Oscar G. Brockett Theatre
"...The New York duo's second LP, Voices, corrects that small oversight. As suggested by the title, Barthel and Josh Carter stretch their roles as vocalists without sacrificing the dance-floor noir that made their career..."
"...THE ORITA PROJECT ALLGO presents this sexuality/gender-soaked exploration of the Yoruba spiritual diaspora, and questioning of "anti-gay legislation and precolonial experience," featuring a screening of Oluseyi Adebanjo's Oya! Something Happened on the Way to West Africa and a live dance performance by Ni'Ja Whitson. Dang, we are going to need a crate of mangoes to cool off from this one..."
"...For co-owners Noel Waggener and Charisse Kelly, married roughly the same amount of time they've been collecting records together, 16 years, Heavy Light is a deeply personal endeavor. In 2001, Waggener founded Waxploitation! (now Soul Happening), dusty-fingered local DJs who fuel dance floors with rare funk 45s..."
"...A big-band caravan led by transcontinental hustler Enrique Rumiche, La Guerrilla's combat rock en Español takes a subtle turn on second EP Adios Lala Land?. "Erika" busks with the simple sincerity of Jack Johnson's Brushfire Records, not unlike the ballad "Blueprint." Upbeat popper "High (Lilliput Mix)" gets a dance remix, but La Guerrilla knows when to break out the piñata, as evidenced by the three-quarter turn in "En Cualquier Momento," a gypsy ska number with a South American twist..."
"...Fans of Shakespeare should enjoy Harvey Schmidt and Tom Jones' The Fantasticks, now in production from the University of Texas Department of Theatre & Dance. The musical, noted for achieving the status of longest-running musical of all time, draws on Shakespeare's works in a way that makes you think twice before dismissing the musical as last century's charming oddity..."
"...You can hardly see their horns and tails at all. After the show, the runway became the dance floor, and the party went on until 1am..."
"...Jeanette Cunningham is one of those experts. A professional belly-dance instructor, she's been teaching at the Union for almost two decades..."
"...Opening, as it should, with "You're Gonna Miss Me," these sessions were the first recorded for an album on the label Contact and notable for the inclusion of covers such as Solomon Burke's "Everybody Needs Somebody to Love" and Buddy Holly's "I'm Gonna Love You Too." While those titles may seem odd wedged between psychedelic manifestos such as "Where Am I?" and "Roller Coaster," they are a reminder that the Elevators came from and played on circuits that demanded knowledge of popular dance tunes of the era, as illustrated on the set's three live discs.PRIME TRACKS:..."
"..."Corrido Twelve Heads in a Bag" plants Dylan in the middle of Mexico's drug war, which gives way to the West Side Horns colliding with a Billy Gibbons riff on "So Happy." The pop punch of "A-Frame" goes ballistic on Louie Bustos' sax solo, while Augie Meyers' Vox organ turns up on his own Sir Douglas Quintet obscurity, "I Wanna Fall in Love Again," into a groovy country shuffle. Like their Texas dance-hall forbears, the Krayolas bring a little something for everyone..."
"...This leaves much of the online performances appearing today in the hands of Aaron Fechter, the documentary's co-star and the Rock-afire's original creator. At Fechter's website, www.starsof.com/fans, fans can now bid on the next song to be "Rock-afired." The two most recent winners? Nine Inch Nails' "1,000,000" and Jump Jump Dance Dance's "Do It for Love."..."
"...Wanna know how to leave a nightclub without getting smacked in the nose? Clublife's got you covered. It also teaches readers how to step into what Fitzgerald calls the "Guido Juicehead Dance," a running skip with a tyrannosaurus rex-like fist pump and overpriced button-down..."
"..."He talks about going to work as a playwright the way anybody goes to a regular job, and that is a very refreshing ethos," says Suzan Zeder, head of the playwriting program at the UT Department of Theatre & Dance. "So it's not in all these esoteric terms..."
"...The discomfort and bafflement of these lords, ladies, and fools is so much fun that the play's resolution is like the amusement park closing before you're ready to leave. It's also followed by a goofy dance number that's oddly reminiscent of Lord of the Dance but with ungainly costumes..."
"...As Jan Seward recalls: "Bil drew his family of actors together, and the Friends of the Summer Musical was born. No professional fundraisers, just us actors, singers, and dancers working together to keep the project alive..."
