Sometimes, they look like the grandmothers and mothers who might have taught you to sew a long time ago, but increasingly, they look like men and young people and punk rockers and people who also run marathons on the weekend.
Hosted by the Austin Area Quilt Guild, the show has taken place every other year since 1980, and the event returns to the Palmer Events Center, 900 Barton Springs Road, on Sept. 28-30.
The theme this year is “World of Color,” and you can see the more than 350 quilts on display — and the quilting, fabric and sewing vendor booths, as well as live demonstrations — from 10 a.m. to 6 p.m. Friday and Saturday and noon to 5 p.m. Sunday.
This year, they also have a special exhibit featuring 46 miniature quilts that are also competing for prizes. Tickets cost $10 online and $10 at the door. Children 12 and under are free.
From a release:
Through the Capital of Texas QuiltFest, AAQG is able to share its mission (preserving the art form and heritage of quilting and promoting excellence and education in quilt-making) with the greater community around us. Through the show, we share our art medium with others and widen their horizons to appreciate quilts in new and unexpected ways.
By displaying these quilts for the public to view and enjoy as well as conducting live demonstrations of various quilting techniques, the AAQG is fostering growth and appreciation of this art form. Visitors will find that quilts aren’t just something made for the bed anymore. They find themselves astonished by the artistry of these quilts. Our members come from diverse cultural backgrounds, and those themes can be seen in their displayed quilts. There is truly something for everyone to appreciate and enjoy at the QuiltFest.
Here are some of the quilts that will be on display this year. You can find out more about the show at captxquiltfest.org.
Now that the Austin Symphony has consummated Part 3 of its “Mighty Russians” series, ithas completely shed its former reputation for underplaying big music. Almost to a fault.
Music director Peter Bay opened the formal part of the concert on Saturday with the bright and bold “Carnaval Overture” by Alexander Glazunov. Dismissed by some critics in the 20th century as merely “academic” — in other words, glib, predictable, conservative — Glazunov is also capable of great orchestral virtuosity. This rousing performance — a taste of what was to come at the Long Center for the Performing Arts — made me want to dive right into his eight completed symphonies.
Sergei Rachmaninoff‘s Piano Concerto No. 1 is all about the soloist, but the ensemble is given plenty of opportunity to introduce and expand on the piece’s gorgeous themes and variations. French pianist Lise de la Salle did not shy away from the famous concerto’s showiness. Compact and contained when off the bench, in performance, she swayed and nodded, extended her arcing arms, attacked the keyboard like an avenging angel, then caressed it like tender companion.
At times, de la Salle’s hands appeared to blur over the complicated finger work. (“I can’t imagine what the score looks like,” said a friend during intermission.) Besides technical skill and fearlessness, she added some interpretive touches, such as startling hesitations and a certain playfulness with the composer’s unconventional rhythms. These seemed to bleed right into her delicately rendered encore selection: a Debussy Prelude.
“How are they going to top that?” said the stranger seated next to me after intermission.
Pyotr Ilyich Tchaikovsky‘s “Manfred Symphony” is all over the place. Based on the poem by Lord Byron, it is at times unabashedly pictorial, at other times outright theatrical, always Gothic and so varied that a listener sometimes gets tangled in its taiga of melodies.
This is where we get to part about Austin Symphony’s plenteous sound. Remember back at Bass Concert Hall prior to 2008? “Manfred” would have shrunken to “Boyfred.” (Sorry.) Nowadays, the orchestra’s power rises, if not quite to the level of a major American ensemble, quite close, especially with the additional brass.
At times, it went right up to the point of excess. I felt a little pummeled. But that’s what “Manfred” calls for and the Austin Symphony delivered mightily.
TerrenceMcNally, who grew up in Corpus Christi, ranks among the top two or three playwrights from Texas. In Austin, the Ransom Center at the University of Texas holds his papers, while Zach Theatre has become something of the official home for performances of his plays and musicals.
The two groups have teamed up to salute McNally on his 80th birthday with a weekend of activities.
Nov. 10: Theater backers and producers Carolyn and Marc Seriff give a special dinner for the playwright at their home.
Nov. 11: The Texas Union Theater will screen “Every Act of Life,” a documentary about McNally’s life. Zach artistic director Dave Steakley will interview the playwright from the stage afterwards. A reception will follow at the Ransom Center.
Nov. 12: Zach will present a birthday gala performance that will include actors Richard Thomas, F. Murray Abraham and John Glover. They will highlight the McNally’s career which includes Tony Award wins for “Love! Valour! Compassion!,” “Master Class,” “Kiss of the Spider Woman” and “Ragtime.”
