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

We salute Bloomberg arts gifts, Austin Opera, Austin Art League and more

As reported in the New York Times, Bloomberg Philanthropies is putting $43 million into small and midsize arts group in seven new cities, including Austin.

Former New York City Mayor Michael Bloomberg. AP Photo/J. Scott Applewhite

“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 Times.

The other cities new to the project are Atlanta, Baltimore, Denver, New Orleans, Pittsburgh and Washington, D.C. Already, the program has given $65 million to smaller groups in New York, Boston, Chicago, Dallas, Detroit, Los Angeles and San Francisco.

By invitation, the arts groups are offered unrestricted support up to 10 percent of their budgets along with management training.

We’ll update this report when names of the local arts groups are revealed.

Austin Opera

Notes on Austin Opera‘s recent production of “La Traviata.”

• Just as with Austin Symphony‘s concert that included Beethoven‘s Fifth, the opera company can fill a house with a favorite. Yes, just as patron Robert Nash said as he passed me going in, this was something like my 5,000th “La Traviata,” but who is counting? I like a full, enthusiastic house and a fresh interpretation of a classic.

• Every “La Traviata” is about Violetta, the fallen woman who finds love, abandons it in sacrifice, then dies. Yet everything about this production at the Long Center for the Performing arts centered expressly on Marina Costa-Jackson, who could fill an sporting arena with her charisma, her nuanced acting and her gorgeously tawny voice. She now moves up to spot No. 2 after Patricia Racette on my list of favorite Violettas.

RELATED: How Austin Opera got its groove back.

• Every conductor from here on out must be considered a candidate for the position of Austin Opera artistic director. That’s not the official line, but it’s customary. What can we say about Steven White, who conducts around the world including at the Metropolitan Opera in New York? Judged by this one show, his sound is clean, unassuming and solidly in support of the artistic whole.

• While we loved the whirlwinds of activity elicited by stage director David Lefkowich, as well as the simplicity of his intimate scenes, we were of two minds about the costumes, sets and lights. The first act was appropriately suggestive of a bordello with a hint of luxury, each subsequent scene looked more and more bleak, less and less polished.

• Alfredo is, by nature, a pallid character. And that’s the way tenor Scott Quinn played him from beginning to end. Even during scenes of rage or regret. Germont, on the other hand, offers a mature range of responses. Although he looked young for the role of Alfredo’s father, Michael Chioldi proved forceful, then dignified, although he was less convincing as he warmed to Violetta.

Austin Art League

They have been meeting for more than 100 years. The Austin Art League started regularly examining and discussing art in social settings in 1909. They continue to do so.

Apoorva Jain, Lulu Flores and Laura Bauman during the Art League Luncheon at Tarry House. Michael Barnes/American-Statesman

During a light luncheon at Tarry House, a private club in Tarrytown on a former estate that belonged the Reed family, they covered a multitude of subjects, but got down to business handing out scholarships to Austin Community College art students Apoorva Jain and Laura Bauman. A third recipient of the $1,500 grants was not present.

They can do so because, a few years ago the group sold a collection of art that they owned, but had been closeted at the Austin History Center for decades. That secret stash brought in $200,000, part of a story I want to tell in full.

In the custom of legacy women’s clubs, members have at times been identified only by their husband’s names, at other times by their given first names and married last names. Looking over a list of first 100 or so presidents, I spied some social celebrities right off: Mrs. Walter E. Long, Mrs. Harry Bickler, Mrs. T.P. Whitis, Mrs. R.L. Batts, Mrs. T.S. Painter, Mrs. Z.T. Scott, Mrs. Fred. S. Nagle, Mrs. Austin Phelps, Mrs. Martha Deatherage, Mrs. G. Felder Thornhill III, Mrs. D.J. Sibley, Jr. and Mrs. Frank Starr Niendorff.

Leonard Lehrer

We did not know accomplished artist, teacher and administrator Leonard Lehrer, but he spent his last years in the Austin area. He died on May 8.

