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That innocuous-seeming crew of people listed beneath the actors in every program, who scurry around in black backstage and hover over the proceedings in the sound and light booth, may not be well-known to most theatregoers, but this silent, hidden army is all-powerful. Techies get almost no share in the glory, but they run the world, and here's how.

E.A. Poe musical Nevermore leads the way with 11 noms

Lynn Ahrens' and Steven Flaherty's musical Once on This Island has a fairy tale feel, but director-choreographer Kevin Archambault can't always get the large-student cast of this St. Edward's University production to bring its colorful, swirling world to magical life.

As Victor, a septic tank salesman burying a shitload of anger in Daniel MacIvor's solo show House, Ken Webster brings the house down, then builds new theatre for the audience.

Director Mark Ramont and his production team stage the world premiere of The Apeman of Manhattan fairly realistically, with some impressive acting, but Rosalyn Rosen's script, in which a well-off advertising executive struggles with her feelings for a former lover who is using her in the worst kind of way, may have you wondering what the show is really all about.

In PEXO, musicians with the Walter Thompson Orchestra, dancers from Ariel Dance Theatre, and several guest artists coax music from instruments, intentionally mangle lines of speech, and draw from a palette of physical movement at the command of conductor Thompson, creating an improvised yet shaped performance that is a complex, scattered spectacle for the ear and eye.

Local mavericks Rude Mechanicals have plundered biographies and scientific history to give us the whole story of maverick inventor Nikola Tesla, and their production Requiem for Tesla, with its unnervingly choreographed lights, arresting video, beautiful period costumes, original score on theremin, strange dance numbers, and working Tesla coil, literally crackles with current.

The Lover, a Harold Pinter drama staged jointly by ONE Theatre Company and the dance troupe Footesteps, is a turn-on, a balance of music, sweet lines, and sensuality.

With Lipstick Traces, the Rude Mechanicals have adeptly created a theatrical adaptation of Greil Marcus' legendary book that is loud, defiant, intelligent, funny, absurd, literate, physical, and fun, a rock concert for your head.

If any company in Austin is equipped to handle the mythological heft of the Greek tragedies, it's VORTEX Repertory Company, and under the direction of Bonnie Cullum, Fractured Greeks, a collection of scenes taken from and inspired by the Trojan War plays of Euripides and Sophocles, holds together pretty well.

Brett Goldstein brings the laughs, Zach Theatre conjures a comet, and more arty events

Seven Keys to Baldpate: Great Ensemble is the Key

The Austin Theatre Critics Table have announced the nominations for their ninth annual awards for achievement in the arts.

Reviews of recent and ongoing exhibitions and performances around Austin

Less Payne, More Pleasure

Beauty Vultures and the Plague of Sleep: Heartwarming Chill

IRS OKs G&S @ CCP

Getting Online With Art

Apollo 10 1/2, Sandra Bullock, and more join movie list

Amped-up comedy fest adds over 100 comics and podcasts

3 Body Problem, more announced for 2024 festival

Not your parent's summer camp, rock & roll camp!