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Zachary Scott Theatre's Jesus Christ Superstar/Jesuchristo Superestrella transcends the usual ascension into the heavens of rock & roll to become an anthem of Mexican tradition

'Urinetown: The Musical' may wallow in a sordid premise and have an awful title, but Zach's production is always making you happy, if not downright giddy

This year's 'Rockin' Christmas Party' is flashy fun with an onslaught of seasonal classics and popular rock songs that aim to tickle those humbugs away

It Ain't Nothin' but the Blues is a blues primer covering every variation on the form, and in the Zachary Scott Theatre Center's production its lessons are driven home with verve and fervor and musical excitement

Dramatizing the pull of music on a human life is no easy task, but Warren Leight's Side Man shows jazz players hanging on to their music to keep from giving in to despair, and its Austin premiere will benefit from the skill of Zachary Scott Theatre Center Artistic Director Dave Steakley, who has consistently demonstrated an uncanny knack for portraying the impact that music can have on a life and the place where drama is best expressed through music.

How do you take Charles Dickens' Oliver Twist and, in less than a month, condense it into a 100-minute one-man play, with the actor playing 20 characters from the novel plus a New York City drag queen? Everett Quinton and Eureka, veterans of the fabled Ridiculous Theatre Company and creators of Twisted Olivia, explain how they did it.

Dave Steakley's version of Smokey Joe's Cafe at the Zachary Scott Theatre Center sets ablaze dozens of familiar hits from the musical catalog of Jerry Leiber and Mike Stoller by shifting the setting to a Playboy Club circa 1962 and rekindling the flames of desire that burn in the team's songs.

The Zachary Scott Theatre Center production of Claudia Shear's Dirty Blonde does not always work, but when it does -- such as any time Rosalie Teneth struts and curves and bends around the stage as Mae West -- the show embodies everything truly amazing about theatre.

Director Dave Steakley has assembled knockout performers for the Zachary Scott Theatre Center revival of HAIR, and he synthesizes their individual energies into an electrifying whole, but his valiant efforts to make the show's scope inclusive of our modern world fall short.

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.

Photojournalist David Douglas Duncan returns to Austin to inaugurate a new lecture series named in his honor, homegrown musical Jouét touches down in the pages of Show Music magazine, and Gerard Lebeda lands a European tour of Evita.

In the Zachary Scott Theatre Center's production of Hedwig and the Angry Inch, Andrew Rannells is wonderfully ablaze in the role of the German-born rocker whose sex-change operation was botched, and everything about this hilarious musical spectacle has been fine-tuned to maximum pleasure.

In bringing Stephen King's Misery to the stage, the Zachary Scott Theatre Center production paint the story's characters in the most awkward fashion possible and mixes horror and comedy to a degree that's confusing.

This Zachary Scott Theatre Center production of Allen Robertson's original musical Jouét is a slick theatrical product, with enough gadgetry and opulent design work to fill the space with a rich, powerful sound and imagery, but it's difficult to sympathize with its diva-ish heroine and her mixed messages about compassion.

The Austin Theatre Critics Table presented its eighth annual awards for achievement in the Austin arts in a lively ceremony at the Continental Club

Robert Faires gets a kick from the Flaming Idiots at the Zachary Scott Theatre Center.

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