Leonard Lehrer

Lehrer was a founding trustee and current honorary member of the International Print Center New York and emeritus professor of art from New York University, among other titles. His art was the subject of 48 solo exhibitions and multiple group shows. His work is in the collectcions of the Museum of Modern Art, Metropolitan Museum of Art, National Gallery, Corcoran Gallery, Library of Congress as well as other museums and private collections.

Lehrer studied at the Philadelphia College of Art and the University of Pennsylvania. He taught or led programs at the Philadelphia College of Art, University of New Mexico, University of Texas at San Antonio, Arizona State University, Columbia College Chicago and New York University. His last position was a director of the printmaking convergence program at the University of Texas.

A celebration of his life will be held at 3 p.m. June 2 at Thurman’s Mansion in Driftwood.

Get an early look at what’s coming up at Creek Show 2018

Creek Show, the annual procession of light art staged by the Waller Creek Conservancy, turned a corner of sorts last year.

What started as mostly elegant minimalist efforts along downtown Austin’s eastern waterway went maximalist in 2017 with masses of pink flags for “Night Garden” by Eric Leshinsky (lead) with Colter Sonneville, Megahn Skornia and Wenjie Zhao.

“Night Garden” was a hit for the Creek Show in 2017. Contributed by creekshow.com

The designs for year five — the free event will be Nov. 9-17 — were recently announced and promise to continue the large-scale experience. In 2017, more than 20,000 people attended Creek Show, sampling the kind of attractions planned for a transformed Waller Creek. For 2018, Creek Show will be in a different section of Waller Creek — between Ninth and 11th streets — and include Symphony Square, where the “Creek Show Lounge” will be located.

Here’s a look at early renderings of what’s planned for 2018, along with the teams behind the designs:

“Tentsion”

By Perkins + Will

Chet Morgan, Assoc. (lead)

Jenny Adair

Caitlin Admire

Aaron Manns

Emilie Ogburn

Ellen Saathoff

Paul Ward

“Ambedo βeta”

By Polis

Daniel Goodwin (lead)

Brianna Graves

Olivia Nguyen

Bruce Wilcoxon

“Parabolus”

By aod

Jose Roberto Corea (lead)

Courtney Jones Burton

Gretchen Leigh Du Pré

Jeff Fletcher

“Light Lines”

By Campbell Landscape Architecture + Tab Labs

Cameron Campbell (lead)

Bill Baird

Taurin Barrera

Stuart Campbell

Jenny Janis

Viddhi Jhaveri

“La Noria”

By Drophouse Design

Christian Klein (lead)

Matt Satter

Christy Taylor

“Urban Scrim”

By Lemmo Architecture and Design

Ryan Lemmo, (lead)

Stephanie Lemmo, Assoc. (lead)

Jonathan Butler

Julia Martinelli

 

 

 

Setting the highest standards for the Art Dinner at Laguna Gloria

Etherial location. Elegant crowd. Exquisite cuisine. Excellent art.

Scene from the Art Dinner at Laguna Gloria. Michael Barnes/American-Statesman

For the past five years, the Art Dinner at Laguna Gloria has benefitted the Contemporary Austin. Hosts expertly employ the arboreal setting on the grounds of the Clara Driscoll villa to create an elevated atmosphere at dusk and into the evening. This year, that effort included the passage of the S.S. Hangover through the lagoon with members of an Austin music collective playing a dirge-like piece.

Visual artists do love a bit of theater!

The S.S. Hangover at Laguna Gloria. Michael Barnes/American-Statesman

Guests were in no hurry to pass up cocktails a key points in and around the villa, but the seated dinner took place under tents on the front lawn. Happily, I was placed next to designers Lydia G. Cook and Geoff Fritz from the Cambridge, Mass. firm of Reed Hilderbrand Landscape Architecture. They helped explained the company’s master plan for the Contemporary’s Marcus Sculpture Park, including connectivity to nearby Mayfield Park.

RELATED: Imagine a new welcome at Laguna Gloria.

The modest but tasty dinner arrived courtesy of restauranteur Tyson Cole along with chefs Ed Sura of Uchiko and Joe Zoccoli of Uchi. (Note to other Austin charity hosts: You don’t need a big slab of animal protein to satisfy.) The evening climaxed with an unusually civilized live auction featuring work by artists close to projects at the Contemporary.

