The approximately 1,000-foot-long wall will enclose an electrical substation on 3 acres of downtown Austin, the site of the decommissioned Seaholm Power Plant and Green Water Treatment Plant, which is pegged to be a mixed-use development of hotels, condominiums, apartments and a new central library.

Among other stakeholder groups in the design of the Seaholm district, the Families and Children’s Task Force asked that the wall design somehow engage children and encourage interaction.

Tehrani’s design calls for the substation wall to be made of varying materials including concrete panels, perforated metal and wood or concrete pillars. The height of the wall would vary in an undulating wave from about 12 to 25 feet. At night, colored lighting would augment the design.

Renderings presented to the council on Thursday revealed a rainbow of hues that might illuminate the wall from teal to pink to yellow.

Really? Colored lights?

Read the full story.

All images by NADAAA, Inc. Courtesy city of Austin Art in Public Places Program.

The award is for Davila-Villa’s work organizing the exhibit “Recovering Beauty: The 1990s in Buenos Aires,” first comprehensive show of art produced during the pivotal and transformative 1990s in Buenos Aires. “Recovering Beauty” garnered national attention.

Currently, Davila-Villa is presenting “The Marco Polo Syndrome: Contemporary Cuban Art,” an exhibit that spotlights the Blanton’s collection of Cuban art from the 1980s, a time of cultural renaissance during which artists expressed a collective desire greater creative freedom within their conservative and repressive political system.

Among other artists, the exhibit includes work by José Toirac, Abel Barroso, and Antonio Eligio Fernández.

Toirac will be in town Feb. 23 when he gives a talk at 12:30 p.m. Admission is free.

“The Marco Polo Syndrome” continues through April 15. www.blantonmuseum.org



Image: Abel Barroso. “Internet de madera [Wooden Internet],” 2000. Wood, ink, and paper. Courtesy Blanton Museum of Art.

Turns out, it was written by three MFA alumni of the University of Texas’ prestigious Michener Center for Writers.

Kevin Jones, a 2009 MCW graduate, is now a wordsmith with an ad firm in Portland, Oregon, oversaw the project and he subsequently pulled in Pushcart Prize-winning fiction writer Smith Henderson (MCW 2010) who moonlights as an advertising copywriter. And poet Matthew Dickman (MCW 2005) was asked to pen an alternate script.

The unusually-long two-minute commercial immediately sparked controversy and chatter, with conservative critics, including GOP strategist Karl Rove, suggesting that it was a plug for President Obama’s bailout of the Detroit auto industry.

Nevertheless, the script has been praised for its plain-spoken eloquence.

“One of the greatest pleasures of my job is waiting around to see what wondrous things these ex-students of mine will do next,” says MCW director James Magnuson. These three guys are immensely talented, but I never expected to see their work at half-time in the Super Bowl.”

Jones, Henderson and Dickman join a list of noted writers who have turned their talents to copywriting over the years including F. Scott Fitzgerald, Salmon Rushdie, Don DeLillo and Elmore Leonard .

“Arcadia” is British playwright Tom Stoppard’s fast-paced, hyper-intellectual witticism at its finest, and Austin Shakespeare’s production confidently tackles the play’s decidedly challenging themes. The show takes on (among other things) the philosophical clash between reason and romanticism; explanations of advanced algebra; the second law of thermodynamics; and academic literary archeology; as they all play out on a country estate at the turn of both the eighteenth century and the twenty-first.

As with many of Stoppard’s plays, “Arcadia” is a challenge to sum up. It follows two asymptotic story lines - a student and her tutor in 1809 and a couple of academics studying the family records in the late twentieth century. Under Ann Ciccolella’s direction, this production rather downplays the tragic finale, resulting in a hybrid performance of light-hearted comedy and heavy-intellectualism.

Overall, the ensemble is excellent, as is much of the design. As the tutor, Septimus Hodge, Collin Bjork is the charming centripetal force of the eighteenth century world - seducing the women and the audience with his spunky equivocations. Georgia McLeland, a long-time veteran of Austin Shakespeare’s Young Shakespeare performances, bursts onto the main stage and proves herself an emerging Austin talent in her role as Thomasina Coverly (Septimus’ student).

