Get your ‘Hamilton’ tickets for Austin right now

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UPDATE 8:57 a.m. Feb. 28: Broadway in Austin has paused its acceptance of new subscribers for the 2018-2019 season that includes the smash musical “Hamilton.” Current subscribers to the 2017-2018 season can still renew their seats through March 27.

New subscribers to the Texas Performing Arts series can sign up for the waiting list to be notified if additional season tickets become available.

This pause is quite unusual, perhaps unprecedented in the history of touring shows at the University of Texas’ Bass Concert Hall. Demand must be incredibly high.

———-

At last you have permission to order those “Hamilton” tickets for the once-in-a-generation musical that will stop in Austin at Bass Concert Hall for three weeks in 2019.

Michael Luwoye and Isaiah Johnson in the ‘Hamilton’ national tour. Contributed by Joan Marcus

The happy catch? To secure those tickets beginning at 11 a.m. Feb. 20 when the Broadway in Austin call center opens, you must subscribe to the whole 2018-2019 season, presented by Texas Performing Arts at Bass Concert Hall. That means six other shows, including one comedy, three relatively new musicals and two long-running Broadway standards. Single tickets to “Hamilton” and the other shows will go on sale at a later date.

Yet let’s start with “Hamilton,” which plays May 28-June 16, 2019, at the very end of the coming season.

RELATED: Broadway smash ‘Hamilton’ coming to Austin in 2018-2019 season

“We have been building up to this season since ‘Hamilton’ opened on Broadway,” says Kathy Panoff, Texas Performing Arts director and associate dean of the University of Texas School of Fine Arts. “We’re thrilled it’s finally coming to Austin.”

Lin-Manuel Miranda reinvented the musical theater form with this ferociously smart show about Alexander Hamilton, inspired by Ron Chernow’s best-selling biography. Using a range of musical styles in a sung- and rapped-through score — as well as mostly nonwhite actors, who give every old idea new meaning — the show opened on Broadway in 2015. It has been sold out ever since, and individual tickets can go for hundreds of dollars.

Yet season ticket prices for all seven Broadway in Austin selections, including “Hamilton,” start as low as $224.

While you are holding your breath for the Great Arrival, six other shows wait in the Bass Concert Hall queue.

Alex Mandell and Amelia McClain in the ‘The Play That Goes Wrong,’ the only nonmusical in the Broadway in Austin season. Contributed by Jeremy Daniel.

The one comedy — a rare nonmusical for Broadway in Austin — is “The Play That Goes Wrong,” a British product that has been compared to the backstage farce “Noises Off.” In this show, things go disastrously wrong during the opening night of a play called “The Murder at Havensham Manor,” proving that theatrical life is often the theater’s most effective subject. It lands Oct. 23-28, 2018.

Among the new musicals, “Love Never Dies” is an Andrew Lloyd Webber tuner billed as a sequel to his mega-hit, “The Phantom of the Opera.” Lloyd Webber, however, once said: “I don’t regard this as a sequel — it’s a stand-alone piece.” He later clarified his remarks, saying that of course it is a sequel, but you need not have seen “Phantom” to understand it. Fair enough. It stumbled during its original London run but was embraced in Australia. “Love” tarries Nov. 27-Dec. 2, 2018.

‘Waitress’ is based on a charming indie movie. The musical has run on Broadway for two years. Contributed

Another new musical, “Waitress,” was inspired by the charming 2007 independent movie by the same name and features an admired score by singer-songwriter Sara Bareilles, who currently stars in the New York cast. The musical version of “Waitress” opened on Broadway in 2016 and is still running, which is a feat for a relatively quiet, personal show. It tells of a cafe server stuck in an unhappy marriage who is pregnant and having an affair and who seeks redemption through a pie contest. It takes your orders Jan. 22-27, 2019.

