Sarah Silverman audibly perks up when she unexpectedly hears the voice of an Englishman calling from the Austin Chronicle. "It's fun," she laughed, "because you get to be exotic. It's why I want to go to Sweden, I hear they love Jews."

From struggling to sell 50 tickets to selling out theaters in Denver, San Francisco, Boston, Vancouver, London, and even Chicago, Matteo Lane used his creativity, opera singing, and impressions – which he calls a natural extension of his voice – to hit success in the comedy industry.

Nikki Glaser exudes confidence. The Moontower Just for Laughs headliner earned roaring laughter for every one of her jokes at the sold-out Paramount Theatre last Thursday night, but she also earned silence, which is arguably more impressive.

These days, productions at the City Theatre feel like a litmus test for one's ability to sit through three-plus hours of live theater after a two-year COVID hiatus.

When The Rocky Horror Show opened on Broadway in 1975, Newsweek found the outrageous rock musical by Richard O’Brien "tasteless, plotless, and pointless."

Buff women. Beautiful dogs. Big trucks. All three are testaments to excess, to wanting more and more, to queering the baseline existence of their subjects – and all three will feature in Tailgate Projects’ truck painting performance on April 16 at MASS Gallery as part of Fusebox Festival.

Tick tock, tick tock. Somewhere in space-time, there's a countdown: at 4:20pm on April 20 (4:20 4/20), Meow Wolf will be announcing ... something.

The imminent release of Robert Eggers' bloody Viking epic The Northman is a timely reminder that the story of Hamlet is over a millennium old. The Lion King or Disney's Hamlet on the veldt, is not quite that venerable, but after 25 years of constant productions and tours its cultural impact is undeniable.

No name rings more synonymous with “Austin Symphony Orchestra” than that of conductor and ASO Music Director Peter Bay.