Arts Reviews 2,503 results
Watching this neat and happy Second Youth Family Theatre production of Snoopy!!! is like paging through a random helping of funnies from the philosophically comic genius of Charles Schulz. And with songs at least as clever as the comic shtick, it's an easygoing, good-natured musical that, as advertised, is theatre fun for the whole family.
Reviewed by Robi Polgar, Mar. 23, 2001
Blake Yelavich's new play Aidan's Bed is like a bottle of soda, fizzling and popping with characters who are laughable, wry, and sardonic, but the author's uneven direction of his own play proves that even the best soda can go flat without proper handling.
Reviewed by Skipper Chong Warson, Mar. 23, 2001
Chicago printmaker and poet Tony Fitzpatrick shares memories of his hometown in a show of his intaglio prints at Slugfest Gallery, and the images and stories make it a powerful place to visit.
Reviewed by Rob Curran, Mar. 23, 2001
In the Public Domain Theatre Company's production of King Lear, director Robi Polgar and company bring Shakespeare's play into the present with high tech and high fashion, and the smooth execution of the concept create a novel version of this familiar tragedy with a striking proximity to our lives.
Reviewed by Robert Faires, Mar. 9, 2001
After rumbling greatness in the first act, the UT Department of Theatre & Dance production of Caryl Churchill's Cloud Nine ends thin and foggy.
Reviewed by Rob Curran, Mar. 9, 2001
Local mavericks Rude Mechanicals have plundered biographies and scientific history to give us the whole story of maverick inventor Nikola Tesla, and their production Requiem for Tesla, with its unnervingly choreographed lights, arresting video, beautiful period costumes, original score on theremin, strange dance numbers, and working Tesla coil, literally crackles with current.
Reviewed by Wayne Alan Brenner, Mar. 2, 2001
The St. Edward's University theatre department staging of The Conference of the Birds is a triumph of the ensemble process, with so many students and faculty members working so hard together. But too many competing elements and a lack of simplicity in some of them keep the show from triumphing as a theatrical production.
Reviewed by Robi Polgar, Mar. 2, 2001
For In the Middle of the Ocean, handsome and slightly crazed Chris Alonzo adopts the persona of Twitchy the Clown to tell a sort of twisted Greek fable about a woman who builds a floating brothel for pirates, gets involved with a well-hung ghost, and eventually follows him to Hell. And singing with the voice of a whiskey-stained angel, Alonzo proves himself an Orpheus with a microphone and guitar and keyboard.
Reviewed by Wayne Alan Brenner, Mar. 2, 2001
The Zachary Scott Theatre Center's new staging of Tennessee Williams' A Streetcar Named Desire attempts to jazz up the classic, but its intentional anachronisms, jarring musical score, and robotic Stanley result in a production that is painfully off-key.
Reviewed by Wayne Alan Brenner, Feb. 16, 2001
Pro Arts Collective's new production of A Raisin in the Sun does credit to Lorraine Hansberry's powerful script. Even though it runs for three hours, the show is gripping to the very end.
Reviewed by Mary Jane Garza, Feb. 16, 2001
Austin Musical Theatre's Oklahoma! pulses with a rousing liveliness that makes it delightfully fresh, a territory that a joy to visit.
Reviewed by Robert Faires, Feb. 9, 2001
Guy Roberts and a talented cast stage Anton Chekhov's The Seagull as a rehearsal, rather than performance, and in doing so allow the audience to watch the nuts and bolts of how a show is put together, the process of exploration, the sometimes messy, personal world of the rehearsal.
Reviewed by Robi Polgar, Feb. 9, 2001
Buzz Productions' version of the cult hit Six Women With Brain Death gives it the old college try, but even a striking performance by Jo Beth Henderson can't overcome the flat mockery of trash culture that we've seen too many times before.
Reviewed by Wayne Alan Brenner, Feb. 9, 2001
With blown glass in colors as bright as stained glass in the sunshine and materials from the city dump, Einar and Jamex de la Torre create havoc. Their uncompromising, irreverent mixed-media pieces could adorn an Internet cafe, a 15th-century Spanish altar, or an Aztec household and still be shocking fun.
Reviewed by Rob Curran, Feb. 2, 2001
Yasmina Reza's Art has come to Austin, and the Zachary Scott Theatre Center production is equal to the playwright's work. It's a pearl and it's the inside-out of a pearl -- a thing of beauty and the irritant that creates it.
Reviewed by Wayne Alan Brenner, Jan. 26, 2001
The Different Stages production of Milcha Sanchez-Scott's Roosters offers a script and actors that are quite enjoyable. However, the mix of inventive and repetitious staging, striking and visually inappropriate costumes, open and cluttered space, it feels almost like two entirely different shows.
Reviewed by Barry Pineo, Jan. 26, 2001
The Austin Lyric Opera production of Cold Sassy Tree, Carlisle Floyd's sweet, simple opera of blooming love between a small-town Georgia shopkeeper and a much younger woman, featured a fine ensemble giving heartwarming performances, but their efforts were repeatedly wrecked by poorly executed set changes that brought the show to a halt.
Reviewed by Robi Polgar, Jan. 19, 2001
In her new script A Name for a Ghost to Mutter, playwright Cyndi Williams uses the fuel for great drama: colorful writing, focus on relationships, big climax, tidy resolution. But while all the hard parts are accounted for, all the right moves taken, the play stops just short of smoking.
Reviewed by Rob Curran, Jan. 19, 2001
For the debut of his new Austin Playhouse company, Don Toner provides a time-travel trip back to 1948 with old Moss Hart and his play about putting on a play, Light Up the Sky. And the trip is one sure to leave a smile.
Reviewed by Wayne Alan Brenner, Jan. 19, 2001
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