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September 27, 2022

Texas Performing Arts unveils 2022-23 season, and a new slate of artists-in-residence

Three Austin-based artists will be in residence and develop new work

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Texas Performing Arts unveiled it 2022-23 season of interdisciplinary performance, curated by executive and artistic director Bob Bursey.

Dance Theatre of Harlem; South Africa’s Vuyani Dance Theatre; Mexico’s indigenous-centered Makuyeika Theatre Collective; all-female ensemble Flor de Toloache; Italy’s Compagnia TPO (Teatro di Piazza o d’Occasione); and Sandbox Percussion are among those bringing shows to TPA, University of Texas’ performing arts presenter.

TPA will continue its innovative and much-needed artist-in-residence program that it created during the pandemic. Three artists of international renown who are based in the Austin area will receive support: interdisciplinary artist and creative director Kenyon Adams, playwright Virginia Grise, and choreographer Deborah Hay.

“This season we want to share the best in new performance from around the world,” Bursey said. “At the same time, we want to give a platform to leading artists who are based in Austin, reflecting the unique interplay of global perspectives and local creativity that is Austin.”

Tickets for TPA’s new season go on sale June 10 at 10 a.m. at texasperformingarts.org



The artist-in-residence projects:

  • “Riding the Currents of the Wilding Wind,” Virginia Grise & Martha Gonzalez
    Oct. 20, 2022 

    In a performance lecture Austin-based playwright Virginia Grise discusses the process of adapting Helena María Viramontes’ 2007 novel “Their Dogs Came with Them” for the stage. In 2018, Grise adapted and staged the work at a medium security women’s prison in Goodyear, AZ with a team of collaborators from both inside and outside the prison. Grise and musical director Martha Gonzalez of the Grammy-Award winning band Quetzal are now creating a concept album and multimedia concert to tell the story of the destruction and displacement of a Mexican American community when six intersecting freeways were built right through the heart of a neighborhood. As part of her residency with Texas Performing Arts, Grise will discuss her process with collaborator Gonzalez and how their unique adaptation centers music (a mix of Mexican and Afro-Cuban rhythms, jazz, funk, rock, gospel, and R&B) as a driving narrative force.
  • ‘Cullberg: Works by Deborah Hay’
    Jan. 28, 2023
    Based in Austin since 1976, dance legend Deborah Hay recently established her archive at the Harry Ransom Center. She continues to create new work and evolve her practice at 80 years old. When pandemic-induced closures made the debut of her latest work with renowned Swedish contemporary dance company Cullberg impossible, Hay shifted gears. A series of solos were captured on video from the stage of Texas Performing Arts’ McCullough Theatre to allow the artistic dialog to continue. The resulting work, “Horse, the solos,” is a meditation on the climate crisis and modern survival, with new music by Austin-based composer Graham Reynolds. Said Hay: “‘Horse, the solos’ is choreographed in a manner that relies on an intuitive understanding of risk, efficiency, and survival. There is control in efficiency but not risk taking. Combined they establish the conditions for [the work].” For its U.S. premiere, Reynolds will perform the music live for the first time. The program will open with a rare solo performance by Hay. A performance of Hay’s 2004 masterpiece ‘The Match’ will kick off a day of performance, discussion, and film screenings.
  • “Compline,” Kenyon Adams
    Date to be announced 

    Through performance-based practices, Kenyon Adams seeks to reclaim or expand embodied ways of knowing, towards imagining and constructing sustainable futures.  Through his residency, he will develop “Compline,” a ritual performance work with vocal ensemble choir.  It is adapted from the liturgical practice of the “night prayer” in the Episcopal tradition of canonical hours (fixed prayer times.) The work will be the third piece in Adams’ cycle of three secular liturgies, “Watchnight: We Are Almost To Our Destination” which is inspired by the concept of “Watchnight” services developed within regional black church traditions in the Southeastern United States.

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