a comedy that knows its stuff

Reviewed by Elizabeth Cobbe, Sep. 21, 2017

Recspec Gallery’s “The Eyes Have It”

The gallery’s inaugural show fills the room with eyes, both good and evil, as well as visual riddles and calisthenics

Reviewed by Melany Jean, Sep. 21, 2017

Vortex Repertory Company's Storm Still

Gabrielle Reisman's script refashions King Lear into the daughters' story, and the Vortex stages it with admirable heart

Reviewed by Elizabeth Cobbe, Sep. 14, 2017

Teatro Vivo’s Enfrascada

Tanya Saracho’s dark comedy about moving on from heartbreak is staged with humor, honesty, and magic

Reviewed by T. Lynn Mikeska, Sep. 14, 2017

“Dana Younger: Contemporary Figurative Works” at the Elisabet Ney Museum

This show of new clay-based sculptures contrasts smartly with Elisabet Ney’s marble statuary, and its breadth of style is stunning

Reviewed by Wayne Alan Brenner, Sep. 14, 2017

UT Department of Theatre & Dance's Building the Wall

UT Department of Theatre & Dance rushes to get Robert Schenkkan's timely political drama onstage

Reviewed by Elizabeth Cobbe, Sep. 7, 2017

Southwest Theatre Productions' The Understudy

Southwest Theatre's focused cast overcomes the oddities in the script to serve up a snarky, funny look at the theatre business

Reviewed by Shanon Weaver, Sep. 7, 2017

Ocean at the Vortex

In her solo show, Ebony Stewart makes a canvas out of herself and a beautiful gift we should embrace

Reviewed by Elizabeth Cobbe, Aug. 31, 2017

Generic Ensemble Company’s Collection

GenEnCo uses an eclectic mix of objects to explore how relics of relationships past keep us connected to love

Reviewed by Robert Faires, Aug. 31, 2017

“Pio Pulido: The Last Exhibit of the 20th Century” at the MACC

This retrospective is like visiting an artist’s crowded studio and yet provides just a glimpse of this visionary’s output

Reviewed by Sam Anderson-Ramos, Aug. 31, 2017

Local Opera Local Artists' We Might Be Struck by Lightning

In this new pastiche chamber opera, LOLA takes us on a bold musical journey

Reviewed by Michelle Haché, Aug. 24, 2017

“Micky Hoogendijk: Pure Imagination” at Women & Their Work

The photographs here fully reveal the artist’s skill with composition and light, but show less of their subjects’ interior life

Reviewed by Melany Jean, Aug. 24, 2017

“Teresa Hubbard/Alexander Birchler: Giant” at the Blanton Museum of Art

The film is good at showing the fate of the film set of Giant, but it leaves open the question of what’s happened to Marfa

Reviewed by Sam Anderson-Ramos, Aug. 24, 2017

Austin Jewish Repertory Theater's The Art of Remembering

In Adina L. Ruskin's play, AJRT offers an intimate look at how memories shape us

Reviewed by T. Lynn Mikeska, Aug. 17, 2017

Panoramic Voices’ Bach: Mass in B Minor

Director Brent Baldwin and his chorus made this work of pure uplift – rousing to sing, delightful to hear – a joy to experience

Reviewed by Robi Polgar, Aug. 17, 2017

“Young Latino Artists 22: ¡Ahora!” at Mexic-Arte Museum

At a time when Hispanic identity is ever more complex, the artists in “YLA 22” seem pretty sure of their own

Reviewed by Sam Anderson-Ramos, Aug. 17, 2017

Gale Theatre Company's TWENTYEIGHT

In this Afrofuturist drama by Tyler English-Beckwith, blacks labor to reach a safe space in space

Reviewed by Robert Faires, Aug. 10, 2017

“Garth Weiser: Paintings, 2008-2017” at the Contemporary Austin

In this solo show of abstract works, the painter has pinpointed the ungraspable, like grabbing a tiger by the tail

Reviewed by Sam Anderson-Ramos, Aug. 10, 2017

Monty Python's Spamalot

With Eric Idle's screen-to-stage musical spoof, Summer Stock Austin makes the Knights of the Round Table so very enjoy-able

Reviewed by Elizabeth Cobbe, Aug. 3, 2017

Summer Stock Austin's A Shoe Story

Allen Robertson and Damon Brown's new musical reinvents "The Elves and the Shoemaker" as a timely tale of refugees but in a clever, playful way

Reviewed by Robert Faires, Aug. 3, 2017

"Radiant: A Group Show" at Davis Gallery

In this group show, artists' odes to the sun, and brilliance in general, provide a sense of life and a lot to think about

Reviewed by Sam Anderson-Ramos, Aug. 3, 2017

Zilker Theatre Productions’ The Wizard of Oz

The 59th Zilker Summer Musical embraces all the joy in the familiar tale, making for a family-friendly show

Reviewed by Elizabeth Cobbe, Jul. 27, 2017

Hideout Theatre's The Kindness of Strangers

This improvised salute to Tennessee Williams conjures his South's deeply rooted traditions and misfits with style

Reviewed by Robert Faires, Jul. 27, 2017

"Greg Davis: India's Kumbh Mela" at Butridge Gallery

This exhibit's images offer impressive layers of visual intricacy but also raise the problematic questions of photojournalism

Reviewed by Sam Anderson-Ramos, Jul. 27, 2017

Austin Chamber Music Festival: St. Lawrence String Quartet

This concert was a lesson in active listening from an active, assured, exceptional ensemble

Reviewed by Robi Polgar, Jul. 20, 2017

"Far Out"

This show's works inspired by the James Webb Space Telescope tell stories, with the device's hexagonal golden mirrors a recurring visual motif

Reviewed by Sam Anderson-Ramos, Jul. 20, 2017

Richard III

Last Act Theatre's all-female production takes this drama from the doldrums to dynamite for Women Who Act

Reviewed by T. Lynn Mikeska, Jul. 20, 2017

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