Dr. Sam Rumi and Dr. Meena Vendal andat the Art Dinner at Laguna Gloria. Michael Barnes/American-Statesman

“When all was said and done, we raised more than $500,000 in the live and silent auctions,” reported the museum’s spokeswoman, Nicole Chism Griffin. “One hundred percent of these funds will go to support exhibitions at both of our locations. We also raised  $325,0000 toward the purchase of Ai Weiwei’s “Iron Tree Trunk.” Our goal had been $100,000 for the evening! This $325,000 will go toward fulfilling the Edward and Betty Marcus Foundation’s challenge grant of $500,000 (for the purchase).”

I hear that some guests danced till the wee hours.

Andre Revilla and Rachel Imwalle at the Art Dinner at Laguna Gloria. Michael Barnes/American-Statesman

Austin Symphony

Some notes on the Austin Symphony‘s recent concert at the Long Center.

• One way to fill a house: Schedule Beethoven‘s Fifth. It is the duty of artistic leaders such as Peter Bay to expand tastes and lead audiences in new directions. Still, the Fifth — if well done, and it was — satisfies and enlightens with each fresh interpretation. It comes with the added benefit of a standing-room-only crowd.

RELATED: Why I adore the Austin Symphony.

• I’ve tried to sit in every part of the Long Center house since it opened 10 years ago. Row 4 on the orchestra level was not the right place to take in the concert’s opening piece, Michael Torke‘s “Bright Blue Music.” All I heard was the lower range of the strings and all I saw were the polished shoes of the musicians.

• Turns out the same seat was ideal for Leonard Bernstein‘s “Serenade (after Plato’s Symposium) for Solo Violin, Strings, Harp and Percussion.” Here, only the strings really mattered and they came together beautifully in conjunction with violinist Vadim Gluzman‘s playful then profound solo turn. Booked as part of the “Bernstein at 100” celebration, this near-concerto is a gem to revive more often.

• Bay has proven time and again that he can take epic forms to ever higher heights. Last season, it was Mahler‘s Sixth, an almost brutally difficult symphony to get right. With Beethoven’s Symphony No. 5 in C Minor, the challenge instead is overfamiliarity. Bay and his always advancing ensemble treated the first movement with rhythmic clarity, the second with architectural balance, the third with taut force and the final movement with bristling brilliance.

ICYMI: New $6 million portal for Laguna Gloria

The Contemporary Austin has raised $6 million to make the entrance to Laguna Gloria more welcoming.

The entrance to Laguna Gloria will be transformed by a $6 million welcoming project. Contributed by Reed Hilderbrand

READ MORE about the plans at our premium site MyStatesman.com.

The beloved 14-acre site, home to b’s 1916 villa and, now, the sprawling b, is set to undergo a multiphase face-lift. The first step is to break ground March 21 on a new $6 million guest-friendly entrance complex and improvements to the verges of West 35th Street.

The effort was made possible by a $3 million grant from the Moody Foundation, which recently gave $15 million to the Waller Creek Conservancy to build a performance venue in Waterloo Park and $9.7 million to the Pease Park Conservancy to improve the green space alongside Shoal Creek, considered the city’s oldest park and site for a new Stickwork sculpture off Parkway.

Get ready for Ellsworth Kelly at the Blanton Museum of Art

Top arts news of the week: UT opens Ellsworth Kelly masterpiece at the Blanton Museum of Art. Although museum members, directors and backers have peeked inside the chapel-like building on campus, everyone can see it during regular museum hours beginning Feb. 18. Check into the Visitors Services desk in the east wing of the museum first. And go on a sunny morning for the best light show.

READ a description of the place on our premium site MyStatesman.com.

The tumbling square windows fill one vault with pale light. Ralph Barrera/American-Statesman

“Patches of color drip ever so slowly down the walls, then pool onto the smooth black granite floor. On sunny days, the tall white barrel vaults swim with jewel-toned iridescence.