"...The Texas plan was to bring in only three people from Los Angeles, Hudgins says, with the rest of the hires entirely local. Most states offering incentives hook them to the hiring of local crew, but Michigan is using its gaudy incentives to start a film industry from nothing, so they'll offer payments, as Hudgins puts it, for anyone who breathes. UTFI does a 'Dance'..."
"...The program was called Dance for All, and it was one of the few ways a child could get out of the townships. "They hold auditions every year," said George..."
"...The Wannabes drew heavily on 1990's Lucky Pierre, delivering a rousing rendition of "August," countered by a laughable, fall-apart ending on "Date With Bob." In the anthem-in-waiting file, "Bookstores and Restaurants" celebrated the apron-and-name-tag grind with equal amounts of piss and aplomb. The 'Bes finished with a well-chosen cover of INXS' "Don't Change" that left normally reserved grown men with no choice but to slam their pints and dance with uncoordinated abandon..."
"...Arclight's Austin neighbor and showcase partner, Australian Cattle God, takes things even further out to the fringe. With ex-members of beloved Austin bands Pocket FishRmen and Meat Purveyors, Cat Scientist folds harpsichord and indie rock into the delectable dance-pop of last year's Cicada..."
"...Their performances are a dystopic sci-fi spectacle of futuristic jumpsuits, electronic blips, and breakneck synth-punk rhythms. The quartet's new album, Now Is the Time! (Tofu), is sure to spawn legions of poorly executed robot dances..."
"...The bartender got me a beer without taking her eyes off the TV or acknowledging the whining seductions of the only other man sitting at the bar. Near a jukebox on the other side of the room, two old men each sat alone at tables arranged around an open area that might have been a dance floor in a more festive decade..."
"...There it's up to Pepito and his newfound companions, Little Girl Footsteps and Tirado, to save the land from ruin. The play, Two Donuts, is the work of José Cruz González, and was being presented to the Widen student body by the UT Department of Theatre & Dance as one of 13 stops on its Fall 2005 Youth Theatre Tour..."
"...With this third film he's directed, Turturro goes for broke in a down-and-dirty homage to the musical. Starring James Gandolfini, Susan Sarandon, Kate Winslet, Steve Buscemi, Bobby Canavale, Christopher Walken, and many others, this movie bursts with working-class characters who break into song and dance staged to pop music tunes..."
"... Kathy Dunn Hamrick Dance Company is spinning off to San Francisco early next month to premiere a new work, Spin, with music commissioned from Austin composer Tim Kerr. The troupe joins Alma Esperanza Cunningham Movement at the Jon Sims Center for the Arts for a program in which Hamrick will also give the West Coast a peek at Framed, the dance that Hamrick premiered on the East Coast last October when KDHC performed with KDNY..."
"...There's one goal TMW shares with the likes of Fischerspooner: setting indie kids in motion. Keyboard whiz Evan Lawrence, formerly of indie dance band OMD 20/20, came to O'Neal, bassist Brandon Loe (late of Austin's Kitty), and second keyboard player Erin Mikulenka in the spring of 2002 with a vision..."
"...Dance Umbrella, which received $20,000 to support the presentation of dance events that will include residencies by artists, master classes, meet-the-artist events, lecture demonstrations, and dance workshops;..."
"...Pedal Steal/Rollback (1992): Two soundtracks for dances commissioned by the Margaret Jenkins Dance Company. Pedal Steal includes "Billy the Boy," a song cycle based on the life of steel guitarist Wayne Gailey..."
"...Steakley has assembled knockout performers for this production, each with a unique physical appearance and all with explosive singing voices, dance ability, and stage presence. The collective effect of this culturally diverse casting, along with Steakley's skill at synthesizing individual energies onstage into an electrifying whole, is a "tribe" that visually and aurally expresses the values of unity at the heart of this piece..."
"...The problem, Dahlstrom points out, is the increasing numbers of complaints the APD has received from the community about the pervasive drug use and dealing found at most raves. Both the promoters and the club/venue owners agree that yes, ecstasy has become a problem at Austin raves, with kids as young as 14 queuing up No one interviewed for this article denied that raves attract a serious drug element to buy "disco biscuits" from virtually open-air dealers hanging around the dance floor...."
"...Sidney Brammer wrote about theatre and dance for The Austin Chronicle 1981-83. She is a filmmaker/screenwriter, screenwriting/directing instructor, and book editor...."
