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Arts Reviews 2,574 results

Murder Ballads

This blues-infused crime thriller suggests a number of Dangerous Things to Do Outside Shreveport Until You’re Dead

Reviewed by Wayne Alan Brenner, Nov. 21, 2017

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

Reviewed by 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

Reviewed by Shanon Weaver, Nov. 16, 2017

UT Dance Repertory Theatre’s Fall for Dance

Work after work in this program emphatically spoke to current events, to the here and now

Reviewed by Robert Faires, 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

Reviewed by 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

Reviewed by Robert Faires, Nov. 9, 2017

The Prey of Gods

In a future South Africa, writer Nicky Drayden deftly mixes gods and robots and shows us how they and humans deal with change

Reviewed by 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

Reviewed by Elizabeth Banicki, 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

Reviewed by 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

Reviewed by 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

Reviewed by 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

Reviewed by 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

Reviewed by Elizabeth Cobbe, 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

Reviewed by Robi Polgar, Nov. 2, 2017

TILT Performance Group's Zombie Prom

This musical is kitschy Halloween fun but with something to say about being different

Reviewed by 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

Reviewed by 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

Reviewed by Melany Jean, Oct. 26, 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

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

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