Mary Moody Northen Theatre's ANON(ymous)
At St. Edward's, this reworking of Homer's Odyssey gives names to the nameless in today's immigrant crisis
271-300 of 2,761 entries
T. Lynn Mikeska, Nov. 16, 2017
UT Dept. of Theatre & Dance’s The Crucible
The department manages to elicit tension from Arthur Miller’s familiar drama, but not without a few flaws
Shanon Weaver, Nov. 16, 2017
Permanent Record Theatre's Dry Land
With this production, this company makes a bold debut and a fierce statement about life for teenage girls
T. Lynn Mikeska, Nov. 9, 2017
One Ounce Opera’s Second Fresh Squeezed Ounce of Art Song
This second program of new art songs proved the form is not just alive but relevant
Robert Faires, Nov. 9, 2017
Uncommon Type: Some Stories
A funny and creative short fiction debut that’s strong in portraying male characters but thin where the women are concerned
Elizabeth Banicki, Nov. 2, 2017
Butler Opera Center's Così fan tutte
This production brings Mozart's test of female fidelity into the modern world of Tinder and high finance
Robi Polgar, Nov. 2, 2017
Dinner at the Center of the Earth
A riveting novel in which a Jewish American becomes and Israeli spy and then a traitor to his adopted country
Jay Trachtenberg, Nov. 2, 2017
Blood Brothers
This book does a superb job of capturing the essence of these two great Americans and their shared love of the American West
Bobby Bridger, Nov. 2, 2017
A Moonless, Starless Sky
This journalist’s accounts of ordinary people seeking to create good in Africa is challenging, frightening, and powerful
Elizabeth Cobbe, Nov. 2, 2017
Capital T Theatre's The Brothers Size
In this staging of Tarell Alvin McCraney's drama, struggles with brotherhood and blackness play out against Yoruban ritual
Shanon Weaver, Nov. 2, 2017
Groundswell Theatre Company's Bear Eats Bear
This site-specific audio work puts the audience in a postapocalyptic world to show how central art is to the human experience
Elizabeth Cobbe, Nov. 2, 2017
TILT Performance Group's Zombie Prom
This musical is kitschy Halloween fun but with something to say about being different
Shanon Weaver, Oct. 26, 2017
Ballet Austin’s Not Afraid of the Dark
The glow-in-the-dark visions of this earnest, sweet ballet will excite and inspire the youngsters who see it
Elizabeth Cobbe, Oct. 26, 2017
"2017 Texas Biennial"
The breadth of Texas viewpoints and artistic variety is evident in this year’s statewide survey of contemporary art
Melany Jean, Oct. 26, 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
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
Robert Faires, Oct. 19, 2017
Woman in Black at Scottish Rite Theater
Skilled actors and atmospheric design combine to make this co-production a spine-tingler ideal for Halloween
Shanon Weaver, Oct. 19, 2017
The Vortex's Vampyress
Chad Salvata's gothic opera is the perfect treat for the season of ghouls, sensual and spooky
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
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
Melany Jean, Oct. 12, 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
Melany Jean, Oct. 5, 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
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
Shanon Weaver, 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
Shanon Weaver, Sept. 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
T. Lynn Mikeska, Sept. 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
Wayne Alan Brenner, Sept. 28, 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
Melany Jean, Sept. 21, 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
T. Lynn Mikeska, Sept. 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
Elizabeth Cobbe, Sept. 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
