Bloomberg Philanthropies rewards 26 Austin cultural groups with grants

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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.”

Sylvia Orozco, executive director of the Mexic-Arte Museum, is as thrilled with the grant now as she was with her group’s first in 1984. Daulton Venglar/AMERICAN-STATESMAN

“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.

RELATED: We salute $43 million in Bloomberg arts gifts.

“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.

Pianist Michelle Schumann said: ‘The grant comes with a wealth of consulting services and access to experts in the fields of marketing and development.’ Contributed

“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)

Anthropos Arts

Austin Chamber Music Center

Austin Classical Guitar Society

Austin Creative Alliance

Austin Film Festival

Austin Film Society

Austin Music Foundation

Austin Opera

Austin Playhouse

Austin Shakespeare

Big Medium

Center For Women & Their Work

Chorus Austin

Conspirare

Creative Action

Esquina Tango Cultural Society

Fusebox Festival

Mexic-Arte Museum

Penfold Theatre Company

Puerto Rican Folkloric Dance

Roy Lozano Ballet Folklorico De Texas

Rude Mechs

Salvage Vanguard Theater

Telling Project

Vortex Repertory Company

UPDATE:  Lara Toner Haddock’s name was missing from this story in an earlier post.

Bernstein’s ‘Mass’ is nothing less than an Austin triumph

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.

In this case, last week’s cover of Austin360 predicted the triumphant outcome.

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.

RELATED: In a coup, Austin lands Leonard Bernstein marvel.

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.)

Summerstock Austin is a-comin’ down the street

Before you know it, Summerstock Austin will be packing folks into the air-conditioned Rollins Studio Theatre three shows at the Long Center for the Performing Arts.

Last year, we were bowled over by “Annie Get Your Gun” and mightily amused by “Monty Python’s Spamalot” as performed by students and young pros.

The three selections this year:

“The Music Man” (July 20-Aug. 11) Meredith Wilson‘s classic about a con man selling the idea of a marching band to small-town Iowa is an ideal match to the Summerstock project. Bonus: Top teacher Ginger Morris directs and choreographs.

“Dirty Rotten Scoundrels” (Aug. 1-11) This adaptation of the Steve Martin-Michael Caine movie — also about swindlers — is not revived often enough. We admired the David Yazbek-Jeffrey Lane show on Broadway but haven’t seen it since. Dustin Gooch directs.

“Rob1n” (July 24-Aug.11) Every year, Austin nationa treasure Allen Robertson contributes a new show to the Summerstock season. He worked with Damon Brown on the book for this family-friendly version of the Robin Hood tales — hey, another lovable criminal?).

Robertson’s job? He only wrote the music and lyrics, co-wrote the book and serves as the show’s director and music director. (Pay no attention to the placeholder poster above. It comes from a Florida Studio Theatre project. I’m sure the Long Center will send out something fresh soon.)

Ticket info:

Tickets are available at TheLongCenter.org or by calling (512) 474.LONG (5664). Also available at the Long Center’s 3M Box Office located at 701 West Riverside Drive at South First Street. For groups of 10 and more, please call 512-457-5161 orgroupsales@thelongcenter.org.

Winners rejoice for 2018 Austin Critics Table Awards

Seems like yesterday when we sat down at Katz’s Deli to vote on the first Austin Critics Table Awards. Now a whole new generation of arts journalists are making the decisions. We could not be happier.

The following individuals and groups were honored Monday night at Cap City Comedy Club. (If I missed any, let me know.)

CRITICS TABLE AWARDS 2018

THEATER

Production (tie)

“Henry IV,” The Hidden Room Theatre

“Ragtime,” Texas State University Department of Theatre and Dance

RELATED: “Ragtime” is an American classic.