Michael Dalmon is the highlight of the evening in his hilarious rendition of the foolish cuckold cum poet, Ezra Chater. Shelby Davenport gracefully slides into the role of the smarmy academic, Bernard Nightingale, and as his intellectual sparring partner, Hannah Jarvis, Liz Beckham’s brusque British reserve is charmingly captivating.

Justin Cox deserves particular acclaim for his fantastic stage accoutrement, as does Jonathan Heibert for his period costumes. Ia Enstera’s epic set design is quite stunning, though it loses some of its luster under too much scrutiny. John Vander Gheynst’s sound design doesn’t really do justice to the space, but the Rollins Studio Theatre offers state of the art assisted listening devices that help to eliminate ambient noise.

The first act of “Arcadia” stretches out like a rolling county green, and although the tempo isn’t particularly fast-paced, the steady rhythm of the witticisms keeps the show moving through the two and a half hour run.

‘Arcardia’ continues 8 p.m. Thursdays-Saturdays, 3 p.m. Sundays through Feb. 19. Discussion between audience and actors to follow every performance. Rollins Studio Theater, Long Center.s $21-$24. www.thelongcenter.org.

Cate Blouke is an American-Statesman freelance arts critic.

Photo by Kimberley Mead for Austin Shakespeare.

The West Austin Studio Tour will happen May 19-20. Organizers are now seeking applications from artists and arts spaces from a large swath of Austin — west of IH-35, east of Mopac, south of Highway 183, and north of I-71/360. Applications and more information can be found at www.westaustinstudiotour.com.

EAST started as a one-afternoon event in 2003 with a few artists in East Austin opening their studios to the public. It has since grown to a two-weekend affair with some 145 participating studios and a slew of additional events and temporary exhibitions.

Or, as is the case for Christy McBrayer, bring the South back east.

As part of the Frontera Fest Long Fringe, McBrayer has brought “Southern Fried Chickie,” her one woman, ten character comedy romp, all the way from Los Angeles to give Austin a glimpse of life in her home town: Saltillo, Mississippi, population a few thousand. Saltillo is (apparently) the trailer-park suburb of Tupelo, and the hometown of Elvis’ mother, Gladys Love Smith Presley.

“Southern Fried Chickie” (a purportedly autobiographical show) pulls us along on an adventure into deep-South small town life, replete with muumuus and mashed potatoes, hair curlers and chain smoking, methamphetamines, Jack Daniels, and high school boyfriends with nicknames like Hamburger and Frog. McBrayer takes us on a tour of her family angst, donning the trappings of each persona with enthusiasm and pluck. She does, however, make a short venture up north (sort of) when we meet her Minnesotan and maternal neighbor with a penchant for macramé.

And although McBrayer makes up the bulk of the show, it wouldn’t be half as much fun if it weren’t for her Red Neck Greek Chorus. Austin locals Johnny Molinari and Casey Epps show off their vocal and guitar picking talents, supplying a great pre-show warm up and a running soundtrack for McBrayer’s shenanigans. Ron Ramelli rounds out the ensemble with keyboards and harmonica. Of particular delight on Saturday was Casey Epps’ rendition of his original song, “The Ballad of Dick and Jane:” an entertaining (and not very subtle) adventure in double-entendre and divorce.

The show is undoubtedly entertaining for anyone who grew up in small-town South, caricaturing the characters one inevitably encounters. McBrayer reminds us that stereotypes are alive and well in the Southern states, and it’s a lot more fun to see her reenact them secondhand than encounter them in real life.

‘Southern Fried Chickie’ continues at 4:45 p.m. Performances at Salvage Vanguard Theater, 2803 Manor Road. Tickets $15. www.hydeparktheatre.org

Cate Blouke is an American-Statesman freelance arts critic.

