by David Glen Robinson
Published on May 29, 2022
Kathy Dunn Hamrick has carved out a niche for herself of high-energy, high skill, athletic contemporary dance. her audiences appreciate every new and surprising turn the company takes within it.
Kathy Dunn Hamrick speaks the language of movement better than most. This was stated about her in regard to last December’s In Situ dance performance, also at Café Dance. In that performance, stemming from the title, the movement addressed place and places—all familiar places—transformed by the pandemic. They were recognized anew in a process of metamorphosis, dancers hatching literally from bubble-wrap cocoons and finding new life after the dark restrictions of our collective confinement. …
by Justin M. West
Published on May 20, 2022
"That was one of the best performances I have ever seen," I told Abby Ferree, the solo protagonist. I stand by that. "You're amazing," I told director Allison Price.I regret not finding better words for an unforgettable and transformative experience.
For years I have maintained, as I likely always will, that theatre is not and should never be a "safe space." I am not referring to the creation process, of course. The creation of a piece, from its inception to its rehearsals and performances, should absolutely be a safe space for all involved. The safety of performers and those supporting them is paramount. But the art, itself? The ideas and emotions it evokes and …
by Michael Meigs
Published on May 15, 2022
One particular attraction of MR. HATCH, particularly for family audiences is a clever reversal of roles. Here, it's the young narrator who becomes the coach and encourager to the despondent adult.
Allen Robertson has delivered a gentle miracle at the Zach Theatre with his adaptation of Eileen Spinelli's 1991 picture book Somebody Loves You, Mr. Hatch. Three well-known and admired adult actors are matched by the lively young character Melanie Todd, played by a rotation of three young women from Zach's theatre program. The production takes places in the Kleberg Theatre, configured as a theatre-in-the-square, around which the audience find themselves up close and personal. …
by Brian Paul Scipione
Published on May 14, 2022
I always wonder if Albee suggests that this night of mayhem is a once-in-a lifetime experience of Martha and George play this routine every chance they get. I now know that I, for one, am afraid of Virginia Woolf.
One of the commonplace declarations about the perpetually popular plays of Shakespeare is that his subjects are timeless. Another view, less often proposed, is the simple observation that they are really good (despite sometimes being something of a slog for modern audiences). Edward Albee’s Who’s Afraid of Virginia Woolf? is exactly that. Describe the play as you will—wonderful, exceedingly clever, intellectually moving, disturbing, daunting, outright scary—but at its core it is very high quality. It is …
by Annie Knox
Published on May 11, 2022
Beth Henley's CRIMES OF THE HEART is still acutely relevant, a beautiful tapestry of storytelling.
Beth Henley wrote her Pulitzer Prize-winning play Crimes of the Heart more than 40 years ago, but its treatment of racism, domestic violence, and metal health issues makes it acutely relevant still. Henley weaves her complex characters, a trio of sisters in 1970s Mississippi, into a beautiful tapestry of storytelling. Under Tysha Calhoun's expert direction, the actors deliver quick, witty dialogue. Calhoun, recently voted Broadway World Austin’s Director of the Decade, has created a believable …
by David Glen Robinson
Published on May 04, 2022
Alyson Dolan and collaborators created CAPSULE as a performance of three distinctly different and intriguing pieces, performed April 30 and May 1 for many members of Austin's dance community.
This past weekend in Austin was loaded with fine arts dance concerts, two highly notable: Andrea Ariel Dance Theatre’s Reimagine at the downtown Long Center, and Alyson Dolan’s Capsule at the shoes-off Café Dance on Hancock Drive in northwest Austin. The settings showed great contrasts, but the two shows were well-matched in their high creativity and polished, professional performances. Our delighted concern here is with Capsule, a short work choreographed and produced by …