Direction

Jason Phelps, “The Brothers Size”

David Mark Cohen New Play Award

“Wild Horses,” Allison Gregory

Performance by an Individual

John Christopher, “The Brothers Size”/”Fixing Troilus and Cressida”

Chanel, “Lady Day at Emerson’s Bar and Grill”

Jennifer Coy Jennings, “Wild Horses”

Sarah Danko, “The Effect”/”Grounded”

Judd Farris, “Henry IV”/”The Repentance of Saint Joan”

Joseph Garlock, “The Immigrant”

Performance by an Ensemble

“The Wolves,” Hyde Park Theatre

Periphery Company

“Wimberley Players,” Wimberley

DESIGN

Set (tie)

Stephanie Busing, “The Curious Incident of the Dog in the Night-Time”

Chris Conard/Zac Thomas, “Pocatello”

Costume

Buffy Manners, “Shakespeare in Love”

Lighting

Rachel Atkinson, “Scheherazade”/”Twenty-Eight”/”Catalina de Erauso”/”The Curious Incident of the Dog in the Night-Time”/”Con Flama”

Sound

Lowell Bartholomee, “Grounded”

Digital (tie)

Lowell Bartholomee, “The Effect/Wakey Wakey”/”The Repentance of Saint Joan”/”Grounded”

Robert Mallin, “Enron”

DANCE

Concert

(“Re)current Unrest”, Charles O. Anderson/Fusebox Festival

Short Work

“Four Mortal Men,” Ballet Austin

Choreographer

Jennifer Hart, “Fellow Travelers”/“Murmuration”

Dancer

Anika Jones, “Belonging, Part One”

Rosalyn Nasky, “Come In!!!”/”Pod”/”There’s No Such Thing as a Single Stripe”

Jun Shen, “Belonging, Part One”

Ensemble

“Exit Wounds”/”Masters of Dance,” Ballet Austin

RELATED: Ballet Austin aims for the heart with “Exit Wounds.”

CLASSICAL MUSIC

Concert/Opera

“Southwest Voices,” Chorus Austin

Chamber Performance

Golden Hornet Young Composers Concert, Golden Hornet

Original Composition/Score

“I/We,” Joseph V. Williams II

Singer

Marina Costa-Jackson, “La Traviata”

Jenifer Thyssen, “An Early Christmas”/”It’s About Time: Companions”/”Complaints Through the Ages”

Veronica Williams, “Songs of Remembrance and Resistance”

Ensemble

“Invoke, Beerthoven”/Golden Hornet Smackdown IV

Instrumentalist (tie)

Bruce Colson, “It’s About Time: Companions”

Artina McCain, “Black Composers Concert: The Black Female Composer”

VISUAL ART

Solo Gallery Exhibition

“Claude van Lingen: Timekeeper,” Co-Lab Projects

Group Gallery Exhibition

“Yo soy aqui / I am here,” ICOSA

Museum Exhibition

“The Open Road: Photography and the American Road Trip,” Blanton Museum of Art

Independent Project

2017 Texas Biennial

Gallery, Body of Work

Co-Lab Projects

Artist

Michael Anthony Garcia

SPECIAL CITATIONS

John Bustin Award for Conspicuous Versaility: Mary Agen Cox, Jeff Mills

Deacon Crain Award for Outstanding Student Work: Connor Barr, Kat Lozano, UT; Ben Toomer, Texas State

Outstanding Music Direction: Austin Haller for “Ragtime”

Outstanding Choreography: Natasha Davison for “The Drowsy Chaperone”

Horn of Plenty Award: Benjamin Taylor Ridgeway & Jennifer Rose Davis for the masks in “Rhinoceros”

Jurassic Spark Award: The Hatchery for creating the raptors in “Enron”

One Singular Sensation Award: Kaitlin Hopkins for the Texas State University Musical Theatre Program

RELATED: Kaitlin Hopkins takes Texas State to the top.

Always a Safe Flight Award: Barry Wilson & Team for Rigging Design & Execution in “Belonging, Part One”

Outstanding Touring Show, Dance: Johnny Cruise Mercer and Fusebox Festival for “Plunge In/To 534”

Blanton Museum of Art for Ellsworth Kelly’s “Austin”

Vortex Repertory Theatre for “Performance Park”

AUSTIN ARTS HALL OF FAME INDUCTEES

Norman Blumensaadt (Different Stages) – company founder, artistic director, director, actor

Kathy Dunn Hamrick (Kathy Dunn Hamrick Dance Company, Cafe Dance) – company founder, artistic director, choreographer, dancer, educator

Michael and Jeanne Klein (Blanton Museum of Art, The Contemporary Austin, Ransom Center, et al.) – patrons, board members, civic leaders, arts advocates

Anuradha Naimpally (Austin Dance India, Cafe Dance) – company founder, artistic director, dancer, choreographer, educator

Mad about Austin Camerata

From where I sit, “Austin Camerata” translates into “unadulterated beauty.”