Recent arts coverage:

• At Mexic-Arte Museum, “31K Portraits for Peace” highlights hope
• At AMOA-Arthouse Laguna Gloria, small is the new big
• ‘Failed States:’ Artist-witness creates exhibit in response to shooting at Texas Capitol
• Austin Lyric Opera, music school formally quit
  

In June, ALO announced that it would jettison its music school as a cost-saving measure amid news that the opera was nearly $2 million in debt. At the same time, the opera announced that it would selling its purpose-built facility on Barton Springs Road. ALO sold its building in December for $5.45 million.

“This change allows the Austin Lyric Opera and the Armstrong Community School of Music to focus on their core missions and to expand their services to the community,” said Ernest Auerbach, ALO board president, in an official statement.

Founding school director Margaret Perry will remain as the school’s leader.

Martha Rochelle, who chaired ALO’s task force that worked on a strategic plan for the future of the school, will serve as Armstrong Community Music School’s chair.

The Armstrong chool opened to much celebration in 2000 along with the new building, much of which was devoted to school activities.

Both the opera and the school will maintain their programs and operations at the Barton Springs Road facility through April after which each will establish separate facilities.

Until they notice that mom is kneeling on the floor, obsessively assembling dozens of bologna sandwiches. They all stop and stare. Maybe this is not going to be such a “normal” day after all.

Directed by Dave Steakley, “Next to Normal” tells the story of Diana Goodman (Meredith McCall), a suburban housewife with a long history of bipolar disorder. Her relapse after a period of calm launches the family into turbulence.

While Diana undergoes medical treatment under the supervision of two doctors (both played with precision by Joshua Denning), the audience is left to wonder, as Diana does, “which is worse, the symptom or the cure?”

The 2009 Broadway production of “Next to Normal” (with music by Tom Kitt, book and lyrics by Brian Yorkey) won several Tony awards as well as the 2010 Pulitzer Prize. The show’s rock score is packed with powerful songs, complicated rhythms, and unexpected lyrics.

Despite its heavy-sounding theme, Zach Theatre’s version of “Next to Normal” is a gripping and often very funny ride. The show’s small cast is uniformly sharp. McCall infuses her portrayal of Diana with dry wit. Her voice soars on ballads like “I Miss The Mountains,” where Diana laments that her medications allow her to feel nothing.

As her steadfast but overwhelmed husband Dan, Jamie Goodwin’s solid performance resonates. As Natalie, Diana’s driven, over-achieving teenage daughter, Kelli Schultz is a breath of fresh air, delivering some of the show’s funniest lines and tossing in some refreshing teenage sarcasm, especially in the scenes of her budding romance with stoner kid Henry (Johnny Newcomb).

Poignant, surprising, and at times utterly irreverent, “Next to Normal” pulls back the curtain on a family in crisis. It explores the difficult topic of mental illness with equal amounts of sympathy, levity, heartbreak, and hope. And it makes the audience question what, exactly, it means to be “normal” in the first place.

‘Next to Normal’ continues through March 4 Zach’s Kleberg Stage, 1510 Toomey Rd. $25-$55. 476-0541, www.zachtheatre.org

Claire Canavan is an American-Statesman freelance arts critic.

Photo: Joshua Denning and Meredith McCall. Photo by Kirk Tuck

Broadway Across America has brought the smash-hit musical, “Wicked,” back to Bass Concert Hall for an impressive three-week run through Feb. 12.

In the giant auditorium, fantasy looms overhead — a giant animatronic dragon gazes down upon the audience while the city of Oz glitters from the center of an extensive map showing us the world we are about to enter.

Creating a back-story for the beloved figures of “The Wizard of Oz,” “Wicked” explores issues of friendship and popularity, ostracization and rebellion, against a backdrop of magic and munchkins.

The steampunk type settings of Eugene Lee create a visually stunning tableau for the fairy tale atmosphere combined with contemporary teenage angst. Susan Hilferty’s asymmetrical and utterly luscious costumes are consistently delightful, with a pleasing potpourri of textures and patterns. The production elements alone would make “Wicked” worth seeing, but they are only the beginning.

