The blazing news that stands out from the recently announced Austin Shakespeare season is the return of beloved actor and Universityof Texas professor Fran Dorn in a staged reading of “Antony and Cleopatra” in October (dates to be announced).
Otherwise, the mid-sized theater company splits its main season between the Bard and other classically inspired dramatic literature.
The free Shakespeare in the Park option will be “The Merchant of Venice” in May 2019 at Zilker Park. The Young Shakespeare selection is “Macbeth” in June 2019 at the Curtain, the Elizabethan-style theater out on Lake Austin.
The 20th-century choices are Tennessee Williams‘ “Cat on a Hot Tin Roof” (November-December) and Tom Stoppard‘s “Indian Ink” (February 2019). Luckily, much can be found about both playwrights in the archives of the Ransom Center.
Austin Shakespeare also plans a collaboration with the Austin Chamber Music Festival in the summer of 2019.
Still left on the 2017-2018 docket are the chamber music joint effort over scenes from “A Midsummer Night’s Dream” (July 22); “Shakespeare and All That Jazz” at Parker Jazz Club (July 8); and the remaining run of its Young Shakespeare “Hamlet” at the Curtain (through June 24).
At some point, South by Southwest will encompass all human activity.
Austin’s vast March spree started with music in the 1980s, then added movies and technology, before taking on education, philanthropy, the environment and allied fields.
Art came next.
Today, SXSW announced six art projects for its second annual program scheduled for the conference and festivals March 9-18, 2018. Combined with the UNESCO Media Arts Exhibition at SXSW, the installations are meant to expand the discussion on visual and digital and media arts during the confab.
It’s one of the most charismatic spots in the city — the Long Center City Terrace.
From the day that the performing arts center opened in 2008 — that’s right, almost 10 years ago — the semi-circular procession of columns left over from the old Palmer Auditorium made a powerful people magnet.
The view of the downtown skyline is priceless, even after the addition of some south shore buildings that cut off the view to the east. Instantly, everyone needed portraits on that terrace. Festivals and concerts followed. Pre-show, intermission and after-show crowds lingered there above a grassy hill.
So a naming opportunity for the terrace, right? H-E-B, one of the most munificent corporate citizens in Texas, has stepped up to the plate with five-year naming agreement for an undisclosed amount of money. Say hello to the H-E-B Terrace.
The name change will be made official at 9:30 a.m. Nov. 24, to be followed from 10 a.m. to 1 p.m. by a free holiday event dubbed “Santa on the Terrace.”
“Our collaboration with H-E-B has been very valuable to the Long Center and the city of Austin,” says Cory Baker, president and CEO of the center. “Their dedication to the community and to providing access to the arts is something we both feel passionately about.”
“We are thrilled to be able to strengthen our partnership with the Long Center as we share in the belief that arts are an integral part of building a strong community, understanding our diversity, preserving our history, and building our future,” says Jeff Thomas, H-E-B senior vice-president and general manager for the Central Texas region. “The H-E-B Terrace is the ideal community gathering place for these beliefs to intersect – it is the heart of the Austin arts district and welcomes everyone to experience art in a public way.”
This weekend, hundreds of the most amazing quilts you’ve ever seen will be on display at Houston’s quilt show, one of the largest gatherings of its kind in the world. I attended for the first time last year and was blown away by the pieces on display. We met quilters from all over the world who were creating some seriously jaw-dropping pieces of art.
Just in case you need an excuse to head to Houston this weekend for the festival, here are six of them:
1) Quilts are amazing. No really. Quilts. Are. Amazing. If you think you have a notion of what a quilt is, this show will redefine whatever that definition is.
2) Quilts are modern art. Modern and contemporary quilts were what hooked me on quilts in the first place, and although this is a show that encompasses many different quilting styles, you’ll find plenty of pieces that belong in the Houston Museum of Fine Art.
3) Quilts are old. For as long as America has been a country, Americans have been sewing together scrapes of fabric to make quilts. Quilt historians will tell you that you can learn a lot about the country through these pieces of folk art, and the Houston quilt show always has a historical exhibit. This year, one of them is called “Quilts 1650-1850: From ‘Broderie’ to ‘Broderie Perse’.” Last year, we saw giant quilts from the 1800s that made you wonder how people sewed such large pieces by hand.