"...You were free to ask anything you wanted and get personalized demonstrations, then eat the foods being presented. All the while, there were vegetable-carving demonstrations, native bands playing music, dance troops performing, and food product booths to explain the details of all of the raw products involved, such as the differences in the unlimited varieties of rice or the many different types of citrus or herbs..."
"...Christina AguileraMy Kind of Christmas (RCA) As the closest thing to a teen-pop apologist currently employed by the Chronicle, guess on whose shoulders it falls on to explain exactly what Christina Aguilera is attempting to add to the Yuletide canon on "Xtina's Xmas"? No wonder people freak out during the holidays: Somewhere, somebody thinks having Ms. Aguilera belt "Have Yourself a Merry Little Christmas" over a dance track excavated from the Technotronic days is a good idea..."
"...Once you know about The Bye Bye Birdie Experience, everything about Paul Beutel falls into place: his love of musicals, his film degree, his stints as an American-Statesman film critic and a UT Performing Arts Center publicist, his years as a song-and-dance man in local musical productions, his programming of the Paramount's Summer Movie Classics series, and especially his 15 years of service -- much of it above and beyond the call of duty -- to Austin's jewel of theatres. I mean, here's a guy who breathes celluloid, who gets a kick out of persuading the big Hollywood studios to strike new prints of their classic films so he can show them in Austin, who gets tickled at the prospect of running William Castle's old B-movie fright flick The Tingler with its original buzzer-in-the-seat gimmick or the movie version of Kiss Me Kate in 3-D, with everyone wearing glasses..."
"...The Safety Dance?..."
"...This quirked-out Austin quartet implicitly understands the virtues of infusing their guy's-guy rock aspirations with big-booty bounce. Steve Austin's all-meat drumming on tunes like "Girl," "She Spins," and "Satan's Legs" are models of dance-floor consistency..."
"...In the three years since, Dietz has also managed to direct a production despite a lack of directorial experience (Scavengers, 1997), write a short play on the idea of "holiday" despite having the theme assigned to him and only seven days to finish the script (The Best Salvage Vanguard Holiday Ever, 1997); and find a way to blend the Hindenburg, The Brady Bunch, Sam Spade, and Georges Seurat's Pointillist masterpiece Sunday Afternoon on the Isle of La Grande Jatte into a single dramatic entity (his play Dirigible, 1999, which was named "Outstanding New Script" by the Theatre Critics Table), all the while pursuing a master's in playwriting from UT (Blind Horses, his drama about Frank and Jesse James, was produced by the Department of Theatre & Dance last fall) and appearing in such Salvage Vanguard vehicles as Altamont Now and When You Know What It Is You're Doing. In short, he's proven himself to be something like the figure in the old Carl Sigman/Bob Russell standard "Crazy He Calls Me": "The difficult things I'll do right now/ The impossible will take a little while."..."
"...Once brightly colored novelties scattered lightly across our urban landscape, these attention grabbers have now become ubiquitous; no matter where you go, there one is. If it isn't one of the monster, city-consuming events such as SXSW, it may be one of the smaller but increasingly numerous arts festivals, such as FronteraFest, DANCEfest, MOMFest, Playfest, SculpFest, Texas Young Playwrights Festival, Harvest Festival of New American Plays, Latino Comedy Festival, New Texas Festival, Big Stinkin' International Improv and Sketch Comedy Festival, Chamber Music Festival, Austin Festival of Dance, African-American Festival of Dance, Clarksville Jazz and Arts Festival, AISD Fall String Festival, Fiesta, and isn't that the brand-spanking-new Texas Bach Festival just on the horizon? With so many cultural festivals popping up around town (and bumping up against each other on the calendar), the Chronicle Arts team decided to take a closer look at these events, to learn why so many local artists and companies are channeling their energies into organizing festivals, what challenges they pose for the producers, and what lessons the producers have learned from their festival experiences..."
"...6. Dead Can Dance, Toward the Within (4AD)..."
"...The insult of such painfully canned versions of "God Rest Ye Merry Gentlemen," "Silent Night," and "Little Drummer Boy" cannot be overstated, and even the blessedly snappy midway point, "The Gift," is no salve. With no dance skills, no ability to play instruments, and only marginal good looks, 98 Degrees could at least provide some spine-tingling harmonies..."