“Not only do the intense hues migrate minute by minute, they alter from day to day according to the position of the sun above “Austin,” a phenomenal new building that doubles as a monumental work of art on the University of Texas campus.”

SXSW puts a premium on art in 2018

At some point, South by Southwest will encompass all human activity.

Austin’s vast March spree started with music in the 1980s, then added movies and technology, before taking on education, philanthropy, the environment and allied fields.

Art came next.

“Feast” by Caitlin Pickall

Today, SXSW announced six art projects for its second annual  program scheduled for the conference and festivals March 9-18, 2018. Combined with the UNESCO Media Arts Exhibition at SXSW, the installations are meant to expand the discussion on visual and digital and media arts during the confab.

We’ll share some artists and titles. Find more information at SXSW Art Program.

SXSW ART PROGRAM INCLUDES:

“Conductors of the Resistance” by Ronen Sharabani

“Feast” by Caitlin Pickall

“Future of Secrets” by Sarah Newman, Jessica Yurkofsky and Rachel Kalmar

“Life Underground” by Hervé Cohen

“MTA: Floating Destiny” with music performed by GuQin

“A Colossal Wave!” by Marshmallow Laser Feast

UNESCO MEDIA ARTS EXHIBITION INCLUDES:

“Forgotten Landscapes” by James Hughes and Ha Na Lee

“Gathering”by Lisa Woods

“Herstory” by Yuliya Lanina

“Passage (Variation)” by Luke Savinsky

Meow Wolf

The Living Museum

“Against a Civic Death” by Rodney McMillian:

“Forever Bicycles” by Ai Weiwei

 

Step inside the enchanted stick village at Pease Park

Kids rush into the doors and hang out the windows. Adults step gingerly over the mulch floors and step back to view the five, tall, curved, leaning structures that look like something from “Where the Wild Things Are” or “The Hobbit.”

“We let the kids in early,” says StickWork artist Patrick Dougherty. “They weren’t sure they were allowed to come in the gate.”

Sam Dougherty works on a stick work sculpture with his artist father Patrick Dougherty, from Chapel Hill, N.C.  RALPH BARRERA / AMERICAN-STATESMAN

The fences come down today. The public unveiling is 1 p.m.-3 p.m. Feb. 10, courtesy of the Pease Park Conservancy.

“We wanted to make a cathedral,” Dougherty says. “We got five corners instead.”

The $106,000 project made from 10 tons of locally harvested then bent, woven and fastened Texas ash, elm, ligustrum and depression willow were built in three weeks by Dougherty and his son, Sam, along with volunteers and staff from Houston’s Weingarten Art Group. The site off Parkway not far from Windsor Road was picked because of accessibility and parking, but it’s also a little sheltered and not clearly visible from North Lamar Boulevard.

Volunteer Carol Burton helps to intertwine tree saplings into an inner wall of a the sculpture is made entirely out of tree saplings and is made possible by the Pease Park Conservancy which is committed to enhancing the cultural environment of the park. RALPH BARRERA / AMERICAN-STATESMAN

Dougherty, who has built 288 of these StickWork projects around the world after working on a family cabin, had always wanted to work in Austin. He says the still-unnamed group of five structures should last two years before they begin to deteriorate seriously.

The Conservancy will maintain the art, then, with the help mulch the remains to spread around the park.

READ EXPANDED STORY ON OUR PREMIUM PAGE.

Update: An earlier version of this post said the project cost more.

Today’s hires, fires, gifts and honors in Austin arts

We lied. This post reports on no firings. You can relax.

Yet “hires, fires, gifts and honors” sounds like a good catch-all headline. We might use it again.

Zilker Theatre Productions makes two key hires

The group that has staged the Zilker Summer Musical for 60 years has taken on J. Robert “Jimmy” Moore as artistic director. Moore, remembered recently for “Buyer and Cellar” at Zach Theatre, will work alongside Executive Director Kate Hix, already in place. Also, one of those beloved behind-the-scenes heroes, Shannon Richey, has been drafted as director of production. Moore and Richey are trusted veterans who will undoubtedly bolster this free and singularly Austin tradition. No word on next summer’s selection.