Before becoming a Broadway musical, ‘Anastasia’ was a book, play, film and animated movie. Contributed

“Anastasia,” the third new musical, shares an Austin connection. Local arts backers Marc and Carolyn Seriff are among the credited producers. The 2017 musical is based on the 1997 animated film — itself inspired by plays and novels about the recovery of a possibly lost Russian princess — and many of its fans remain loyal from that experience. It received lukewarm notices in New York, but, based on its built-in appeal, the producers immediately announced a worldwide tour. It appears Feb. 12-17, 2019.

The older musicals need no introductions. “Fiddler on the Roof,” the 1964 Bock and Harnick classic based on shtetl life, brings back Jewish traditions and indelible songs April 2-7, 2019. The musical focuses on Tevye, a dairyman with five daughters who must deal with changing cultural norms as well as the expulsion of the Jews by the Czar’s forces.

The record-breaking show comes to Austin by way of a fresh production from director Bartlett Sher.

Andrew Lloyd Webber’s indestructible “Cats,” which debuted on Broadway in 1982 and then ran 18 years, shows up on our collective doorsteps again May 7-12, 2019. You either hate or love this show based on T.S. Eliot poems about feline life and afterlife. There’s no denying that tunes such as “Memory” are hard to pry from your mind. Whether you cotton to the furry costumes, circus makeup and undulating choreography is a matter of personal preference.

How to land tickets to ‘Hamilton’ and more

The seven-show Lexus Broadway in Austin 2018-19 season subscriptions go on sale starting at 11 a.m. Feb. 20. Prices start as low as $224. Visit broadwayinaustin.com or call Broadway in Austin at 800-731-7469 from 9 a.m. to 5 p.m. Monday through Friday. The deadline for current season subscribers to renew their seats is March 27. Groups of 10 or more may request reservations by calling 877-275-3804 or via email at Austin.Groups@BroadwayAcrossAmerica.com. Individual show ticket sales will be announced at a later date.

San Antonio Symphony capsizes again

The San Antonio Symphony, periodically threatened, has canceled the rest of its 2017-2018 season.

Over the weekend, its board of directors decided to suspend play by symphony. Its tricentennial performances this weekend will be its final ones.

Symphony Lang-Lessing
Symphony fans gather around to greet Sebastian Lang-Lessing (not pictured) as he is introduced as the new music director of the San Antonio Symphony during a brief ceremony and concert at Municipal Auditorium, Tuesday, Feb. 16, 2010. Bob Owen/rowen@express-news.net

Almost every year since I started reporting on the arts in the 1980s, the San Antonio Symphony has been on the brink of disaster. And I remember stories about its precarious state from my youth.

It’s one of those cases where the old-school donors always insisted it had to compete in size and quality with Houston and Dallas, but without the financial resources, foundations or corporate headquarters that fueled those ensembles. Old San Antonio just never believed they had been left behind.

Austin could never compete in those leagues and knew it, and so remained smallish, part-time and pay-per-play. At one point, discussions were underway to merge the management of the Austin Symphony and its sibling counterpart.

The most recent corporate white knight for San Antonio was H-E-B. Obviously, it didn’t work out.

The more progressive-minded forces down there thought they had solved part of the problem when they moved from the drafty, oversized Majestic Theatre — their counterpart to the Paramount Theatre, but on steroids, since SA was the big city in Texas in the 1920s — to the Tobin Center for the Performing Arts, a smart project not unlike the Long Center for the Performing Arts that renovated an old, multi-purpose municipal auditorium.

In fact, some of the same design players were involved.

That clearly didn’t work either. The board needed $2.5 million to complete the season.

“We would not be able to raise that much money in such an abbreviated time,” Alice Viroslav, board chairwoman of the 78-year-old Symphony Society of San Antonio, told the Express-News.

 

Former Austin Symphony conductor Maurice Peress dies

Maurice Peress, music director of the Austin Symphony from 1970 to 1972, died on Dec. 31. He was 87.

American-Statesman, Sept. 13, 1970

An assistant conductor to Leonard Bernstein at the New York Philharmonic, Peress conducted the first performance Bernstein’s “Mass” at the Kennedy Center. The multi-media masterpiece is slated to be performed in Austin this June in celebration of “Bernstein at 100,” to be led by Peter Bay.