At least it did last night when the Austin chamber orchestra played the Rollins Studio Theatre at the Long Center for the Performing Arts.

But first, an historical note: Debra and Kevin Rollins, whose gift made the gray box theater possible, adored chamber music. And yet, during the first 10 years of the Long Center, not much of the genre has been heard in their Studio Theatre.

For a concert called “Reinventions,” the room sounded great! And there was enough space onstage to accommodate Dorothy O’Shea Overbey‘s dancers, who performed with the musicians during the final number.

Back to the music: Like other chamber orchestras, the University of Texas-associated string group — led offstage but not onstage by cellist Daniel Kopp — expands on the collaborative dynamics of a string quartet. Their measured romp through Edvard Grieg‘s “Holberg Suite” was precise, proportional and over way too soon.

All else melted away when guest violinist Chee-Yun arrived downstage, her red gown gown splashed against the orchestra’s workaday blacks, her performance lighted to their near darkness. And for good reason, because she could pull all those wild sounds from her instrument for Astor Piazzolla‘s “Four Seasons of Buenos Aires.” These four tangos, composed independently but rearranged to match Vivaldi‘s “Four Seasons,” kept the near-full house on the edge of their seats.

For the final piece, Dmitri Shostakovich’s somber and powerful Symphony for Strings, the musicians formed an arc around an open space for Overbey and her dancers. All of them are choreographers as well, so in sense, it was a collaborative effort not unlike the orchestra’s. Dedicated to the victims of fascism and war, the music is associated with the fire-bombing of Dresden and also could be seen as anti-Soviet. (A lot is read into Shostakovich.)

Mesmerizing — although at times crowded and unfinished due to a very short rehearsal period — the dark dance held together by a red scarf well matched the dark music. Visually, it was most arresting when musicians entered the dancers’ zone.

Give us more chamber music at the Rollins and more smart, collaborative work like “Reinventions.”

 

 

 

 

David Bowie tribute and a concert of freedom songs among shows coming up

You already know which Broadway musicals are coming to Austin’s Bass Concert Hall next season — yes, including “Hamilton” — but unless you attended the onstage party last night, you don’t know about the rest of the Texas Performing Arts season.

Related: Broadway smash”Hamilton” part of 2018-2019 season.

‘Amarillo’ from Teatro Linea de Sombra. Contributed by Sophie Garcia

The University of Texas presenting group’s director, Kathy Panoff, who reports that subscriptions for the Broadway in Austin series are unsurprisingly strong, cheerfully introduced the dance, classical, world and other Essential Series selections to several dozen fans. Then she introduced Stephanie Rothenberg, a member of the Broadway cast of “Anastasia,” who sang two numbers from the show. Reminder: Among the name producers for this stage version of the animated movie are local backers Marc and Carolyn Seriff.

(I wondered if the Austin group flew in talented Rothenberg and indeed they had, just for two songs. She’s a “swing” member of the New York cast, which means she can take over several parts, including the title role, but also could fly away for the night.)

Without any further delay …

2018-2019 Texas Performing Arts Season

Voca People. Contributed by Trambarin Yan

Sept. 12: Voca People. An a cappella group from Israel completely reconfigures popular hits.

Sept. 14: Reduced Shakespeare Company. The original creators of “The Complete Works of Shakespeare (Abridged) (Revised)” bring back the hilarious work that made them famous.

Sept. 21: Fred Hersch Trio. Ten-time Grammy nominated pianist brings the real jazz deal.

Sept. 28: Taylor Mac. Extravagant drag performer messes with the audiences during “A 24-Decade History of Popular Music (Abridged).”

Oct. 5: Yekwon Sunwoo. UT likes to book the top talent from the Van Cliburn International Piano Competition and this is the 2017 winner.

Ragamala Dance Company performs “Written in Water.” Contributed by Bruce Palmer

Oct. 18: Ragamala Dance Company. It’s hard to believe this is the first major Indian dance troupe to play Bass, but I’m pretty sure that’s what Panoff said. They’ll perform “Written in Water.”

