The Kalita Humphreys Theater was built by arguably the most famous American architect of the twentieth century. It’s now a shell of its former self, and the city can’t decide how—or if—it’ll restore it.
An all-female creative team set Peggy Jo Tallas’s story to a score of country, folk, and riot grrrl punk.
Updated for the Dobbs era, ROE is an empathetic look at the landmark Supreme Court decision.
From Bruce Springsteen to Ballet Austin, there are plenty of ways to break out of the winter doldrums this season.
The actor and writer’s one-man off-Broadway show, ‘Everything’s Fine,’ is about a series of bizarre events involving one of his junior high teachers.
This season has everything: Cormac McCarthy, Star Wars, Chippendales dancers, and opera.
Award-winning, Dallas-raised writer Will Arbery has plumbed his siblings’ personal dramas for his own, including his latest, ‘Corsicana.’
After decades of playing goofy sidekicks, the El Paso–born, Plano-bred actor finally has a leading role.
The city’s resourceful artists are connecting with audiences everywhere but on stage.
The Christmas classic is the ballet world’s biggest annual event (and a major moneymaker), so dancers and administrators have gotten creative.
Activists have always used the Bard’s work to make social statements. Jenni Stewart's new play explores that history through a feminist lens.
Holland Taylor’s renowned one-woman play about the late Texas governor is now airing as a part of PBS’s ‘Great Performances.’
Students in the beloved Shakespeare at Winedale course got creative with online theater, overcoming grainy visuals and bad Wi-Fi.
Some of Fusebox Festival’s most poignant moments came when performers stopped trying to put on a show, and instead simply bared their souls about the present predicament.
The visionary playwright, who grew up in South Texas, passed away this week from coronavirus-related complications.
The second annual celebration of theater, comedy, and dance displayed the many dimensions of Latinidad.
For their last play together at Dallas’s Second Thought Theatre, the actor-director duo took on a ‘Texas Monthly’–inspired story.
Artistic director Rob Melrose ushers in a new era for the storied institution with the upcoming fall season, from Shakespeare to Octavio Solis.
The prolific avant-garde director, who died earlier this week, was an unparalleled innovator on North Texas stages.
That’s one way to approach the issue.
The show, playing in Dallas May 24 through 26, explores how people communicate with emergent technologies.
A revival of "The Roads to Home" in New York proves the Wharton native's work is as relevant—and revered—as ever.
Bryan Cranston’s portrayal of LBJ was just another sad caricature of what the world thinks a Texan ought to act like.
The Dallas Theater Center premiered "Fortress of Solitude," a melancholy, soulful musical—a gamble as far as the genre goes. But it might pay off for the ambitious theater company.
Once a year, a San Antonio congregation relives Jesus’ last days—and leaves the cellphones at home.
The Intergalactic Nemesis, a nationally acclaimed "live-action graphic novel" show, appeared on Conan, with the talk show host playing the lead.
Play about two male penguins raising a chick not allowed in the district's elementary schools.
Were Bonnie and Clyde just a couple of crazy kids?
The Go-Gos, LBJ's Birthday, Houston Theater District Open House, and the Hot Sauce Festival. . .
Less than two years after moving into the Wyly Theatre, the Dallas Theater Center has become the state’s drama darling. Is it the final curtain on the Alley Theatre’s time at the top?
The Broadway star shows us where she sings.
June 30, 2007
The founders of the Alamo Drafthouse chat about how the indie movie theater got its start.
A Texas playwright gets panned by Catholic conservatives.
There’s nothing civil about the debate over The Civil War. Since the announcement in August that the musical re-creation of the War of Northern Aggression was Broadway bound next spring, critics have directed more than a few rebel yells at Houston’s Alley Theatre, where the production originated. As was the
An impressive impresario.
The greatest Tuna of all.
I enrolled at the University of Texas in 1950 during a post-war period that produced many talented individuals. Harvey Schmidt, Tom Jones, Liz Smith, Robert Benton, Pat Hingle, Word Baker, Kathryn Grant (later Mrs. Bing Crosby), and I all graduated with degrees in drama. We did lots of dance concerts
One day when I was in the seventh grade at Christ the King School in Dallas, the Ursuline nun who taught our class dragged in a phonograph with 78 rpm records from the convent. She put on an album of Puccini love duets sung by Licia Albanese and James Milton.
Houston has every reason to be proud of the Alley Theatre: After fifty years in the business, it has national clout and a Tony award. Still, not everyone is pleased with its direction.
If you’ve seen a Kiss concert, a truck and tractor pull, or Miss Saigon recently, you can thank Houston’s Pace Entertainment for the privilege—and for the price you paid.
Give her regards to Broadway.
After fourteen years, 2,500 performances, and innumerable one-liners, the theatrical careers of Joe Sears and Jaston Williams are going swimmingly.
After fifteen years, Tommy Tune and Larry L. King are at it again: The sequel to the most famous musical about our state opens on Broadway.
After years of being alternately judged a great playwright and a great disappointment, Edward Albee has found his footing in Houston, where he teaches, socializes, and gets star treatment.
“Buy now, play later,” says the Dallas Theater Center.
Neither fish nor fowl, filmed theater is a whole new art form.
Another Texan stuns the New York art and theater world.
A single-minded Houston director puts on new plays.
Dionysus in 69 brings nude, bloody experimental theater to Houston.