Home Events Arts Theatre

Director Dave Steakley and choreographer Abe Reybold bring John Cameron Mitchell’s glamorous and rockin’ musical classic about ”a fourth-wall-smashing East German rock & roll goddess who also happens to be the victim of a botched sex-change operation, trying to find a place to belong in America” – of course – back to the Austin stage. And here’s Robert Faires’ review of the whole thing.

Shannon Stott and Quinn Buckner are an improv duo creating stories from a black woman’s perspective. Some of these situations may be serious, some of these situations may be funny, but – keep this in mind – it's okay to laugh!

One of Austin’s longest-running festivals, a legendary vehicle for theatre artists, actors, musicians, poets, and performers of all types, FronteraFest returns for its 26th year of showcasing some of the wildest – occasionally brilliant, frequently delightful, and almost always original – entertainment you're likely to see. It's a collaboration between that professional thespian powerhouse called Hyde Park Theatre and ScriptWorks and anyone who's got what it takes to put their act on a stage. The Short Fringe showcases performances of 25 minutes or less, and runs the entirety of the festival. Here's the main thing to know about the Short Fringe, in case you're not familiar with the whole FronteraFest deal, yo: The weeknight shows are a mixed bag but usually crowded with folks there to see friends do their stuff onstage; each Saturday "Best-of-the-Week" show is sure to be worth your time, but it sells out fast, so plan accordingly; the final week, the "Best-of-the-Fest" week, which is always the primo live-performance shit in town and is already completely sold out – we warned you about this, like, weeks ago, right? – except for the wild-card Staff Picks night on Thu., Feb. 14, 8pm, which has a few tickets still available.

Broadway in Austin presents this new show, inspired by Adrienne Shelly's beloved film, featuring original music and lyrics by Sara Bareilles, book by Jessie Nelson, choreography by Lorin Latarro, and direction by that Tony-winning Diane Paulus.