Nov. 1: “Blackstar: An Orchestral Tribute to David Bowie.” Lots of excitement about this take on the great man.

Nov. 8: Jordi Savall. Early music promoter returns to Austin, this time with a global vision in “The Routes of Slavery.”

Nov. 9: Pavel Urkiza and Congri Ensemble. The Cuban guitarist and composer interprets classic Cuban songs in “The Root of the Root.”

Drag performer Taylor Mac digs into the history of music. Contributed

Nov. 13: Circa. Australian contemporary circus troupe presents “Humans.”

Nov. 14-Dec. 2. “The Merchant of Venice.” There’s usually one or two selections from UT’s department of theater and dance in the bill; this season it’s a take on Shakespeare.

Nov. 16: “Private Peaceful.” Verdant Productions and Pemberley produced this staging of Michael Morpurgo’s book on World War I, directed and adapted for the stage by Simon Reade.

Jan. 30: Michelle Dorrance Dance. Trust UT to bring in the best of the dance world; this tap troupe introduces “ETM: Double Down.”

Feb. 5: Berlin Philharmonic Wind Quintet. This sliver of the storied orchestra was founded in 1988.

Terence Blanchard collaborates with Rennie Harris Puremovement Dance Company. Contributed by Henry Adebonojo

Feb. 8: “Songs of Freedom.” Drummer Ulysses Owns, Jr. leads a group interpreting Joni Mitchell, Abbey Lincoln and Nina Simone as part of the center’s series on protest arts.

March 27: “A Thousand Thoughts.” The Kronos Quartet team with Oscar-nominaed filmmaker Sam Green for this live documentary.

April 11: “Caravan: A Revolution on the Road.” A collaboration between Terence Blanchard E-Collective and Rennie Harris Puremovement Dance Company with projections and installations by Andrew Scott.

April 13: UT Jazz Orchestra with Joe Lovano. American saxophonist joins the college ensemble as part of the Butler School of Music’s Longhorn Jazz Festival.

April 11: Trey McLaughlin and Sounds of Zamar. They saved the blessing for last with this Georgia-based gospel group.

Winning the Austin High School Musical Theatre Awards

Forget the Oscars. Never mind the Tonys. Pay no attention to the Grammys.

Give us the Greater Austin High School Musical Theatre Awards.

Contributed by Cathie Sheridan.

Sure, last night’s ceremony at the Long Center clocked in at just under four hours. Nevertheless, we loved almost every minute of this energetic toast to 38 participating high schools and their remarkable talents.

Some quick observations and then some winners. Playbill’s Tyler Mount was the show’s best emcee yet. Fast, funny and on target with his “paid segues” and promos. Despite the total running time, the show, which highlights dozens of slickly produced musical numbers and video selfies from Broadway pros, felt tighter, more on time this year.

RELATED: Tyler Mount returns to Austin for high school musical theater awards.

Austin City Council Member Jimmy Flannigan just about stole the show and earned the evening’s only unadulterated standing ovation. He showed up to read municipal proclamation — usually a dull task — but donned a little, regal hat and performed a magnificent version to the tune of King George III‘s “You’ll Be Back” from “Hamilton.”

To use a show biz term: He killed! Killed! He should come back every year.

Enough is enough: Here are the top winners. A full list will come later this morning.

Best Production: “Adams Family,” Dripping Springs High School

Best Actress in a Leading Role: Katie Haberman, Dripping Springs High School

Best Actor in a Leading Role: Stone Mountain, St. Andrew’s Episcopal School

Check back for more winners.

Meet the 2018 Austin Arts Hall of Fame inductees

The Austin Critics Table recently announced the latest group to be inducted into the Austin Arts Hall of Fame.

The five honored Austinites have contributed to the city’s cultural scene over the course of many years. They will be inducted 7 p.m. June 4 at Cap City Comedy Club, 8120 Research Blvd. The event is free. Following the inductions, the arts critics will give out awards for the 2017-2018 season. Lots of awards.

