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BY BARRY PINEO
The Zachary Scott Theatre Center revival of 'The Rocky Horror Show' provides Austin, and especially fans of all that is Rocky, with an experience worthy of the word classic
BY ROBERT FAIRES
The play 'Katrina: The Girl Who Wanted Her Name Back' seeks to honor the New Orleanians affected by Hurricane Katrina, but the level of intensity in the UT staging often makes it hard to connect to
BY HANNAH KENAH
The title of Monika Bustamante's 'Stillborn' is no pun but a promise of what is to come: two hours of anger, rape, murder, and stillbirth that is upsetting, dark, and, unfortunately, not illuminating
BY ROBERT FAIRES
The dance 'We Are Normal, Cha Cha Chaaa' is such a whirl of motion, bursting with youthful exhilaration, that it suggests nothing so much as five girls hard at play on a long summer's day
BY ROBERT FAIRES
The pieces in 'Daniel Bozhkov:Recent Works' grab our eye with comic incongruities, but behind the visual joke is a story of how everything in our world is connected
Parade Theatre, October 6, 2006
BY ROBERT FAIRES
'Parade' is an ambitious musical for a university theatre department, but the entire company presenting it at St. Edward's is impressively in tune with Alfred Uhry and Jason Robert Brown's retelling of the Leo Frank case
BY HANNAH KENAH
As a play, 'Bitten! A Zombie Rock Odyssey' is impressively bad, but it's got one hell of a soundtrack
BY NIKKI MOORE
In Lu Ann Barrow's brilliantly colored canvases, every pebble, blade of grass, dress, and wallpaper pattern is rendered in bold colors that excite rather than drown one another out
BY BARRY PINEO
Watching 'Bars, Bedrooms, Bukowski,' a theatrical version of four Charles Bukowski stories, it's obvious that adaptor/director James Cotton loves his subject matter
BY PATTI HADAD
The humor in Psycho Beach Party might seem as mindless as the targets, but with Naughty Austin's production the fun of guys in wigs, dancing hunks, and screaming chicks yanks you in
BY NIKKI MOORE
With the exhibition 'Rembrandt's Etchings,' the Blanton Museum of Art has created a rare and intimate opportunity for you to see, study, and absorb the impact of Rembrandt's mastery for yourself
BY PATTI HADAD
The Celtic Cultural Center and Renaissance Austin Theatre Company bring O'Neill's 'A Moon for the Misbegotten' to life with an authentically dark and droll Celtic sensibility
BY AMANDA DOUBERLEY
With his new series of collages, Austin printmaker Ken Hale trades in his flatbed press for a flatbed scanner with intriguing and sometimes luscious results
BY NIKKI MOORE
Eric Zimmerman's "Simplon Pass" plays off utopian visions of the past in ways that are beautiful and painful in their longing for release from spatial bounds
BY HANNAH KENAH
In 'St. Nicholas,' Conor McPherson wrote one hell of a one-man show, and Ken Webster executes it beautifully, making this tale of vampires seem as it might really be real
BY BARRY PINEO
Certainly theatre has been offered in homes before, but rarely have so many pieces (13) been offered in a single home as in 'The Muses:Memories of a House,' presented by the Vestige Group
BY NIKKI MOORE
The Austin Museum of Art's exhibition 'Mary Lee Bendolph, Gee's Bend Quilts, and Beyond' prompts one viewer to piece together a story about postmodernism from patches of art and ethnology
BY PATTI HADAD
Bell(e), ethos' installation focusing on literary suicides, chucks the adolescent illusion that killing oneself is a meaningful act of passion
BY NIKKI MOORE
The Oliver Boberg retrospective at Lora Reynolds Gallery is a must-see, but telling you why might spoil the surprise
BY NIKKI MOORE
D. Berman's joint exhibition of work by Naomi Schlinke and Gladys Poorte is an illumination of the "creatorly" power of the artist in process art
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