This year’s production brings a legitimate beauty queen to the role of Glinda (Tiffany Haas, former Miss Ohio in the Miss America Pageant), and Haas certainly cultivates the kind of love/hate relationship that the role calls for. Her portrayal of the snotty and spoiled teenage witch shifts between exasperating and endearing in a way that keeps the character both overwhelmingly bubbly yet somehow humanly awkward.

This serves to contrast nicely with Anne Brummel’s Elpheba, who comes off as downright normal despite her green hue. Both women bring strength and personality to their now iconic roles.

As the Wonderful Wizard of Oz, Don Amendolia is pleasingly blustery and bombastic, moving adeptly between his moments as a power-hungry despot and a fatherly gentleman with a twinkling charm about him.

The choreography serves to highlight the pleasures of the costumes, if not necessarily the talent of the dancers. Admittedly, the “Dancing Through Life” number falls a bit flat, but the inimitable Broadway spectacle and stage magic of “Defying Gravity” more than compensates.

It’s hard to shake off the production history of a show so entrenched in popular memory, but this production’s vocal performances depart enough from the original cast recording to make it refreshing to hear.

Some of the staging and storyline rely on familiarity with the original book, but it’s not enough to be distracting. Overall, this is a musical we’re lucky to have back in town, and it’s well worth seeing live.

‘Wicked’ continues through Feb. 12 at the Bass Concert Hall. $38-$107. www.texasperformingarts.org.

Cate Blouke is an American-Statesman freelance arts critic.

In the Austin Lyric Opera production of “Lucia di Lammermoor” now at the Long Center the most famous scene is a wild and woolly epic run-up to death, a quarter hour that it takes Lucia to paint us the full picture of how completely she’s lost her mind.

Donizetti’s opera, aside from this “mad scene” and the famous sextet at the center of the production, is actually a pretty slim affair. There’s not much of a story in it. Think of a more concise ‘Romeo and Juliet’ set in Scotland, and sung, uh, in Italian. Girl loves bad boy, but girl’s forced to marry a schlub for political stability — problems ensue. There’s betrayal, vengeance, but most importantly, madness.

The sextet (a big chorus piece, highlighting the work’s six principal voices) was smartly paced by conductor Richard Buckley, and had the voices braiding energetically through the hall.

Even so, the production depends on the mad scene, and Russian soprano Lyubov Petrova was a fantastic madwoman, teetering dangerously around the stage, undone by her actions and the circumstances.

Petrova sang delicate waves of sadness, then soaring notes of manic joy, a performance that brought home the crowd’s scandal of seeing raw, unhinged emotion in 17th century Scotland.

Once Lucia comes down the staircase in a bloody nightgown, she’s fully transformed. She hallucinates a scene with her former lover in a giddy soprano, then waves a sword at the terrified crowd, until she’s shocked into the realization that she’s just killed her unwanted husband.

Why is this tragic scene so much fun? For one, we know it’s coming. For two, Petrova’s multifaceted mania cycles through so many contrasting emotions that remains still unpredictable. The audience just sits back and enjoys the performance.

On opening night the principal voices came out of the gate a little cold and overall they remained slightly uneven in quality, though Texas-born tenor Chad Shelton was a deserved fan favorite.

The sets are effective, especially in the large chorus scenes, which had a nice depth, suiting the strong work of the chorus itself. Dim lighting predominates, but added to the eerie mood, and accentuated the rich color palate of the period costumes.

Lucia di Lammermoor continues at 7:30 p.m. Feb. 3 and 3 p.m. Feb 5 at the Long Center. 19-$135.www.austinlyricopera.org

Luke Quinton is an American-Statesman freelance arts critic.

Photo by Mark Matson for Austin Lyric Opera.

With these words, the galumphing Robert sums up the ambitious love life of his childhood friend — the cavorting, Paris-dwelling British architect Bernard — a love life that ultimately proves too enterprising, even for 1963.

