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A one-of-a-kind essay centered on art forgery and hoaxes that is built from spare parts, questionable coverage, obvious overdubbing, and outright bluff, 'F for Fake' is a masterwork most often hailed for its hijacking of documentary form to tease cinema's capacity for making truth out of bullshit

Remembering Boyd Vance, his life and legacy

How a performative open mic From Iowa became a theatrical springboard in Austin

Sam Bass Theatre's Forever Plaid took top honors at the 30th anniversary B. Iden Payne Awards

Our readers talk back.

Bryan Poyser and Jacob Vaughan come clean on their 'Dear Pillow'

Both Anna Deavere Smith's script for 'House Arrest' and Zachary Scott Theatre Center's production of it fall short as meaningful political theatre

Three cheers for the underdogs!

Headlines and happenings from Austin and beyond

Taking inspiration from sports, Stillpoint Dance's Time In showed how to cope with the stress of jam-packed schedules

The Second Iraq War and the cronies of state capitalism

Kathryn Walat's Know Dog is a tale of loneliness and longing, but an authentic howl of desperation is missing from Salvage Vanguard Theater's world premiere

Celebrating the Thai Songkran in Austin

With 'The Flying Dutchman,' Richard Wagner made opera bigger than big

No. 10 looks like the best Salvage Vanguard birthday ever!

The Austin Circle of Theaters has handed out its annual B. Iden Payne Awards, honoring outstanding achievements in local theatre from August 2002 through July 2003.

Speaking of Queer Eyes: Hey, don't look at us … everybody calls it SoCo. And everybody seems to love the new Nordstrom … including our Style Avatar.

With only 11 players, two musicians, and the sparest of stage trappings, the Austin Shakespeare Festival's production of King Henry V provides a sweeping panorama of life during wartime, one that has much to say to a nation at war today.

In the two decades it has taken for Cirque du Soleil to reach Austin for the first time, this Montreal-based troupe has not only reinvented circus as performance art but grown into one of the most unexpected and unlikely of entertainment empires.

As the Texas Hill Country Wine & Food Festival approaches, Virginia B. Wood sets the table.

Our readers talk back.

How Dead Man Walking came to be an opera -- and to be produced in Austin before almost every other city in the world -- reveals the great risks and rewards in developing new works for the modern operatic stage.

This summer, the Austrian American Mozart Academy, an international program that provides aspiring professional singers with training and performance experience in Mozartian opera, relocates to, of all places, Austin, Texas.

With a new production of the "American Tribal Love-Rock Musical" Hair, director Dave Steakley caps 10 years of making the Zachary Scott Theatre Center rock -- and so much more.

Steve Balgooyen knows the Vietnam War drama Tracers quite well, having been involved in five different productions, and he hopes the sixth, which he's staging at St. Edward's University, will bring the stories of Vietnam to still more audiences and perhaps heal some of the wounds it has left.

In Marion Bridge, playwright Daniel MacIvor reveals how the death of a parent causes a major shift in the lives of three sisters, and the actresses who play them in Hyde Park Theatre's production fit so naturally in these characters' skins that they project a sense of belonging together and to the lives they describe.

A certain boy whose permanent address is Neverland has been buzzing Austin quite a bit this spring, and here are some thoughts on why Peter Pan is so much in the air these days.

Youth, Joy, and Jean Arthur

The crazy quilt career of Kimmie Rhodes.