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An interview with New York playwright and director Richard Maxwell, who has developed a following for his work featuring painstakingly realistic language rendered onstage by actors who move, speak, and sing seemingly without expression.

In Hush: An Interview With America, the students of the UT Department of Theatre and Dance handle the complexities of James Still's play with steady hands, which may please viewers who enjoy supporting the development of young artists, but the play's inconsistencies may leave other visitors to this theatrical lab disappointed.

The UT alumnus left Austin to be in "the room where it happens": in Hamilton on Broadway

UT theatre students cross borders with the acclaimed artists of the Moving Company in Refugia

The novella's nightmare world is so engrossing, you can't tear your eyes away

Austin artists and arts leaders reveal which work of science fiction affected them the most

Rarely has Austin seen a play or production with as much of a social conscience as Naomi Wallace's Slaughter City, as staged by the UT Department of Theatre & Dance

Calling all artists for new Art in Public Places projects! Heather Barfield does England with Metamorphosex.

The gentle spirit of playwright Jean Giradoux is reflected perfectly in Gordon Peacock's amiable and astute direction of this UT Department of Theatre & Dance production of Giradoux's The Madwoman of Chaillot.

The UT Department of Theatre & Dance production of Paula Vogel's The Baltimore Waltz is as technically solid as they come, but some of the performances are all over the map when they should be rooted in a terrifying reality.

Cine las Americas Festival of New Latin American Cinema

Nine Shows That Transported Me

Tokyo Miracle

Brazil Center and the UT’s Latin American Filmmakers Series

Alvin Rangel's future may be uncertain, but for now he's making great dance

Inventive direction and fun acting make a wonderful spectacle of Brecht's dark world

Robert Schenkkan's 'The Marriage of Miss Hollywood and King Neptune' eases us back into that long-ago world of screwball comedy and serves up some new fun

Seven Austin arts organizations receive outreach grants from the National Endowment for the Arts, playwright C. Denby Swanson receives a McKnight Advancement Grant, and Peter Pan receives his own Amy's Ice Cream flavor.

The Austin Arts Commission has never been a model of bureaucratic efficiency, but this year it seems to have become a big cliché in action, a body so focused on procedure and minutiae and the concerns of the moment that it can't see the forest for the trees. It's compounding the problems in Austin's profoundly flawed public arts funding system and demonstrating just how poorly that process serves not only the city's artists but all its citizens.

After rumbling greatness in the first act, the UT Department of Theatre & Dance production of Caryl Churchill's Cloud Nine ends thin and foggy.

The Year in Austin Culture

The title characters in Sarah Daniels' play Gut Girls are brash, foul-mouthed, beer-swilling cockneys, carving their lots from life at the slaughterhouse, and the UT Department of Theatre & Dance production's colorful design work, solid direction, and vivid performances put us inside their greasy, tough world.

A major change in direction for Teatro Humanidad.

With the arrival of September, Austin is again awash in Shakespeare. Five productions -- from a minimalist Romeo and Juliet to a deconstructed comedy goofing on all the plays -- are currently playing Central Texas stages.

Thinning the Herd

Dance Repertory Theatre's program was divided between live and canned music, with the live half clearly deeper