Bernard (David Stokey) is a master of timetables, which he uses to organize his domestic schedule with three fiancees — international flight attendants whose paths must never cross: Trans World Airlines agent Janet (Lara Toner), complete with a Texas twang; Air France’s smooth Jacqueline (Hildreth England); and the overzealous Lufthansa agent Judith (Laura Walberg), whose love of sausages and sauerkraut bewilders Bernard’s grumbling housemaid, Bertha (Bernadette Nason). It’s the heyday of flying. All three women are done up to perfection in skirt suits with neckerchiefs, and big hair.

Austin Playhouse’s Don Toner directs the French farce “Boeing-Boeing” by Marc Camoletti, adapted to English by Beverly Cross for a 1962 staging. It portrays the one day in Bernard’s life when the timetables don’t have the answers; when inclement weather and flight delays brings all three of the flight attendants to his flat, Bernard pulls in Robert (Zach Thompson) to help him in his dramatic struggle to keep the women unaware of each other, even as they inhabit the same space.

A perfect accident is to be had in terms of the theater space itself. While Austin Playhouse awaits the construction of a brand new theater in the Mueller Redevelopment, its performances are taking place in a temporary tent facility, distinguishable from a real theater only in that if you’re at the matinee showing, the tent doesn’t get dark until, well, it’s actually dark outside. The 5 p.m. Sunday show works out beautifully: Act I encompasses breakfast and lunch while it’s still light outside, and Act II’s dinner is in the dark.

Witness (and cook) to these meals is Bertha. As the grumpy maid, Nason is a riot. There’s one scene in particular that can be summed up by her stance — slumped on the couch, sucking down brandy, that is. “Fasten your seat belt, sir. It’s going to be a bumpy ride,” she says to Robert after a telephone call reveals Bernard’s carefully planned schedule (Janet for breakfast, Jacqueline for lunch, Judith for dinner) is going awry.

Thompson’s portrayal of Robert is one that involves the entire body. One moment he’s catapulting off the couch to intercept Jacqueline’s path to the bedroom, where Judith awaits Bernard; the next, he’s gesticulating crazily to Bernard, attempting to send him signals about the status of the women. Stokey’s quivering depiction of Bernard makes one wonder how the man had ever held it together. At the end of the day, Bernard is a changed man, confidence thoroughly shaken. One is enough.

‘Boeing, Boeing’ continues 8 p.m. Thursdays-Saturday. Austin Playhouse at Mueller, 1800 ½ Simond Ave. $26-$28. www.austinplayhouse.com.

Claire Christine Spera is an American-Statesman freelance arts critic.

Photo: Hildreth England and David Stokey. Photo by Christopher Loveless

This spring, Austin has a flurry of performances of Cage’s still avant-garde music.

‘Matrices & Entropy’
Music for percussion & electronics by Cage, Pluta and Vinjar featuring Line Upon Line

Line upon Line percussion ensemble will play the rarely performed Cage piece ‘Variations II’ (1961). Written for any number of musicians and any number of sound-producing actions, the Line Upon Line presentation will utilize metallic instruments.

Also on the program, New York composer Sam Pluta will deliver a batch of his adventurous works for percussion, among them, Pluta’s static-infected piece ‘Matrices’ that warps percussion music almost beyond recognition.

Also on the program is the Texas premiere of +/- by Anders Vinjar, a piece for a large selection of percussion instruments and electronic sounds.

When: 8 p.m. Jan. 28 Where: Mexican American Cultural Center, 600 River St. Tix: $15-$12. www.amoda.org

‘SoundSpace: Musicircus’
Steven Parker, musician-in-residence at the Blanton Museum of Art presents Cage’s ‘Musicircus,” a 1967 piece which Cage created as simply an invitation for musicians to gather and play.

Parker’s rounded up a crew of adventurous musicians including pianist Michelle Schumann who specializes in interpreting Cage’s music and has staged an annual Cage birthday concert for the past decade. Schumann will play some of Cage’s works for toy piano in the Blanton’s vast auditorium.