A professor and author, Peress was director of the Kansas City Philharmonic and conducted internationally with the Vienna State OperaPrague Spring Festival and all over China. He also conducted key productions of Bernstein’s “Candide” and “West Side Story.”

He taught at the Aaron Copland School of Music at Queens College and he led the Queens College Orchestra.

His 2004 book, “Dvorak to Duke Ellington: A Conductor Explores America’s Music and its African-American Roots,” was widely praised.

Before coming to Austin, where he taught at the University of Texas, Peress conducted in Corpus Christi. For a while, he was music director in both cities. He led UT’s University Symphony Orchestra. In Corpus, he put together an annual opera, staging rarely performed works such as Hector Berlioz‘s “Beatrice and Benedick.”

Concerned with widening Texas audiences for classical music, Peress produced a series of televised “Concert Talks.” His Austin Symphony programs did not shy away from Gustav MahlerIgor Stravinsky and other composers that have fallen out of favor at times with the ensemble’s chief backers.

“His innovative and exciting concerts have inspired new enthusiasm within the community,” Jane Sibley, then president of the Symphony Society, told this newspaper in 1971 when Peress was signed to a three-year contract. “Needless to say, we are delighted that he is pleased with Austin and has agreed to another three years.”

Nevertheless, Peress, citing an overburdened schedule, announced his resignation at the intermission of the orchestra’s last regular subscription concert in 1972.

American-Statesman Amusements Editor John Bustin wrote of that concert: “It was, in every sense, a thrilling performance.”

Catching a bit of culture on the University of Texas jumbotron

The jumbotron at Darrell K. Royal Texas Memorial Stadium. Contributed by Wikipedia

The 2017 Longhorns football team seems to be the real deal. Its three losses were close and two of those were against highly ranked teams. The next home game is Oct. 21 against Oklahoma State University. At times at Darrell K. Royal-Texas Memorial Stadium, all eyes will be on the jumbotron, which will run three Roy Spence-inspired promos for three top cultural attractions on the University of Texas campus.

Using UT’s patented “What Starts Here Changes the World” slogan, the short videos tout the wonders of the Blanton Museum of Art, Harry Ransom Center, and LBJ Presidential Library.

“UT is renowned for its academics, athletics and vibrant pace of life,” Spence, cofounder of GSD&M creative agency, says. “We also wanted to shine a light on the rich culture that makes UT so extraordinary: its arts and their historical positive impact on society. Within walking distance to the football stadium, UT’s cultural and history-making treasures are a special part of the campus and its legacy. This was an opportunity to showcase those in a big way to both students on campus and nationally to our football fans.”

In addition to running on the jumbotron prompts, the Longhorn Network will air the ads. I hope the creators in coming years expand the program to include the Briscoe Center for American HistoryTexas Performing ArtsBenson Latin American Collection and other UT easily accessible to the general public.

Help build a cool Patrick Dougherty sculpture in Pease Park

What a rush: Pease Park Conservancy has put out a call for volunteers to help build a major sculpture in the park in January 2018.

Patrick Dougherty’s “Easy Rider” (2010). Dumbarton Oaks, Washington, D.C. Contributed by Andy Lynch

Designed by renowned artist Patrick Dougherty, this will be the latest Stickwork, a series of over 275 distinct sculptures around the world.

According to a Pease Park communiqué, it will take about three weeks to build the site-specific piece – comprised entirely of locally harvested saplings – which is intentionally built for the community by the community.

“Volunteers are needed for single day shifts, although if the project really gels with the right person they are welcome to help out for longer,” says spokesman Mason Kerwick. “Since Patrick will be on site every day guiding the shape of the piece, this is the perfect opportunity for anyone curious to learn more about the artistic process of an internationally renowned artist – while also spending time outdoors, enjoying the sunshine and nature in one of Austin’s oldest park.

Once complete, the sculpture will remain on display in Pease Park for a few years.

 

Timely play about Trump Era makes it to UT

A 90-minute drama about America after an envisioned President Donald Trump impeachment opens at the University of Texas on Wednesday. A public conversation follows on Sept. 7.

