The Equitable Arts Infrastructure Research Group, co-led by UT Austin Department of Theatre and Dance Professor Charlotte Canning and Associate Professor Paul Bonin-Rodriguez and Duke University Associate Professor of the Practice Sarah Wilbur, recently received a National Endowment for the Humanities (N.E.H.) grant to support a national symposium focused on the enduring challenge of cultural, economic and racial equity in the nation’s performing arts sector.
Teatro Vivo's annual La Pastorela will feature performances and artistic contributions by multiple alumni, faculty and current students. This interactive theatre experience will be on stage December 6-14, 2024.
Faculty, graduate students and alumni recently attended the American Society for Theatre Research (ASTR) Conference, where they received awards, presented on plenary sessions and organized working sessions with fellow scholars nationwide.
The 2023/2024 B. Iden Payne Award winners were announced November 11 , 2024, honoring many artists in the Austin theatre community. The Texas Theatre and Dance productions of Ride the Cyclone (2023) and Romeo y Juliet (2024) were among this year's award winners, along with multiple UT Theatre and Dance artists working at theatres across Austin.
Faculty member Barbara Chisholm shares advice for aspiring theatre artists in a recent Backstage article highlighting faculty who are also working actors. She was interviewed among fellow acting professors from institutions across the country.
Hunter Regian (B.A. 2017) is creating his own Broadway production firm, Regian Entertainment, after earning his first Broadway co-producing credit on the revival of Sunset Boulevard.
John Proctor is the Villain, written by playwriting alum Kimberly Belflower (M.F.A. 2017), will premiere on Broadway in Spring 2025. Belflower's play will be directed by Tony winner Danya Taymor (The Outsiders) and will feature Sadie Sink (Stranger Things, The Whale).
October 9, 2024
| Off Book: A Theatre and Dance Blog
Director Caley Chase discusses her collaborations with actors and designers, the ways the script encourages original choreography and movement and how the set and live sound effects draw audiences into the world of A BEAUTIFUL DAY IN NOVEMBER ON THE BANKS OF THE GREATEST OF THE GREAT LAKES.
