Recent Reviews
Review: White by Permanent Record
by Michael Meigs
Published on December 12, 2018
Sitcom setups and stylings provide entertainment and undergo decidedly weird modulations in the dénouement of James Ijames's WHITE, a satire of artists and the art establishment.
Carol Hickey’s Mastrogeorge Theatre, just off east Cesar Chavez, is a compact space where audience members have their choice of the 30 or so folding chairs placed on low stadium-style platforms. It feels a bit like a television studio, and Permanent Record’s minimalist decor against the black drapes of the cyclorama does little to dispel that impression. White by James Ijames depends upon the acting, which seems appropriate, considering that this is the venue for …
Review: We Are Proud to Present a Presentation About the Herero of Namibia. . . by Street Corner Arts
by Michael Meigs
Published on December 06, 2018
WE ARE PROUD TO PRESENT is initially so entertaining and then such a conflagration of our unconscious assumptions that it is vital, necessary and ultimately inescapable theatre.
To what extent may good and decent people like ourselves be held responsible today for the vast evils of racism and genocide committed in modern history against the innocent and defenseless? Put this way, it's an abstract and chilling theme statement. We Are Proud to Present a Presentation about the Herero of Namibia, Formerly Known as Southwest Africa, from the German SudwestAfrika, between the Years 1884-1915 -- the title's more than a mouthful and it's …
Review: Love Never Dies by touring company
by Brian Paul Scipione
Published on November 29, 2018
This is very much a sequel in the Hollywood sense, in that one gets the impression that the producers and creative team sat down and made a list of everything fans loved about THE PHANTOM OF THE OPERA and then began checking things off that list.
Love Never Dies is Austin’s latest chance to see Broadway theater on their doorstep. First things first, it is a sequel to The Phantom of the Opera, which makes it an ambitious production on multiple levels. Not only was Phantom hugely successful, but it still is, and it continues to run all over the world. The official website reports it has played to more than 140 million people in 35 countries in 166 cities around …
Review: Cabaret by Texas State University
by Michael Meigs
Published on November 16, 2018
CABARET, that warhorse of American musical theatre, was up and rearing at Texas State, not about to give up -- a memorable and very twenty-first-century evening.
Christopher Isherwood's stories of 1930's Berlin, that sink of jolly depravity, have transmuted since their 1945 publication. First reworked as John Van Druten's play I Am A Camera, then chosen by Kander and Ebb for the 1966 musical, the strange weird world became the 1972 film in which Michael York seemed clueless and Liza Minelli was a heedless chanteuse indifferent both to conventional morals and to the storm gathering over Germany. Here we are, fifty-two …
Review: Until The Flood by Theatre en Bloc
by Michael Meigs
Published on November 12, 2018
There's no artful conclusion or lesson in UNTIL THE FLOOD, unless it's the appeal simply to listen and understand the depth of feeling, the constraints, and the rigidities that underlie the insoluble problems of race, class, territory and perception.
We lost the first weekend of Until The Flood by Dael Orlandersmith (Donna Brown) due to illness, so this sensitive re-creation by Florinda Bryant was only briefly on view at the Vortex in Austin. Two weekends seemed insufficient, for this was an event that required thought to digest and would have benefited from more word of mouth. The Saint Louis Repertory commissioned the playwright to create a work connected with the August 19, 2014 shooting …
Review: Macbeth by Something for Nothing Theatre
by Michael Meigs
Published on November 02, 2018
Something for Nothing Theatre in Ramsey Park will take you someplace weirder than our Austin ever really was, and you may well understand why this play has such a grip on our dark imaginations.
That full moon rose gradually at far stage right as Something for Nothing Theater began their opening performance of the Scottish play in Austin's Ramsey Park last week. The moon's inexorable climb and gathering luminescence might have been arranged by a director with greater powers than Mary Amelia Beyer, for they accorded with the ascent in blood and mystery of the Thane of Fife, played by Patrick David Wheeler. Eerily, Austin rains the previous week …