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Ground Floor Theatre’s annual Christmas counter-programming kicks off December with an impeccable downer. The show may be called Parade, but the only thing marching before you is a cavalcade of horrors.
It presents the true story of Leo Frank , a Jewish man falsely accused of murdering 13 year-old Mary Phagan in It was like a retirement party or a birthday party – even a wedding – but certainly not a funeral. From across town, artists, collectors, and gallerists came to pay homage to the matriarch of the Austin arts scene, Lora Reynolds, as she unveiled “Who made the grasshopper?,” her final exhibit at her eponymous gallery. When you enter the gallery for “The Glorious Way She Moves,” you are immediately enveloped in motion. Fabrics cascade from the ceiling, paint flickers across transparent panels, and hints of glitter catch the light. The atmosphere inside Women & Their Work is alive, energetic, and pulsing, a contrast to the hushed stillness of a traditional I grew up down the street from a local community theatre. I never did as many productions as I wanted to – there’s a reason I write about theatre instead – but the atmosphere of the building is ingrained in my mind. I can close my eyes and summon the shadows of the backstage wings, One thing you’ll always be able to say about Walking Shadow Shakespeare: They positively reverberate the joy of the Bard. In their current show, a wildly economical mash-up of Julius Caesar and Antony and Cleopatra that combines both plays into a tidy two-and-a-half-hour runtime, editor and director Steph Crugnola shares her pure love for these On a cool November evening, a lone man wearing a hi-vis vest walked calmly through a dark field at Hornsby Bend. His movements were purposeful, methodical as he went about his work, marking the ground with spray paint. A spotlight on him cast a long shadow as a shuffling jazz tune played softly. He was Texas is big sky country. It’s the first thing I reveled in after fleeing from the Pacific Northwest’s oppressive cloud coverage. Driving into town, gazing at the sunset’s deep purples and oranges in the rearview mirror. Walking in the red-streaked dawn, or tracking storms that actually move across blue skies. Even now, I thrill at For many of the folks behind the Dougherty Arts Center, doing their job right means visitors hardly notice them. Curating and coordinating exhibits, organizing youth and adult educational programming, keeping the doors open and the center safe and clean – all of these tasks uphold the arts programming we know and love and support the artwork I first reviewed the Baron’s Men a year ago, delighting in their Romeo and Juliet. The play was great! But I was deeply, irrevocably smitten with the venue. The Curtain Theatre, a space dedicated to Elizabethan and Jacobean performance art, stole my heart. It’s not a period-perfect re-creation of the Globe, but it came close In a wild swirl of color, rope, fabric, and brushstrokes, Monique Rollins tells a story of beauty and resilience. Her solo exhibition at Dimmitt Contemporary Art, “No Turning Back,” explores the emotional terrain of caregiving and motherhood while speaking to the struggle for balance in everyday life. Rollins, based in Italy, is a student of Summer and Smoke, Filigree Theatre’s season seven opener, has all of Tennessee Williams’ greatest hits: religious angst, sexual angst, and heavy doses of angsty angst, all set against a sweltering summer setting. It’s an interesting production choice for the onset of fall. But just like the cool evenings or rain showers that offer relief as
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