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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.

Austin Playhouse's production of Damn Yankees doesn't always serve up the vocal prowess to make his tender moments sweet, but the overall production is a true-blue treat: a traditional home-cooked musical, well done.

Barrio Daze, a series of damn funny and poignant sketches created, woven together, and performed by Adrian Villegas is both absurdly funny and dead-on insightful, not only dissecting stereotypical views other groups hold of Hispanics, but challenging those Hispanics have applied to themselves.

Five new reviews of family-friendly ethnic cafes and east coast-style pizza parlors

Five new reviews of family-friendly ethnic cafes and east coast-style pizza parlors

Edmundo is writer-performer Jennifer Haley's imaginative, scurrilous, charming creation, part dusty, crude, but enjoyable vaudevillian, part raconteur of an era long past, and his story may be a bit dark, but Haley unfolds it with so much theatrical flair that it is impossible not to have something of a good laugh at the vagaries of Edmundo's chaotic existence.

Pro Arts Collective's presentation of two Pearl Cleage one-act plays delivered this playwright's poetic, often witty dialogue with style and some convincing performances; the only thing missing from this quality production was the audience.

Our Food writers stay up to date with Austin's ever-shifting culinary landscape while still finding time to revisit their favorites.

with classic Austin tastes: old favorites, new reviews

In The Kindermann Depiction, Physical Plant Theater's Steve Moore and director Carlos Trevino have created two worlds, one flooded with leaves, one made of cloth, that are full of strange wonders. We wouldn't want to live there; but our lives are much enriched by having paid a visit.

Greg Beets provides a fast-food tour of Austin in this week's "Second Helpings."

In her new play theevolutionofwoman, author S. Lucia Del Vecchio offers exactly what this male reviewer seeks in the theatre: a peek into forbidden mirrors, possible answers to tough questions, and food fights.

The iron belly muses production of Shakespeare's Troilus and Cressida sometimes seems to have little to do with Shakespeare's text, and that's a problem, but director Sharon Sparlin does a fascinating job of "updating" the play, and when it works, it works wonders.

For In the Middle of the Ocean, handsome and slightly crazed Chris Alonzo adopts the persona of Twitchy the Clown to tell a sort of twisted Greek fable about a woman who builds a floating brothel for pirates, gets involved with a well-hung ghost, and eventually follows him to Hell. And singing with the voice of a whiskey-stained angel, Alonzo proves himself an Orpheus with a microphone and guitar and keyboard.

A vague performance at the center of the Public Domain Theatre Company's production of Edward Bond's Bingo diminishes the impact of Bond's play, but does not eclipse it. It feels relevant right here, right now.

In its new staging of Samuel Beckett's signature play Waiting for Godot, the Gate Theatre Company of Dublin has succeeded in creating a definitive production of a major theatrical work.

The State Theater Company's production of Nunsense is long on laughs if short on story, according to Chronicle writer Skipper Chong Warson.

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