Recent Reviews
Review: The Woman Clothed in the Sun with the Moon under her Feet by David McGuff, Yellow Lab Productions, Kerrville
by Donna Provencher
Published on July 21, 2026
Cerebral and ambitious, David McGuff's original take on grief and loss in the lives of Twain and Eddy succeeds with gripping pacing, vividly subtle acting, and powerful visual imagery.
What David McGuff is aiming to do with Yellow Lab Productions is nothing short of a Hill Country revolution — and by nearly every metric, in this production he’s hit his mark admirably. Yellow Lab, less than a decade old, markets itself as a fringe theater company focused on edgier or more provocative work not often tackled by local companies. Past productions include Equus, Misery and The Pillowman, all infrequent visitors to Central Texas stages. …
Review: The Addams Family by Magnolia Musical Theatre
by David Glen Robinson
Published on July 20, 2026
They're creepy and they're kooky, mysteriously spooky. And wildly popular. Magnolia Musical Theatre in Bee Gave delivers a memorable production. Especially Ismael Soto III as Lurch.
It was all about Lurch. Played by Ismael Soto III, Lurch, the standout monster in a tidal pool of Cthulhu creepy-crawlies transformed into musical theatre characters, is the monster we all need. Impeccably made up in his fashionably black but dusty and cob-webbed suit, he lacked only the bolt-neck of his Hollywood Karlovian progenitor to nail the Frankenstein vibe. He still sparked the frisson of horror from deep inside our childhoods. The Addams Family, produced …
Review: Stage Blood by Different Stages
by David Glen Robinson
Published on July 15, 2026
Ludlam's rollicking comedy satirizes theatre personalities; at its center, Will Gibson Douglas makes it happen and gets some of the best punchlines.
Stage Blood is a long, rollicking comedy by satirist playwright Charles Ludlum. Different Stages threw it onstage at The Vortex on Manor Road to great success. The play is enjoyable for all, above all for those who have seen or read Shakespeare’s Hamlet. A traveling theatre company struggles at every stop to produce the ghost-ridden tale of the Prince of Denmark. The current stop is Pflugerville. And we have a story-within-a-story-within-a-story: a stereotypically disaffected stage …
Review: Fool for Love by Sam Shepard, The Stage, Austin
by David Glen Robinson
Published on July 15, 2026
The Stage Austin delivers a haunting depiction of Sam Shepard's violent desolation; Texans will recognize, New Yorkers probably not so much.
The intensity of Sam Shepard plays leaves audiences in search of refreshing towels and stiff drinks. The powerful cast in The Stage Austin’s production of Fool for Love offers watchers in the audience no respite from the emotional jangling imposed on us. Shepard’s plays rely on a significant recurrent theme, or leitmotif, of modern Western life. He frequently juxtaposes the struggles between those trying to escape the honky-tonk life and those sinking back into it. …
Review: Embodied by ATX Artists for Social Impact
by David Glen Robinson
Published on July 01, 2026
Jazz and poetry in fluid mosaic presented a succession of views on the meaning of being human.
Cut to the chase. The highlight of this show was jazz singer Beau Briar’s delivery of two classics of 30s-40s jazz, “God Bless the Child” by Billie Holliday and Arthur Herzog, Jr. and “Lush Life” by Billy Strayhorn. Lights faded up on Briar, of compact build, in a curiously ill-fitting suit of mismatched separates that a well-heeled man of the 1930s might have worn to clubs. All of it was under perfectly coifed platinum blonde …
Review: Waiting/REX by Ishida Dance Company
by David Glen Robinson
Published on June 25, 2026
Brett Ishida and her company's muscular, imaginative magic trick: converting Oedipus Rex and Waiting for Godot into pure, silent modern dance.
The concept of Ishida Dance Company's contemporary dance performance waiting/REX amazes at first blush, being a companion presentation of Beckett’s Waiting for Godot and Sophocles’ Oedipus Tyrannus. The two together seem an odder couple than Estragon and Vladimir in Godot. Odder still, the abstraction and rendering of the plays in contemporary movement (no lyrics, no spoken lines) are surprisingly faithful to the narrative progress of both. Ishida makes the claim that waiting is the first …