SEE FULL STORY HERE.

David Sitler plays Rick and Franchelle Stewart Dorn plays Gloria in “Building the Wall.” Contributed by Lawrence Peart

Here’s a peek at my story about Robert Schenkkan‘s “Building the Wall.” —

As timely as the latest political scandal, “Building the Wall” issued like a blaze of lighting from the mind of Robert Schenkkan, the Tony Award- and Pulitzer Prize-winning author who grew up in Austin.

The 90-minute, two-person drama about America after an envisioned impeachment of President Donald Trump has its regional premiere at the University of Texas on Thursday and runs through Sept. 10. A public conversation will take place on Sept. 7 at the Brockett Theatre.

Not that long ago, “Building the Wall” was barely a sketch of an idea in Schenkkan’s mental notebook. Yet possessed by the play’s force, he wrote it expeditiously in October, just before the presidential election.

Multiple theaters picked it up immediately, and it reached New York on May 24, which in theatrical terms is like an overnight turnaround. That run was short-lived, but a Los Angeles version was extended several times, and other productions have opened or are in rehearsals around the world.

“I felt the moment was urgent,” Schenkkan says. “It was good to see that as an artist I could respond quickly and that my community would join me. I met so many different artists at different theaters all over the country, institutions I didn’t know, or only knew by reputation, and everybody who participated in this did so with tremendous enthusiasm and excitement because they, too, felt the urgency of the moment and the need to do something, to respond to this extraordinary political crisis.”

Artists and audiences prepare now for the coming Austin arts season

The Austin arts season is upon us.

Wait, you say, it’s just July.

Right.

Jeff Lofton plays the Long Center on Oct. 25.

With some exceptions, arts and other cultural groups — we include major literary and historical outlets — don’t return to full form until September.

Yet now’s the time for all arts groups to confirm their seasonal slates and for all readers to consider purchasing season tickets.

In fact, for some high-demand groups, if you haven’t secured your 2017-2018 subscriptions already, you’re stuck with angling for single slots.

For instance, galvanized by the chance to secure tickets for the matchless musical, “Hamilton,” in the 2018-2019 season, more than 3,000 new subscribers have signed on for Broadway in Austin’s 2017-2018 offerings.

RELATED: Broadway smash “Hamilton” coming to Austin in 2018-2019 season.

Now, some groups don’t operate on the traditional season system, rolling out one show at a time. Others split up their seasons. For instance, the Long Center for the Performing Arts won’t announce its Winter/Spring slate until September.

We respect that. What will follow soon in these pages is a list of shows that we could discover with relative ease in July. We’ll add others to digital extensions on the Austin Arts blog when they arrive.

Time to plan your fall season at the Long Center

A picture of Austin’s fall arts season is falling into place. The latest booking news is from the Long Center for the Performing Aarts. We rearranged, condensed and edited for style their fine descriptions of the following.

Notice that the fall season begins in July. Why not? We only wish the weather would comply.

Also, there’s a lot of other offerings, including Summer Stock Austin, at the center that aren’t part of this season package, so stay alert.

A character from Legend of Zelda. Contributed

“The Legend of Zelda: Symphony of the Goddesses
”


Dell Hall, July 7

Coinciding with the newly released “The Legend of Zelda: Breath of the Wild” and Nintendo’s new Switch, this returns to the Long Center stage on July 7 for one performance only. Now in its fourth season and featuring new music and video, the concert comes to life with a 66-piece orchestra, 24-person choir.

“Fun Home”

Dell Hall, Aug. 11-13

The winner of five 2015 Tony Awards including Best Musical, Best Score, Best Book and Best Direction, this unusual show is based on Alison Bechdel’s 2006 best-selling graphic memoir.

“An Evening with The Piano Guys

Dell Hall, Aug. 23

The Piano Guys have become an internet sensation by way of their immensely successful series of self-made music videos, leading to over 500 million YouTube views.

