Before you know it, Summer Stock Austin will be packing folks into the air-conditioned Rollins Studio Theatre for three shows at the Long Center for the Performing Arts.
Last year, we were bowled over by “Annie Get Your Gun” and mightily amused by “Monty Python’s Spamalot” as performed by students and young pros.
The three selections this year:
“The Music Man” (July 20-Aug. 11) Meredith Wilson‘s classic about a con man selling the idea of a marching band to small-town Iowa is an ideal match to the Summer Stock project. Bonus: Top teacher Ginger Morris directs and choreographs.
“Dirty Rotten Scoundrels” (Aug. 1-11) This adaptation of the Steve Martin-Michael Caine movie — also about swindlers — is not revived often enough. We admired the David Yazbek-Jeffrey Lane show on Broadway but haven’t seen it since. Dustin Gooch directs.
“Rob1n” (July 24-Aug.11) Every year, Austin national treasure Allen Robertson contributes a new show to the Summer stock season. He worked with Damon Brown on the book for this family-friendly version of the Robin Hood tales — hey, another lovable criminal?).
Robertson’s job? He only wrote the music and lyrics, co-wrote the book and serves as the show’s director and music director.
Tickets are available at TheLongCenter.org or by calling (512) 474.LONG (5664). Also available at the Long Center’s 3M Box Office located at 701 West Riverside Drive at South First Street. For groups of 10 and more, please call 512-457-5161 firstname.lastname@example.org.
UPDATE: Admirers of Margaret Perry have announced “A Life in Music: The Margaret Perry Memorial Concert” for 11 a.m. May 25 at St. Martin’s Lutheran Church at 606 W. 15th Street.
Perry died on April 5. She asked for a concert rather than another kind of memorial service; also no photos or speeches. The event, of course, is free and open to the public, and folks will gather for a light lunch in the Fellowship Hall after the concert.
Perry chose the music and the musicians, who include:
“Margaret was an amazing person who took the school to heights James and I never imagined,” said Larry Connelly, Armstrong’s surviving husband. “James was always so proud to have his name associated with such a great organization.”
“Her imprint will be forever on the Armstrong Community Music School, the staff that followed her vision wholeheartedly, and the faculty that shared her mission of service and excellence,” said Rachel McInturff, the director of the school’s finance and administration. “Her wisdom guided many. Her laughter uplifted all. She will be deeply missed.”
Perry originally trained as a harpsichordist and played with various baroque music groups. She served for several years as pianist for Houston Ballet. Although she taught piano privately for decades, she was know to the larger arts community as a lecturer and arts educator. Often when she led the education efforts at Austin Opera, she helped explain the shows before each performance.
Perry served on numerous boards of directors before and after the founding of the Armstrong School in 2000. At the time, it was the only American community music school established by an opera company. She won numerous honors and was inducted into the Austin Arts Hall of Fame in 2012.
Jeff and Gail Kodosky, Laura Walterman,Austin Gleeson and other benefactors have established the Margaret Perry Endowment Fund which has already attracted $200,000 and is managed by the Austin Community Foundation.
A memorial concert at a time to be determined will feature music only, no speeches or photos, followed by a reception.
This is a developing story. Check back for more details.
Kids rush into the doors and hang out the windows. Adults step gingerly over the mulch floors and step back to view the five, tall, curved, leaning structures that look like something from “Where the Wild Things Are” or “The Hobbit.”
“We let the kids in early,” says StickWork artist Patrick Dougherty. “They weren’t sure they were allowed to come in the gate.”
The fences come down today. The public unveiling is 1 p.m.-3 p.m. Feb. 10, courtesy of the Pease Park Conservancy.
“We wanted to make a cathedral,” Dougherty says. “We got five corners instead.”
The $106,000 project made from 10 tons of locally harvested then bent, woven and fastened Texas ash, elm, ligustrum and depression willow were built in three weeks by Dougherty and his son, Sam, along with volunteers and staff from Houston’s Weingarten Art Group. The site off Parkway not far from Windsor Road was picked because of accessibility and parking, but it’s also a little sheltered and not clearly visible from North Lamar Boulevard.
Dougherty, who has built 288 of these StickWork projects around the world after working on a family cabin, had always wanted to work in Austin. He says the still-unnamed group of five structures should last two years before they begin to deteriorate seriously.
The Conservancy will maintain the art, then, with the help mulch the remains to spread around the park.
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.”
Only two Austin theatrical performances this year have sent me into the streets singing, nay, shouting the praises of a performer. Both are relative newcomers to the scene, but if there’s any justice, they won’t ever become strangers.
The first was Chanel‘s profoundly inspired take on Billie Holiday in Zach Theatre‘s “Lady Day at the Emerson Bar and Grill.” How many times I’ve turned over in my memory her point-on patter, unvarnished vulnerability, ravishing voice and total embrace of the audience.
The second was Trinity Adams as Annie Oakley in Summer Stuck Austin‘s “Annie Get Your Gun,” currently running at the Long Center. Just 17, Adams is an award-winning actor who recently graduated from Dripping Springs High School.
Hey, Dripping, do you know what ya got in this gal?
The minute Adams bounded onto the stage at the Rollins Studio Theatre, the room just expanded exponentially to take in her radiance. Not that everything she did in the Irving Berlin classic was big and grand, no, she electrified the audience with slightest grin or aside.
As my theater companion, Suzie Harriman, pointed out, she’s like Broadway star Sutton Foster. No matter where she is in director Scott Thompson‘s stage-filling production — you won’t believe how well these kids dance! — your eyes are drawn to Adams.
She was capably complemented by Max Corney and a host of other troupers. Almost all of them also appear in “Spamalot,” a wonderfully cute Summer Stock musical directed by Ginger Morris. In that show, I was particularly taken with Lydia Kam, Ben Roberts, Michael Morran, Coy Branscum and Matthew Kennedy.
But why kid? All the the Summer Stock players are talented. Adams, however, at this precious theatrical moment, shines like the brightest stars in the heavens.
The Waller Creek Conservancy has announced its 2017 line-up for the light-based “Creek Show.” Now in its fourth year, the jam of artworks employs the spacey spaces of the creek bed and banks to illuminate its potential as a destination park. The family-friendly sequence will run Nov. 10-18.
Here go the artists and their planned art:
“No Lifeguard on Duty” by Asakura Robinson
“Fotan Fable” by HA Architecture
“Night Garden” by dwg
“Ephemeral Suspension” by Pathos + TouchTo
“Blind Spot” by Two+ Collaborative
“Submerge” by Davey McEarthron Architecture + Studio Lumina + Drophouse
The dancers at 2Dance2Dream stand in a circle in a Balance Dance Studios classroom. The music is thumping.
One by one they take turns entering the circle and showing off their dance moves, but then there’s a pause.
A dancer hesitates. Another dancer takes her hand and they move into the circle to dance together.
This is the vision of 2Dance2Dream: that all kids can dance; that all kids will want to dance, given the encouragement, the patience and maybe some assistance.
The organization is the brainchild of Austinite Julie Lyles Carr, 49, and her daughter McKenna Carr, 22. Since 2011, local dance studios have opened up their classrooms for 2Dance2Dream to bring dance instruction to kids with special needs including Down syndrome, autism, cerebral palsy, chromosomal anomalies and undiagnosed differences.
“It has its own magic,” says Julie Lyles Carr, who serves in the women’s ministry at LifeAustin church and has written a parenting advice book, “Raising An Original.” “There’s nothing like seeing someone exceed what people think.
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