"...Offering beer, wine, and set-ups, the VFW-shaped, circus-themed, cinderblock establishment doesn't know the meaning of term "pretentious." Where else can bands share the stage with a large pink pachyderm whose trunk is curled around a martini glass? After a few intensity-building opening numbers, the basic quintet popped off the Forties classic "Is You Is, Or Is You Ain't My Baby?" followed by a respectable version of the Gillespie/Sizemore/Biese standard "Right or Wrong," a longing song made famous by Bob Wills & His Texas Playboys. Later, they caroused through the tongue-in-cheek swing standard "Jack You're Dead," followed by a twangy rendition of the Beatles' Rubber Soul gem "I've Just Seen the Face." Adding a needed dimension was featured vocalist Alan Barnet, whose singing often moved the small dance floor's throng from boot-scoot to sock-hop with his smooth, Fifties-era delivery, especially on the walking bass-driven "Fools Fall In Love." Second guitarist Norman, looking more Widespread Panic than Buck Owens, was Stringer's near-equal, especially on an unannounced, jumpy twin-Telecaster instrumental that christened the second set..."
"...For nearly three decades now, that's all band leader Ray Benson and company have been doing -- praying at the altar of the legendary King of Western Swing. Starting in West Virginia, rambling out to California, and then finally arriving at Ground Zero -- Texas -- where they've played every building worthy of the designation "dance hall," Benson and a few dozen different backing musicians have become the undisputed ministers of the country-jazz hybrid with which Wills is synonymous..."
"...More book than box per se, The Disco Box, compiled by Billboard and A&R veteran Brian Chin, is a 4-CD, 60-page tribute to the dancing queen. According to its producer, it also purports to "illuminate and document disco's other two elements: the music and the DJs." Huh? The haphazard, non-linear liner notes attempt to tell the real story of the club and DJ culture of the Seventies ooh-ooh dance scene, but succeed only at confounding anyone bothering to read the editor's nightmare..."
"...He was forever seeing them, reading them, talking aboutthem, writing about them, developing them, directing them, helping get them produced. And when he died suddenly in December, 1997 -- the victim of a tragic automobile accident -- Cohen's friends and colleagues spoke at great length and with great feeling about his passion for plays, and how evident it was in the work he did as head of the playwriting program in the UT Department of Theatre & Dance, as a founding member of the playwright support organization Austin Script Works, as a theatre critic for The Texas Triangle, as a dramaturg, as a teacher, as a mentor, as an audience member..."
"...After all, the local guitarist has been waiting well over two years for Robbins Records, a BMG-distributed label headed by Profile Records founder Cory Robbins, to put out her major label debut. Hentges' dealings with the label actually date back to South by Southwest 1994, when Robbins heard the local singer's "This Kind Of Love" on KNACK's Homegroan sampler, and offered the former Two Nice Girls member a deal nearly a year later -- declaring Hentges the first rock artist on a label almost entirely dedicated to landing hip-hop and dance singles on Billboard's "Hot 100" chart..."
"...The goal was an atmosphere of true democracy, where students would be "capable of choosing what it was they proposed to believe in, what their world was going to be." The school stayed open 24 years, existing on small tuition fees and almost yearly donations from the Forbes family. (Fortunately, the Forbes money came free of the bug-eyed piety associated with the family's present, presidentially minded incarnation.) This "mysteriously happy atmosphere," as Thornton Wilder once called it, "graduated" some 1,200 students, but more significantly, was pivotal in the development of such creative revolutionaries as avant-garde composer John Cage, visual artist Robert Rauschenberg, and dance innovator Merce Cunningham, among others...."
"...DANCER, TEXAS POP. 81..."
"...WED 11 N SYNC, Dance Across Texas..."
"...Suddenly, everyone wants a piece, be they filmmakers, actors, producers, buyers, distributors, agents, journalists, or garden-variety culture trendies. Nowhere is this more evident than at the Sundance Film Festival, where for 10 days every January these intersecting interests converge high up in the Wasatch Mountains in the tiny resort town of Park City, Utah (home of the next Winter Olympics)..."
"...It's a volunteer position, and it requires a six-month commitment to wading through lots of paper, but it just may give you the chance to reward those artists among us that you feel are making outstanding contributions to this city's cultural life. Applicants should have expertise in one or more of the following: dance, literature, music, theatre, visual arts, or mixed arts..."
"...Just ask a kid. When we come to musicals as children, they're gigantic confections of comedy and melody, brimming with bodies -- almost more than a kid can count -- in splendiferous outfits as bright and brightly colored as a rainbow, all fresh faces spontaneously bursting into buoyant song and breathtaking dance, gliding down staircases and up musical scales..."