I am not swiping through digital images or peering into a paperback book; I am standing—as the first viewer to see Yoshitaka Amano: Big Bang at Asia Society Texas Center fully installed, where it runs through Feb. 7, 2027—in the quiet, pristine light of Yoshio Taniguchi’s architecture, confronted by raw scale, chemical reaction, and the unyielding physical friction of human labor on a gallery wall.
As Artistic Director Sarah Rothenberg pulled together the repertoire and artists for DACAMERA of Houston’s 2026-27 season, she came across composer Gabriella Smith’s notes on her work for string quartet Carrot Revolution, in which she envisioned the piece as a celebration of the spirit of fresh observation and of “new ways of looking at old things.”
The Apollo Chamber Players were taking part in a festival in Seattle when violinist Matthew Detrick, the group’s founder and artistic director, slipped away for a hike in nearby mountains.
ACTX spoke with Austin Symphony Orchestra’s lead conductor and musical director, Peter Bay, about his decision to “pass the baton” at the 2026-2027 season’s conclusion.
Change is afoot for Bruce Wood Dance Dallas in its 17th season, as Melissa M. Young steps into the role of artistic director and Joy Bollinger transitions to resident choreographer and répétiteur.
Since its founding in 2012, Dallas’s Avant Chamber Ballet has commissioned more than 50 world-premiere ballets, including four full-length works, all from female or minority choreographers. Its 2026-27 season continues that tradition with world premieres from founding artistic director Katie Puder and former New York City ballet principal Jock Soto, but audiences can also expect plenty of classical ballet’s greatest hits, including The Nutcracker and the second act of Swan Lake. The season also features the most performance dates in the company’s 15-year history, all occurring at Moody Performance Hall.
It’s been almost ten years since the heads of Dance Source Houston, the Bayou City’s diligent and committed resource organization for the local field of dance, hatched an inspired plan. Executive Director Mollie Miller and then Board President Stephanie Todd Wong recognized a need for performance opportunities for the city’s dance-makers, as well as production training so that these artists could utilize the newly opened Midtown Arts and Theater Center Houston (MATCH).
Reminiscing with Austin’s theater collective, The Rude Mechs, as they celebrate their 30th anniversary of making theater together feels a bit like talking to a 90s alternative rock band that’s somehow still together. When I caught up with Thomas Graves, Lana Lesley, Kirk Lynn, Alexandra Bassiakou Shaw, and Shawn Sides, five of the six active co-producing artistic directors—with only Madge Darlington missing—there was a lot of good natured interrupting and correcting of memories, especially when recalling which of their conceived shows they performed over the years in which off Broadway theater or international festival.
For several years as Arts and Culture’s resident theater cartographer, I’ve been mapping the big Broadway and West End touring shows as they tour across Texas.