Carrie Rodriguez. Jay Janner/American-Statesman

“An Evening with Carrie Rodriguez
”

Rollins Studio Theatre, Aug. 30

Austin native Carrie Rodriguez is a fiddle playing singer songwriter who approaches her country-blues sound with an “Ameri-Chicana” attitude.  Her latest release, “Lola,” takes her back to her ranchera musical roots and was hailed as the “perfect bicultural album” by NPR’s Felix Contreras.

Manual Cinema: “Lula Del Ray”

Rollins Studio Theatre,  Sept. 13-14          

This troupe of theatrical artists are not just puppeteers, but creators of otherworldly landscapes through a striking combination of live actors, old-school projectors and silhouette magic.

“Kaki King: The Neck is a Bridge to the Body 
”

Rollins Studio Theatre, Sept. 16

Hailed by Rolling Stone Magazine as “a genre unto herself,” composer, guitarist, and recording artist Kaki King performs her latest work — a simultaneous homage and deep exploration of her instrument of choice. In this bold new multi-media performance, Kaki deconstructs the guitar’s boundaries as projection mapping explores texture, nature, and creation.

Terrence Malick’s “The Tree of Life”

Dell Hall, Sept. 30

Part coming-of-age story and part divine commentary, Terrence Malick’s star-studded and slow-burning art film, “The Tree of Life,” sparked a dialogue within the industry about memory, the meaning of life, and the role that film can play in representing those ideas. Screening with live score performed by Austin Symphony Orchestra and Chorus Austin.

“Star Wars: A New Hope”

Dell Hall, Oct. 11–12

John William’s legendary “Star Wars” score didn’t just enhance a great story, it gave life to an entire galaxy. From “Binary Sunset” to the “Imperial March,” the themes of “A New Hope” ushered in a renaissance of film music, the likes of which Hollywood had never seen before. A special screening with live score performed by the Austin Symphony Orchestra.

“Shopkins Live!”

Dell Hall, Oct. 21

This lights up the stage in this premiere live production packed with show-stopping performances featuring the Shoppies and Shopkins characters taking the stage with an all-new storyline, music, and videos. Join Jessicake, Bubbleisha, Peppa-Mint, Rainbow Kate, Cocolette, and Polli Polish as they perform the coolest dance moves, sing the latest pop songs, and prepare for Shopville’s annual “Funtastic Food and Fashion Fair.”

Jeff Lofton. Contributed by Claire Newman.

“The Jeff Lofton Electric Thang
”

Rollins Studio Theatre, Oct. 25

Jazz artist Jeff Lofton – together with his groups The Jeff Lofton Trio and his Electric Thang – has quickly become a household name around Austin’s low-key bars and jazz lounges.

An evening with Maureen Dowd and Carl Hulse In Conversation

Dell Hall, Saturday Nov. 18

Pulitzer Prize-winning journalist and Op-Ed columnist for the New York Times, Maureen Dowd, and award-winning author and the Times’ Chief Washington Correspondent, Carl Hulse, will examine the state of the nation one year following the most divisive presidential election in American history. Join us for an evening of incisive dialogue as Dowd and Hulse discuss how we got here and what lies ahead.

“Santa on the Terrace”

City Terrace, Nov. 24 

Bring the family and join us on the City Terrace and take some time out of the busiest holiday of the year to celebrate the season. Bring the kids for a free photo with Santa and enjoy holiday treats, activities and entertainment, all overlooking the best view in Austin!

“Rudolph The Red-Nosed Reindeer: The Musical”

Dell Hall, Nov. 24-25

The favorite TV classic soars off the screen and onto the stage in this beloved adaptation. Come see all of your favorite characters from the special including Santa and Mrs. Claus, Hermey the Elf, the Abominable Snow Monster, Clarice, Yukon Cornelius, and of course, Rudolph brought to life.

Graham Reynolds. Jay Janner/American-Statesman

“Graham Reynolds Ruins the Holidays”

Rollins Studio Theatre, Dec. 20

Composer and bandleader, Graham Reynolds, along with some of Austin’s best musicians wreak musical havoc with an explosive set of holiday favorites. By playing most of them in a minor key, Reynolds and his band bring a new perspective to these season standards.