Also on the bill is the New Music Co-op, Bel Cuore Sax Quartet and the East Side Arkestra (a Sun Ra tribute combo). Getting a premiere will be new works by Andy Sigler and Pierce Gradone, for electric trombone and an amplified cactus — yes, we said amplified cactus.

The music will be paired with dancers from Ballet Austin, with choreography by Michelle Thompson.

When: 2 p.m. Feb. 4
Where: Blanton Museum of Art, MLK, Jr. Blvd. and Congress Ave.
Tix: Free with museum admission ($5-$9)
www.blantonmuseum.org


And then in March, adventurous New York-based ensemble So Percussion will present a two-concert celebration of Cage’s music at UT, “We Are All Going in Different Directions.” Click here more information.

Trouble Puppet Theater is up to its usual hijinks, providing a piece of biting social commentary wrapped in a cloak of adorable puppets.

Creator and director Connor Hopkins’ new macabre fairy tale, “Crapstall St. Boys,” is decidedly in the vein of Edward Gorey and Lemony Snicket. The events in this play are anything but fortunate - which isn’t to say they aren’t delightful, but that may depend on your sense of humor and your age. This show is not for children.

Serving as flagrant condemnations of industrial capitalism and its costs on our humanity, the characters of “Crapstall St.” would be downright Dickensian if it weren’t for the cannibalism and three-eyed monsters sprinkled throughout the show. K. Eliot Hayes’ excellent sound design adds an ominous ambiance that makes the show darkly gripping for the full 50 minutes that it runs.

Departing from Trouble Puppet’s usual style (several people for each puppet), “Crapstall St.” features (at times) several puppets per puppeteer. They’ve assembled (literally) an ensemble of ragamuffin youths and uncaring adults that are so adorable it’s easy to forget we’re watching a scene of death, destruction and decapitation.

Add to that the juxtaposition of a circus-style opening act, and “Crapstall St. Boys” becomes a disconcerting delight of childhood wonder and adult cynicism. The carnivalesque, vaudevillian entertainment of Chickendog Circus opens the show with juggling, accordion music, unicycle riding and a surprise guest appearance by the fabulously talented Jingles.

Chickendog Circus sets the stage nicely for the performance ahead; because there’s a sort of magic to both juggling and puppetry, it helps the audience rediscover the sense of reverence that comes with youth. But Hopkins adds to that the healthy dose of cynicism that a socially-minded adult can’t help but have in these modern times - resulting in a show that takes us back but doesn’t let us leave with the warm and fuzzy fairy tale ending that experience has taught us to expect (and write off as ridiculous).

“Crapstall St. Boys” continues 11 p.m. Jan. 28, 3:15 p.m. Sunday, 6:45 p.m. Feb. 4.Salvage Vanguard Theater, 2803 Manor Road. $10. www.troublepuppet.com

Cate Blouke is an American-Statesman freelance arts critic.

The stream of found lumber gushing out of a worn bungalow at 1319 Rosewood Avenue is Chris Burch’s contribution to “Last New Year,” a temporary site-specific project by emerging art collective Ink Tank Lab.

The 10-member Austin-based collective has occupied the spacious empty bungalow, a donated privately-owned space that also served as a location for the Texas Biennial last year.

For “Last New Year” Ink Lab members all riffed on a ‘end of the world’ theme, imagining some kind of cataclysmic event, the 2012 phenomenon that has had doomsday believers of many stripes convinced that this is the year that life as we know it will end.

The collective imagined that a party like no other would happen and used the bungalow inside and out to create a house-sized installation. And walking through “Last New Year” is like discovering the remnants of that mad, art-creating party.

“Last New Year” continues through Jan. 29. Gallery hours are 7 to 11 p.m. Jan. 25, with a gallery talk at 7:30 p.m. .The site will also be open 8 to 11 p.m. Jan. 26 and noon to 6 p.m. Jan. 29 with a performance at about 5:30 p.m. Admission is free.

As part of the imagined cataclysmic event, a meteor (or something) fell from the sky and smashed through the ceiling.