4) Quilts are activism. Every quilt show I’ve ever been to has at least one shocker. I’ve seen quilts that say “(Expletive) cancer” and another that was an American flag made out of guns. This year, the Houston Quilt Festival will feature Jeanne Hewell-Chambers’ THE 70,273 PROJECT, which refers to the number of disabled people killed by the Nazi regime.
5) Support Houston after Harvey. Even with the Astros in the World Series, it’s been a tough year for Houston, but that won’t stop thousands of people from around the world from attending this quilt show and spending money in a city that could use the bump in tourism.
6) Find other fabric arts nerds. Maybe you like to knit or crochet or sew baby clothes. Maybe you’re into batik or tie dye. The market area of the Houston Quilt Festival abounds with fabric and craft vendors, as well as people who specialize in vintage fabrics and quilts, and it’s fun to stroll through the aisles to find the new ways that people are making cool stuff from fabric and thread.
Can’t make it to Houston this weekend? The folks who put on the quilt show also run the Texas Quilt Museum in La Grange, which is open year round. They rotate the quilts on display several times a year, and every time I’ve been, I find quilts so stunning them stop me in my tracks.
En route between two glorious musicals — “A Chorus Line” at Texas State University and “Singin’ in the Rain” at Zach Theatre — on Saturday, my traveling companions paused to consider the American-Statesman arts coverage for just the past week. We were able to rattle off at least 10 significant stories by staff reporters and freelancers during the previous seven days, Sept. 22-28.
Later I thought, hey, 10 in seven ain’t bad. Why not share the bounty here? Dates are for original digital publication. This fat list doesn’t even include substantial descriptions of arts events that appeared on Page 2 of the Austin360 section, thanks to the extraordinary Ari Auber.
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.
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.
The free Fusebox Festival — an eclectic celebration of art in its many forms — opens today and runs through Sunday at venues throughout Austin. As Michael Barnes explained in his preview, the festival isn’t just about artists showing off their creative endeavors; it also “urges them to engage with their audiences around the big ideas of the day,” such as the border and community health.
Here are three top picks from among the Fusebox events from our preview story:
“Pancho Villa from a Safe Distance,” April 14-15, Stateside at the Paramount Theatre
This is one we have been anticipating for a long time. A chamber opera composed by Graham Reynolds, it was conceived and executed in collaboration with Rude Mechs director Shawn Sides and the Mexican theater collective Lagartijas Tiradas al Sol, which contributed the libretto. Using the biography of Pancho Villa, it plays with the culture and politics of West Texas through the eyes of Mexicans and Mexican-Americans.
Bonus: Additional lyrics by poet and novelist Carrie Fountain.
“The score is part chamber suite, part rock opera and part cinematic soundscape,” Fusebox founder Ron Berry says. “The influences run from Chavela Vargas and Los Tigres del Norte to Shostakovich and Bartok to the Los Lobos offshoot the Latin Playboys.”
“Meeting,” April 12-16, Scottish Rite Theater
In this piece from Australians Antony Hamilton and Alisdair Macindoe, two performers interact with 64 robotic percussion instruments. Hamilton provides the irresistible movement, Macindoe the machine sounds.
Bonus: You have five chances to catch this 50-minute marvel.
“Technically, the dancers are ridiculously talented and rigorous,” Berry says. “The influences range from ballet to hip-hop and breakdancing, particularly popping. Conceptually, the piece is super tight. They take a particular idea and go very deep with it, which I really appreciate and enjoy.”
Al Volta’s Midnight Bar, 9 p.m.-2 a.m. April 12-16, Saengerrunde Halle
“Al Volta’s is especially exciting because it’s a super fun pop-up bar,” Berry says. “The food will be changing every night. It’s also an opportunity to meet other audience members, artists and arts professionals from all over the world. The artistic programming is some of the most fun and diverse in the festival.”
Why sit or stand around with the artists in an old German bowling alley?
“Let’s dissolve that barrier between audience, artist and art!” Berry says. “Let’s all hang out together and talk about the world. And then we combine this with our own love of bars. I spend a lot of time in bars, turns out. Occupational hazard. But I do love a good bar.”