Documentarians Bradley Beesley and Sarah Price root out characters in the Mississippi Delta, the streets of Milwaukee, and, soon, summer camp in Michigan.

BY KIMBERLEY JONES

Short Cuts

Where to find the news the mainstream media doesn't see fit to print

BY MARC SAVLOV

TV Eye

War, basketball, and the Oscars: Reality programming faces new challenges.

BY BELINDA ACOSTA

Film Reviews

Looking Over His Shoulder

‘Alex Katz: Small Paintings’ brings you unexpectedly close to the artist

BY MADELINE IRVINE

The Austin Museum of Art exhibition "Robert Frank Photographs" provides an excellent introduction to Frank's career from his early social documentary work to his introspective images of later decades, and shows him always striving in his images to reflect his deeply personal response to the world around him.

BY ERINA DUGANNE

Piece of Work

Catherine McMillan's series "Luminarias" consists of paired photographs of a dress and a monarch butterfly, and while they appear to share no connection, the light in these photographs transports the viewer to another realm, a realm of memory filled with loss, instability, and unfilled desires.

BY ERINA DUGANNE

Articulations

Twelve more friends of the arts have been named to the Austin Arts Hall of Fame, and Austin Lyric Opera loses Managing Director Michael Murphy to a performing arts organization in San Diego, from whence he came.

BY ROBERT FAIRES

Arts Reviews

Mrs. Warren's Profession

The State Theater Company's scintillating revival of Mrs. Warren's Profession moves George Bernard Shaw's characters beyond the politics for which they serve as mouthpieces and fills them with the breaths and gestures and expressions of people who live.

Mamma Mia

You may love musicals, and you may love ABBA, but Mamma Mia, the hit musical that features dozens of hits by the Swedish pop band, is so treacly and so utterly invasive in its attempts to win over its audience that you may feel like you've been violated with a candy cane.

Pantalone's War

In Pantalone's War, a new satire presented by the Austin Commedia Society, a heavy-handed commentary on current events drowns out the nonsensical anarchy that the company was born to perform.

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