RELATED: Giving City toasts Austin Critics Table Awards

8_DSC_0099
Anuradha Niampally. Contributed by Austin Dance India

The honored are (with the informal journalism group’s identifiers):

Norman Blumensaadt (Different Stages) – company founder, artistic director, director, actor

Kathy Dunn Hamrick (Kathy Dunn Hamrick Dance Company, Cafe Dance) – company founder, artistic director, choreographer, dancer, educator

Michael and Jeanne Klein (Blanton Museum of Art, The Contemporary Austin, Ransom Center, et al.) – patrons, board members, civic leaders, arts advocates

Anuradha Naimpally (Austin Dance India, Cafe Dance) – company founder, artistic director, dancer, choreographer, educator

Your input needed for Texas Medal of Arts Awards

Since 2001, the Texas Cultural Trust, an advocacy group, has been honoring our state’s luminaries through the Texas Medal of Arts. The laurels are bestowed every other year at one of the most glamorous galas in Texas. The most recent one in 2017 at Bass Concert Hall was a blow-out.

John Paul and Eloise DeJoria win a 2017 Texas Medal of Arts Award for their corporate philanthropy with Patron and Paul Mitchell. Contributed.

RELATED: What the arts mean to great Texas artists and patrons.

Now the Trust wants your input.

Send your nominations in by April 5, 2018 for the February 2019 edition of the honors. Categories include architecture, arts education, arts patron (corporate, foundation or individual), dance, design, film, lifetime achievement, literary arts, media/multimedia, music, television, theater and visual arts.

RELATED: Soaking up the glamour of Texas Medal of Arts.

For a complete list of past honorees, go here. The 2017 winners included Eloise and John Paul DeJoria with Paul Mitchell/Patron, Kris Kristofferson, Lynn Wyatt, Lauren Anderson, Yolanda Adams, Renee Elise Goldsberry, Tobin Endowmen, Dallas Black Dance Theatre, Leo Villareal, Frank Welch, John Phillip Santos, Scott Pelley and Kenny Rogers.

A record 38 Austin area high school musicals up for awards

A record 38 area schools won nominations for the 2018 Greater Austin High School Musical Theatre Awards, which return to the Long Center for the Performing Arts on April 18.

If you haven’t already heard, this is one of the most entertaining — if overlong — evenings of the season. Not only are songs from nominated shows performed, the nominees for Best Actor and Best Actress sing medleys, and the Long Center Select Ensemble adds its polished skills to still more show tunes. Can there be to many?

RELATED: All rise for Austin high school musicals!

The celebrity emcee this year will be Tyler Mount, who created Playbill’s “The Tyler Mount Vlog.” A graduate of St. Edward’s University and alumnus of Summer Stock Austin at the Long Center, Mount also has performed and produced on Broadway.

RELATED: Look who won the 2017 Austin high school musical awards.

More than 4,000 students participated in the 38 nominated shows.