A visual document of the end-of-the-world event is mapped out on a wall. (Detail shot.)


A post-apocalyptic game of Scrabble.


On the kitchen wall Morse code and Mayan hieroglyphs — made of dried meat — leave messages for any possible future visitors.

Ten years ago, almost to the day, since they first played it, Graham Reynolds and Peter Stopschinski’s composing project took on Prokofiev’s “Visions Fugitives,” at Spiderhouse’s 29th Street Ballroom.

In 1917, young Prokofiev published twenty short piano experiments, a stunning collection that tinker with dissonant harmonies, ungainly melodies and silence. Like a chef’s tasting menu, “Visions” is a smorgasbord of spooky, circus-like and pretty tunes that are over almost as soon as you’ve had a bite.

The evening started with University of Texas jazz professor Jeff Hellmer, playing through the original work in its entirety. Some are reminiscent of Erik Satie, others are so thoroughly modern they could’ve been placed on Reynolds’ soundtrack to the film “A Scanner Darkly” without anyone batting an eye.

It was over in 20 minutes or so, a truly economical work. And then, after intermission, The Golden Hornet Project’s took the stage, with trombone, vibes, sax, double bass, synth and drum kit. “You’re going to love hearing the original, and then you’re going to love hearing how we completely destroy them,” Stopschinski said at the beginning of the night. And it was so.

Using the 20 visions as their base, the band charged through arrangements by Reynolds and Stopschinski.

Some remained pretty close to the original, and they could be surprisingly delicate and quiet, no small measure of restraint with a band this energetic.

Like Prokofiev’s, a few arrangements were more fully formed than others, like (what I’m fairly sure was) “No. 10,” which appeared on an early Golden Arm Trio album. It’s a meandering, banal little circus piece that, half way through, erupted with a hurricane of horns attacking at full volume until Reynolds raised his hand up, and brought it crashing down to a finale. The crowd went absolutely bonkers.

When the two composers squeeze with Hellmer at the piano to play a compressed version of the last few “Visions,” it’s like a Bugs Bunny skit. Stopschinski crumples up and throws each finished music sheet, while Reynolds stampedes up the keyboard, forcing the other two pianists hands to lift at the last second to make way.

That showmanship is the most obvious thing separating Reynolds and Stopschinski from the new (classical) music. The funny and relaxed banter, percussion duels and improvisational breaks are second nature to these guys.

Luke Quinton is an American-Statesman freelance arts critic.

Last year, Craig Hella Johnson and company were racing out of the gate with a supremely ambitious mini festival of Renaissance and Baroque music, hours upon hours of material.This year the pace slowed only slightly. The choir’s weekend was booked with four concerts of Joby Talbot’s “Path of Miracles,” but they also managed to sneak in a single concert of U.S. premieres of work by American composers Eric Whitacre and Peter Scott Lewis.

Conspirare seem to have an affinity for Whitacre’s ecclesiastical music. Pensive, solemn, and generally very beautiful, Whitacre has a deserved following among choiristers. His music is at its best when tinged with a layer of darkness, as in “Five Hebrew Love Songs,” which pits the women’s bright, cheery tune against the men’s somber Greek-chorus.

Conspirare’s premiere performance of Whitacre’s “Alleluia” was a clear highlight. A spectral sustained note at the start folded into warm chords that were reluctant to resolve. Quite stunning.

The premiere of “Occuli Omnium,” a grace written for Sidney Sussex College at the University of Cambridge, was of a similar mind, though somehow not quite as sublime.

If Whitacre’s work is heavenly, Peter Scott Lewis’ is more Freudian and self-conscious.

His work “The Changing Light,” was based on the words of the esteemed Beat poet, San Francisco publisher, Lawrence Ferlinghetti.

The poetry came from Ferlinghetti’s more recent, more naturalistic work, evoking the sunlight of San Francisco, the moon and birds in the underbrush.