Bloomberg Philanthropies has named 26 Austin cultural groups that will receive significant grants as well as management training as part of a $43 million second-wave campaign to strengthen small-to-medium-sized American arts nonprofits.
The charitable foundation — established by businessman and former New York City Mayor Michael R. Bloomberg — chose the groups by invitation only in selective cities.
“It was a complete shock,” said Ron Berry, artistic director of Austin recipient Fusebox Festival. “I was in the office reading an article about how Bloomberg was expanding into our region and remarked to the team about how exciting that was, and then we got an email from them about five minutes later.”
“The arts inspire people, provide jobs and strengthen communities,” Bloomberg said in a statement. “This program is aimed at helping some of the country’s most exciting cultural organizations reach new audiences and expand their impact.”
In May, Austin was named alongside Atlanta, Baltimore, Denver, New Orleans, Pittsburgh and Washington D.C. to receive a second round of Bloomsberg grants valued at $43 million. Rare for this type of giving, the money is intended to cover operational expenses rather than specific programs.
“We wanted to reach cities that we thought had a really strong mix in the way they were serving up arts and culture,” Kate Levin, who oversees arts programs for Bloomberg, told the New York Times in May.
Previously, the program had given $65 million to smaller groups in New York, Boston, Chicago, Dallas, Detroit, Los Angeles and San Francisco.
In response to the news, Austin arts leaders talked about immediate needs, such as rent or replacement facilities and equipment, but also longer term strategies like marketing and development.
“Because our building has been sold, we must move in two years,” said Chris Cowden, longtime leader of Women & Their Work Gallery.”We have decided that, to avoid ever higher rents and the instability that brings, we must buy a building. Since the Bloomberg grant is earmarked for operating expenses, money that we would normally have to use for rent and salaries can now be set aside in a fund that will be used to buy that building.”
Finding new audiences is a high priority for long-established groups that have not reached their potential in the community.
“We are investing most of the funds into marketing because that is what we believe will make the strongest impact,” said Ann Ciccolella, artistic director of Austin Shakespeare. “I am personally thrilled! It’s taken a long time to get to a $500,000 budget and now it’s time for growth. With so many arts groups in the city learning new tactics together, I am hoping for powerful results.”
For some groups, the grant money takes a back seat to training. Bloomberg’s arts innovation and management program was devised by DeVos Institute of Arts Management at the University of Maryland.
“The grant comes with a wealth of consulting services and access to experts in the fields of marketing and development,” said Michelle Schumann, artistic director of the Austin Chamber Music Center. “I’m really thrilled to have the opportunity to ‘up our game.’”
The Bloomberg group instructs recipients to keep mum about the gift amounts, but an informal poll suggests that the grants equal 10 percent of their existing operating budgets.
“I am pumped,” said Jenny Larson, one of Salvage Vanguard Theater‘s artistic directors. “This funding could not have come at a better time for us. Being in a place of transition with the venue and staff has made us feel off balance. This support gives me hope and confidence that over the next two years we can create a solid foundation for SVT to continue to grow from.”
What do local arts leaders want to do with the windfall?
“Everything!” said Lara Toner Haddock, artistic director of Austin Playhouse. “Seriously there’s always a huge wish list of what we could do with extra funds. An unrestricted grant is so welcome.”
“I am as thrilled and excited as I remember being when we received our first grant ever in 1984,” said Sylvia Orozco, head of the Mexic-Arte Museum. “I am glowing! When you are young and daring, you believe you can do anything and accomplish everything you dream of. That’s how I felt then and that is how I again feel now.”
26 Austin cultural groups will receive Bloomberg Philanthropies grants
Allison Orr Dance (Forklift Danceworks)
Austin Chamber Music Center
Austin Classical Guitar Society
Austin Creative Alliance
Austin Film Festival
Austin Film Society
Austin Music Foundation
Center For Women & Their Work
Esquina Tango Cultural Society
Penfold Theatre Company
Puerto Rican Folkloric Dance
Roy Lozano Ballet Folklorico De Texas
Salvage Vanguard Theater
Vortex Repertory Company
UPDATE: Lara Toner Haddock’s name was missing from this story in an earlier post.
Zach Theatre has added Holland Taylor‘s “Ann,” a hit Broadway treatment of late Gov. Ann Richards, to its already announced 2018-2019 season.
Apparently, however, without Taylor in the title role. Casting to be announced later.