2018 HIGH SCHOOL MUSICAL AWARDS NOMINATIONS

Best Production

Akins High School—Hairspray

Cedar Ridge High School—Grease

Dripping Springs High School—The Addams Family

Jack C. Hays High School—The Mystery of Edwin Drood

McCallum Fine Arts Academy—West Side Story

Round Rock High School—Guys and Dolls

Rouse High School—Shrek the Musical

St. Stephen’s Episcopal School—Chicago

Best Direction

Akins High School—Hairspray

Dripping Springs High School—The Addams Family

Jack C. Hays High School—The Mystery of Edwin Drood

McCallum Fine Arts Academy—West Side Story

Round Rock High School—Guys and Dolls

Rouse High School—Shrek the Musical

St. Stephen’s Episcopal School—Chicago

Vista Ridge High School—Monty Python’s Spamalot

Best Ensemble

Cedar Ridge High School—Grease

Dripping Springs High School—The Addams Family

East View High School—Damn Yankees

Jack C. Hays High School—The Mystery of Edwin Drood

Leander High School—The Addams Family

McCallum Fine Arts Academy—West Side Story

St. Andrew’s Episcopal School—Catch Me If You Can

St. Stephen’s Episcopal School—Chicago

Best Actor in a Leading Role

Jacob Hensey—Austin High School

Hunter Anderson—Bastrop High School

Evan Vines—Cedar Park High School

Justin Florie—Elgin High School

Brough Cosgrove & Ben Miller—Jack C. Hays High School

Keaton Brandt—McNeil High School

Keaton Pugh—Rouse High School

Nicholas Topfer—St. Andrew’s Episcopal School

Stone Mountain—St. Andrew’s Episcopal School

Best Actress in a Leading Role

Sydney LePage—Austin High School

Abigail Holtfort—Cedar Park High School

Katie Haberman—Dripping Springs High School

Erin Swearingen—Jack C. Hays High School

Maddy Sparkes—James Bowie High School

Helena Laing—McCallum Fine Arts Academy

Heidi Wilding—Round Rock High School

Brooke Silverstein—St. Stephen’s Episcopal School

Brittany Young—Vandegrift High School

Best Actor in a Supporting Role

Jack White—Cedar Ridge High School

Preston Willis—Dripping Springs High School

Anthony Collins—Lanier High School

Jordan Williams—Leander High School

Zane Sanchez—Liberty Hill High School

Cooper Ward—Round Rock High School

Elliot Esquivel—Rouse High School

Andrew Yow—St. Stephen’s Episcopal School

Ryan Mills—Vista Ridge High School

Best Actress in a Supporting Role

Quinn Skarnulis—Anderson High School

Jessica Marcano—Cedar Ridge High School

Emily Warkentin—Dripping Springs High School

Taylor Cooper—Jack C. Hays High School

Riley Sugrue—James Bowie High School

Zoe Gonzalez—Lake Travis High School

Caroline Holmes—Leander High School

Christine Ashbaugh—Marble Falls High School

Lexi Wood—Round Rock High School

Best Featured Performer

Sadie Seddon-Stettler—Anderson High School

Shawn Patterson—Cedar Creek High School

Emily Pesina—Del Valle High School

Cassie Martin—Dripping Springs High School

Noah Wood—East View High School

Krista Hollins—Lanier High School

Sean Hall—LBJ/LASA High School

Jared Brown—Lehman High School

Lucas Boyles—Rouse High School

Catherine Hipolito—Stony Point High School

Darrin Redford—Tom Glenn High School

William Sheriff—Vista Ridge High School

Best Orchestra

Akins High School—Hairspray

James Bowie High School—Mary Poppins

LBJ/LASA High School­—9 to 5 The Musical

McCallum Fine Arts Academy—West Side Story

McNeil High School—The Hunchback of Notre Dame

Round Rock High School—Guys and Dolls

Rouse High School—Shrek the Musical

Vista Ridge High School—Monty Python’s Spamalot

Best Scenic Design

Akins High School—Hairspray

Austin High School—Avenue Q School Edition

Del Valle High School—The Addams Family

Elgin High School—Seussical

Lanier High School—Avenue Q School Edition

Leander High School—The Addams Family

Rouse High School—Shrek the Musical

St. Andrew’s Episcopal School—Catch Me If You Can

Best Musical Direction

Cedar Ridge High School—Grease

Dripping Springs High School—The Addams Family

James Bowie High School—Mary Poppins

McCallum Fine Arts Academy—West Side Story

Round Rock High School—Guys and Dolls

Rouse High School—Shrek the Musical

St. Andrew’s Episcopal School—Catch Me If You Can

Vista Ridge High School—Monty Python’s Spamalot

Best Costume Design

Akins High School—Hairspray

David Crockett High School—Heathers (High School Edition)

Dripping Springs High School—The Addams Family

Lehman High School—Pippin

Rouse High School—Shrek the Musical

St. Andrew’s Episcopal School—Catch Me If You Can

St. Stephen’s Episcopal School—Chicago

Vista Ridge High School—Monty Python’s Spamalot

Best Lighting Design

Akins High School—Hairspray

Dripping Springs High School—The Addams Family

Hendrickson High School—Heathers (High School Edition)

Lake Travis High School—The Wedding Singer

Lanier High School—Avenue Q School Edition

Marble Falls High School—Guys and Dolls

McCallum Fine Arts Academy—West Side Story

Rouse High School—Shrek the Musical

Best Technical Execution

Bastrop High School—Little Shop of Horrors

Dripping Springs High School—The Addams Family

East View High School—Damn Yankees

James Bowie High School—Mary Poppins

Round Rock High School—Guys and Dolls

Rouse High School—Shrek the Musical

St. Andrew’s Episcopal School—Catch Me If You Can

St. Stephen’s Episcopal School—Chicago