“A Christmas Story: The Musical”

Dell Hall, Dec. 29–31

After a smash-hit Broadway run garnering three Tony-Award nominations including Best Musical, this Christmas classic returns for another year. Based on the perennial holiday movie favorite, the story takes place in 1940s Indiana, where a bespectacled boy named Ralphie wants only one thing for Christmas: an official Red Ryder Carbine-Action 200-shot range Model Air Rifle.

 

Arts ringleader Paul Beutel to retire from the Long Center

After more than four decades as an arts leader wearing countless hats, Paul Beutel has announced that he will retire from the Long Center for the Performing Arts on June 30.

A respected actor and singer, Beutel also reviewed movies and theater for the American-Statesman, worked as marketing director for what is now Texas Performing Arts, served as director, producer and presenter at the Paramount Theatre for almost two decades, ran Miller Outdoor Theatre in Houston, and wound up his career as senior programming manager at the Long Center.

Head shot
Longtime arts leader Paul Beutel to retire. Contributed

“It’s hard for me to believe that I have been working in this wonderful and crazy business for 42 years, the last eight-plus years at the Long Center,” says Beutel. “It’s even harder for me to believe that at the end of the month, I will celebrate my 67th birthday. Thus, it seems like a good time to bring the curtain down on this phase of my life and retire.”

I first spotted Beutel onstage in “Carnival” at TUTS in Houston in the early 1970s. He was already a fixture in the Austin arts scene when I arrived in 1984. He was especially good at booking shows with undeniable entertainment value and populist appeal. Beutel also played a major role in the long tenure of the “Greater Tuna” plays, for instance, and Austin Musical Theatre at the Paramount. He also nurtured the theater’s still popular summer classic movie series.

RELATED: Jaston Williams cooks up another bit of ‘Greater Tuna.’ Jaston Williams cooks up another bit of ‘Greater Tuna.’

Helming the Paramount through stormy financial waters, Beutel was always known as a passionate advocate but also a straight shooter who didn’t dodge hard questions from the press.

He has held several positions at the Long Center, including interim executive director from 2010 to 2011. He was also instrumental in amplifying the center’s educational programs through events such as the Greater Austin High School Musical Theatre Awards.

RELATED: All rise for Austin high school musicals!

“I can’t thank Paul enough for his years of service to both the Long Center and the greater performing arts field,” says the center’s director and CEO Cory Baker. “He is truly a legend and I will always be grateful for the opportunity to work alongside him in Austin. The Long Center would not be the organization it is today without his dedication, passion and remarkable instinct. We expect to still see Paul around often as he will always be a member of our family.”

Beutel’s retirement plans include “catching up on approximately 125 DVDs and having a cocktail or two with the many friends I’ve made in this business over the years.”

UPDATED: In Houston, Beutel operated Miller Outdoor Theatre.

The warm, loving, slightly boozy embrace of the Austin Critics Table Awards

The Austin Critics Table Awards ceremony was long. Very long. A record four hours at Cap City Comedy Club.

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Yet the 25th anniversary celebration of all things arts might have been the best one ever. Because every minute was a warm, loving, slightly boozy embrace between artists and the writers who cover them.

I loved every tribute from the critics and (almost) every enthusiastic and authentic acceptance speech. (Why do some people choose a moment of honor to be mean?) Bonus: a witty proclamation from Austin Mayor Steve Adler for the occasion

RELATED: Behold: The Austin Critics Table Awards nominees

Some people — well, a lot of people — left early. But then they missed the best acceptance speech of the evening, given by Christine Hoang, who shared the David Mark Cohen New Play Award with Lisa Thompson, and who talked about how each word from her reviews reduced her “imposter anxiety,” and whose bilingual play, “A Girl Named Sue,” represented a social and cultural leap for the descendants of Vietnamese refugees and their families.

The big news, however, was the expansion of the Critics Table to 20 members including web-based writers, a move I’ve strongly supported for years. The Table began with just five of us newspapermen, sole survivor Robert Faires reminded us — I no longer vote — and over the years has included more than 50 writers.