Taylor made a big splash at Zach in 2016 after researching the biographical play here, then testing an earlier, longer version of “Ann” at the Paramount Theatre prior to its regional and Broadway runs. While in town, she seemed to meet everyone, everywhere. Taylor could have run for local office. And won!
The play nudges forward by a few months “Hedwig and the Angry Inch” from the late summer slot to the winter centerpiece. It will play Jan. 23-March 3, 2019 at the Topfer.
It will be directed by Benjamin Endsley Klein, director of the Broadway version with Neil Patrick Harris and, more recently, associate director of “Carousel” on the Great White Way.
“Hedwig,” of course played Zach after its off-Broadway premiere and before its run on Broadway, here starring future marquee actor Andrew Rannels, now back on the Strand in the revival of “The Boys in the Band.”
“Ann” then plays July 31-Sept. 8, 2019, also at the Topfer. For more information, call 512-476-0541 x1 or go to zachtheatre.org.
In comparison, top ticket prices at the Museum of Fine Arts-Houston are $23; San Antonio Museum of Art are $20; Dallas Museum of Art are $16; Fort Worth’s The Modern are $16; Fort Worth’s Kimbell Art Museum are $14; SMU’s Meadows Museum of Art are $12.
The Menil Collection in Houston and Blaffer Art Museum at the University of Houston are free.
Admission to the Blanton remains free on Thursdays and to certain subsets of visitors. It also remains closed on Mondays.
The folks who run America’s historic theaters were in Austin last week. They conferred their Marquee Award on Jaston Williams, the actor, writer and director whose plays have brightened the Paramount Theatre and State Theater for more than three decades.
The members of the League of Historic American Theatres do not just preserve hundreds of the country’s older venues, they keep them breathing and alive by producing and presenting all sorts of entertainment on their stages.
Among Austin’s main historic live theaters, the State and Paramount, along with the Scottish Rite Theater (originally Turn Verein), Scholz Hall (now known as Scholz Garten) and HoggAuditorium, still see performances. The Millett Opera House stands but long ago lost its theatrical function; it now houses the Austin Club, which is reviving the memory of the building’s theatrical past. Among those lost to time: Hancock Opera House, Brauss Hall, Peck’s Hall, Austin Opera House, Long’s Opera House, Smith’s OperaHouse, Casino Theater and Capitol Theater.
Austin’s Paramount served as host of the League’s annual summer conference and at a dinner on July 15, Williams, who often worked with collaborator Joe Sears on the “Greater Tuna” comedies, picked up the honor that has gone to Hal Holbrook, Garrison Keillor and Vince Gill. The Marquee Award, established in 2012, goes to artists who inspire League members and also showcase the historic theaters where they perform.
Stars for Williams and Sears were planted under the Paramount’s marquee years ago. Three years ago, on its 100th birthday, the theater, built for vaudeville in 1915, regained it upright blade sign which once again graces Congress Avenue.
Leonard Bernstein‘s “Mass” is about nothing less than a profound loss of faith, Not just personal, but also national, even universal.
Premiering 1971 during some of the most grim days of the Vietnam War, the great composer’s theatrical take on the traditional Mass structure was to deconstruct it and put it back together.
He poses a saintly Celebrant against competing masses of singers, dancers and instrumentalists.
First one group, then others, and ultimately the Celebrant himself lose the comforts of faith and peace and smash the religious images that adorn the altar at the center of the stage. If this spirtual chaos can seem heart-rending today — and at the Long Center for the Performing Arts on Friday, it was — one can only imagine the effect on buttoned-up audiences right after the 1960s, a decade that tore apart conventional social norms on so many fronts.
No wonder its debut at the Kennedy Center was so controversial. Not only that, the two-hour spectacle that begins with Broadway-Bernstein’s “Simple Song” — sung too softly here — ricochets musically among Copland-Bernstein, Stravinsky-Bernstein and the sometimes unsettling High-Modernist-Bernstein.
All this added up to an evening of almost overwhelming sensation, thanks primarily to Peter Bay, who has dreamed of conducting this towering piece since he witnessed the Kennedy Center premiere 47 years ago.
Let’s break it down:
Children’s choirs: The combined troupes, led by multiple directors, provided moments of joyful respite from the the heavier drama of “Mass.” Their brightly-clad innocence and sweet harmonies elicited an audible “aw” from the audience every time they appeared. Despite Michael Krauss‘s large, never crowded and gorgeously sacred set, the kids were by default and musical necessity required to cluster downstage. While stationed there, they were the stars of the show.