J. Robert Moore is now artistic director for Zilker Theatre Productions. Contributed

RELATED: Moore joins the Brotherhood of Barbra.

Austin Opera elects new board chairman

Arts benefactors Gail and Jeff Kodosky. Contributed by Becky Delgado

Austin Opera‘s board of trustees has designated Jeff Kodosky, founder of National Instruments and inveterate arts lovers, as its next chairman. He takes over the position from Elisabeth Waltz, who has served as chairwoman 2016. Kodosky has been with the board and the company through thick and thin since 1996. I’m sure this quiet, smiling man could tell some tales about the group that almost went away at least twice, but also has triumphed repeatedly. Next up is “Carmen’ in November.

Huston-Tillotson is now an all-Steinway school. Contributed

Huston-Tillotson is now an all-Steinway school

Following a gift of $800,000, Huston-Tillotson University will become the only institution of higher learning in Central Texas, the fourth historically black college or university in the country, and the 196th college or university to join the All-Steinway School club. University officials will unveil the Steinway pianos during their Charter Day Convocation 10 a.m. Oct. 27, 2017 in the King-Seabrook Chapel on the campus at 900 Chicon Street. In addition, Steinway artist Marcus Roberts and the Marcus Roberts Trio will headline a special concert.

Tracy Bonfitto is the Ransom Center’s new curator of art. Contributed by Pete Smith

Ransom Center selects new curator of art

Austinites generally think of the Ransom Center as a literary treasure trove with out-of this-world strengths in modern literature, movies, performing arts and photography. And, oh yes, the Watergate papers. Yet is also houses, preserves and exhibits a lot of excellent visual art, too. Over the summer, Tracy Bonfitto was named curator of art. She comes with sterling credentials from Getty Research Institute, the Fowler Museum at UCLA and the Los Angeles County Museum of Art. She’s also a University of Texas grad.

I’m sure she will meld partnerships with the other distinguished and closely related cultural spots in that area of Austin, including the Blanton Museum of Art, LBJ Presidential Library, Briscoe Center for American History and Bullock Texas State History Museum as well as UT’s highly regarded Landmarks public arts program and its Visual Arts Center. Maybe the new Ellsworth Kelly house will help point the way visually and viscerally for more of a interrelated cultural campus.

10 big Austin arts stories from the past 7 days

En route between two glorious musicals — “A Chorus Line” at Texas State University and “Singin’ in the Rain” at Zach Theatre — on Saturday, my traveling companions paused to consider the American-Statesman arts coverage for just the past week. We were able to rattle off at least 10 significant stories by staff reporters and freelancers during the previous seven days, Sept. 22-28.

Later I thought, hey, 10 in seven ain’t bad. Why not share the bounty here? Dates are for original digital publication. This fat list doesn’t even include substantial descriptions of arts events that appeared on Page 2 of the Austin360 section, thanks to the extraordinary Ari Auber.

From left, Sydney Huddleston, Annika Lekven, Adrian Collins, Maria Latiolais, Kelsey Buckley, Estrella Saldaña, Kenzie Stewart, and Shonagh Smith in Hyde Park Theatre’s production of “The Wolves,” by Sarah DeLappe. Contributed by Bret Brookshire

Sept. 22: Girl power puts ‘The Wolves’ ahead of the pack.

Sept. 24: Preview: Broadway classic ‘A Chorus Line’ connects with Texas State performers.

Sept. 25: Interview: Bring on the music, bring on the tap dancing for ‘Singin’ in the Rain.’

Sept. 25: Review: Young actor gives tar turn as troubled, tempestuous ‘Prodigal Son.

Sept. 25: Pairing the Ballet Austin Fête with the Thinkery’s Imaginarium.

Sept. 26: Review: Texas State’s ‘A Chorus Line’ is a singular sensation.

Sept. 27. Biennial art exhibit takes the long way to get back.

Sept. 28: A world of dance alights at the University of Texas.

Sept. 28: Austin to kick off citywide Day of the Dead celebrations.

Sept. 28: Scary laughs, Eddie Izzard, Kevin Nealon and plenty of sex.