AUSTIN CRITCS TABLE AWARDS 2016-2017

W.H. “Deacon” Crain Award for Student Work: Madison Williams, Emily Ott

Lighting Design: Jason Amato (“Atlantis: A Puppet Opera”), Patrick Anthony (“A Perfect Robot,” “Old Times”)

Group Gallery Exhibition: “The First Horizons of Juno: Christina Coleman, Jane Hugentober, Candice Lin, Karen Lofgren, Christine Rebet, Alice Wang and Chantal Wnuk,” Mass Gallery

Museum Exhibition: “Nina Katchadourian: Curiouser,” Blanton Museum of Art

Singer: Donnie Ray Albert (“The Manchurian Candidate,” “I Too: The Voices of Langston Hughes”), Liz Cass (“Pancho Villa From a Safe Distance”), David Adam Moore (“The Manchurian Candidate”), Paul Sanchez (“Pancho Villa From a Safe Distance,” “A Christmas Carol”)

Chamber Performance: “I, Too: The Voices of Langston Hughes,” Living Paper Song Project

Original Composition/Score: “Pancho Villa From a Safe Distance,” Graham Reynolds & Lagartijas Tirades al Sol

Scenic Design: Chris Conard (“Totalitarians,” “The Drowning Girls”), Desiderio Roybal (“Clybourn Park,” “The Price,” “The Herd”)

Short Work, Dance: “Camille: A Story of Art and Love,” Jennifer Hart

Solo Gallery Exhibition: “Tammie Rubin: Before I Knew You, I Missed You,” De Stijl Podium for Art

Artist: Deborah Roberts

Costume Design: Susan Branch Towne (“One Man, Two Guv’nors,” “The Resistible Rise of Arturo Ui”)

Dancer: Alexa Caparedo (“Tikling(bird),” “Loose Gravel”), Amy Morrow (“Hiraeth,” “We’ve Been Here Before”)

Ensemble Dance: Dance Repertory Theatre (“Momentum”)

Gallery, Body of Work: “Museum of Human Achievement”

Independent Project: “Workout with Erica Nix,” Erica Nix

Ensemble, Classical: Schumann Chamber Players

Classical Concert/Opera: “The Manchurian Candidate,” Austin Opera

Sound Design: Lowell Bartholomee, “Clybourne Park,” “Fahrenheit 451”

Direction: Jenny Lavery (“The Drowning Girls”), Lily Wolff (“Lungs”)

Dance Concert: “Las Cuatro Estaciones: A Story of Human Trees,” Sharon Marroquin, produced by Latino Art Residency Project, Emma S. Barrientos Mexican American Cultural Center

Choreographer: Lisa Nicks, “Dear Johnny, in Response to Your Last Letter”

Digital Design: Greg Emetaz, “The Manchurian Candidate”

David Mark Cohen New Play Award: “A Girl Named Sue” (Christine Hoang), “Underground” (Lisa Thompson)

Ensemble, Theater: “Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe,” Doctuh Mistah Productions

Actor: Liz Beckham (“Lungs,” Neva,” “Clybourne Park), Chase Brewer (“Hand to God”), Michael Joplin (“Lungs”), Amber Quick (“One Man, Two Guv’nors,” “Charlotte’s Web,” “The Herd”)

Production, Theater: Clybourne Park (Penfold Theatre), “The Drowning Girls” (Theatre en Bloc), “The Great Society (Zach Theatre)

Special Citations: Luis Armando Ortiz Gutierrez, Jeanne Claire van Ryzin, Andrea Ariel, Babs George, “Rambunctious,” Jennifer Sherburn for “11:11,” Theatre Synesthesia, Sandy Yamamoto, Thr3e Zisters,” Amy Downing.

Austin Arts Hall of Fame: Katherine Brimberry and Mark L. Smith, Zell Miller III, Kate Warren

UPDATE: Thanks to Robert Faires for correcting some embarrassing typos in names banged out quickly this morning.