Bernstein100Austin Chorus: Placed upstage of the altar, this formidable group of singers, dressed for most of the action in dark robes, provided a sort of solemn anchor for everything else. Led primarily by Craig Hella Johnson of Conspirare, their sound was rock-solid and responded to whatever challenge Bernstein and Bay threw at them. It would be interesting to hear some of their sections done separately in concert. They would hold up.
Street Chorus: While the upstage choir blended into a whole, this group of two dozen or so singer-actors — dressed in street clothes and semi-seated to the side — injected particularized humanity into their roles. While they clearly represented some of the social subsets from the early 1970s, the performers made each part their own, thanks in part to stage director Josh Miller‘s efforts to distinguish each individual’s profile. Their solo meditations on faith and doubt really got the show’s near-operatic project rolling.
Dancers and Acolytes: Not having seen a stage version of “Mass” before, I could only imagine — or rather, struggle to imagine — the function of these mostly silent figures dressed in plain black-and-white cassocks. Yet, choreographed by Jennifer Hart, they kept the show in almost constant motion, delineating sections and amplifying the major themes. Included onstage were some of Ballet Austin‘s finest dancers, who know how to make movement into theater. If you don’t have the dancers, you don’t have “Mass.”
Celebrant: At first, baritone Jubilant Sykes provided the warm, soulful heart of the show. Wearing his vestments lightly and employing the full range of his stunning voice, Sykes tried to reach out and mend the rips in the social-sacramental fabric around him, not easy to do when there are 300 other performers around you. Yet when it came time for the Celebrant to break down and lose his personal connection to God, Sykes, defrocked in a solo spotlight, gave us a raw psychological study that could have been drawn from the most terrifying Greek tragedy.
Austin Symphony Orchestra+: Austin’s primary classical ensemble was supported by rock, jazz and marching band musicians. Yet they carried the preponderance of the musical weight triumphantly under Bay’s baton and, let’s be plain, they have never sounded more urgent or imperative. Especially during the interludes, they shed any mundane notion of constraints or equivocation. And as the audience made abundantly clear during the curtain calls, this was pinnacle so far in the career of conductor Bay. That’s not to say it’s downhill from here, but with this monumental “Mass,” all the participating Austin performing arts groups proved our city can aspire to almost anything. (And it made profit that will go back to the arts groups, says co-producer Mela Sarajane Dailey.)
The blazing news that stands out from the recently announced Austin Shakespeare season is the return of beloved actor and University of Texas professor Fran Dorn in a staged reading of “Antony and Cleopatra” in October (dates to be announced).
Otherwise, the mid-sized theater company splits its main season between the Bard and other classically inspired dramatic literature.
The free Shakespeare in the Park option will be “The Merchant of Venice” in May 2019 at Zilker Park. The Young Shakespeare selection is “Macbeth” in June 2019 at the Curtain, the Elizabethan-style theater out on Lake Austin.
The 20th-century choices are Tennessee Williams‘ “Cat on a Hot Tin Roof” (November-December) and Tom Stoppard‘s “Indian Ink” (February 2019). Luckily, much can be found about both playwrights in the archives of the Ransom Center.
Austin Shakespeare also plans a collaboration with the Austin Chamber Music Festival in the summer of 2019.
Still left on the 2017-2018 docket are the chamber music joint effort over scenes from “A Midsummer Night’s Dream” (July 22); “Shakespeare and All That Jazz” at Parker Jazz Club (July 8); and the remaining run of its Young Shakespeare “Hamlet” at the Curtain (through June 24).
Tyler Mount, who studied at St. Edward’s University and developed a popular vlog for Playbill.com, took home a Tony Award on Sunday. Mount recently returned to town to emcee the Greater Austin High School Musical Theatre Awards.
Although it was hard to pick him out in the acceptance crowd onstage, Mount’s honor came as a named producer for “Once on This Island,” which won Best Revival of a Musical. Austinites Marc and CarolynSeriff also invested as producers in two winning shows this Broadway season, but their names did not appear above the title, so they were ineligible. They actually were named producers last season for “Anastasia,” which comes through town via the Broadway in Austin series at Bass Concert Hall next season.
Mount made a fantastic emcee for Austin’s closest entertainment equivalent to the Tony Awards. He even joked about his possible Tony status during the ceremony. And while we are on the subject, this year’s Tonys were, with one jarring exception, tone perfect. The students from Marjory Stoneman Douglas High School, who sang “Seasons of Love” from “Rent,” had me weeping from the first first piano chords.