But, to borrow one of the poet’s own lines, the music accompaniment felt “anchorless upon the ocean.” No real melody, little in the way of discernible structure or polyphony, Lewis’ work was like a palate cleanser that lasted a whole meal. Fans of the written word among the audience might have preferred the choir mount a poetry reading.

In any case, the afternoon ended with Whitacre’s “Sleep,” a stiff but welcome contrast that sent us away in a lingering meditative state.

Luke Quinton is an American-Statesman freelance arts critic.

Hancock, who was born in Lubbock, Texas, was 77.

Hancock received his bachelor’s in music from UT and his master’sfrom Union Theological Seminary in New York and later studied at the Sorbonne.

Prior to returning to UT in 2004, Hancock held the position of organist and naster of nhoristers at St. Thomas Church Fifth Avenue in New York for more than 30 years. His textbook,” Improvising: How to Master the Art,” is still studied by organists throughout the country..

“Gerre Hancock was a legend in his own time. We are so fortunate to have had him on the faculty in the Butler School of Music for nearly nine years,” said Glenn Chandler, director of the Butler School of Music. “After a 32-year career at St. Thomas Church where he and his wife Judith built what was arguably the finest Anglican church music program in the United States, he came back to his alma mater to pass on to the next generation of organists the knowledge and skills that he had so wonderfully mastered during his lifetime. We will sorely miss him.”

He is survived by his wife of 50 years, Judith Hancock, and their two daughters, Deborah Hancock and Lisa Hancock.

“Billy Elliott: The Musical,” “Priscilla, Queen of the Desert,” “Million Dollar Quartet” and “Disney’s The Lion King” will play at the Bass Concert Hall.

“Rock of Ages” will play at the Long Center.

Season tickets are on sale now. Individual ticket sales will be announced at a later date. See BroadwayAcrossAmerica.com/Austin for more information.

Leaders for the non-profit theater report that on Thursday they signed a contract with Catellus developers to purchase a building site in the Town Center portion of the Mueller redevelopment.

Theater leaders have been in negotiations with Catellus, the developers of Mueller Austin, for several months.

In November, Austin Playhouse opened a temporary venue — a 55-by-60-foot tension-fabric tent — at Mueller.

The community theater group plans to build a 17,000-square-foot complex with classrooms and offices as well as a ground-floor space that will be sold to a bar or restaurant.

To date, theater supporters have raised almost $400,000 in pledges and contributions toward the project $4 million new theater project. Most of the financing will come through low-interest loans.

Playhouse leaders said they anticipate closing on the contract within 60 days and that construction would begin then. They hope to have the new theater open in fall of this year.

A fourth employee resigned last week and that position will not be immediately filled, said Jamie Grant, Long Center executive director and CEO.

He said the layoffs were necessary in order to keep costs in line with revenues. The move saved about $275,000 in payroll and benefit costs and would ensure that the organization’s budget remain balanced, Grant said.

The Long Center has $6.5 million annual budget. The center now has 36 employees.The layoffs were in security and patron service positions.

“It’s strictly a business decision,” Grant said. “We’ve got to make sure we’re as lean as possible. I think the community and donors expect that.”

Berman says he plans to go virtual, and to represent his roster of Texas artist via his web site and will present temporary exhibits in pop-up locations.

In December, Berman showed George Krause’s “Sfumato Nudes” series of photographs at the Off-Center, a warehouse theater in East Austin, to great success.

Berman’s gallery has been operating his gallery in Wimberely for a year where he moved his operations in early 2011 after 10 years in downtown Austin. Among the artisst Berman represents are Steve Wiman, Sydney Yeager, Beverly Penn, Beili Liu, Faith Gay and W. Tucker.

“I will work on a revamp / redesign of the website and focus on developing sales in that way,” said Berman in an email. “During the past couple of years, we have found that working through consultants has been a very good way for us to promote and place our artists’ work, and we’ll certainly continue to do that. I hope the future holds exciting things for us as we all try to adjust to the realities of the current economic situation.”

Berman said that in February he’ll host an invitation-only event at the new Four Season Residences for Lance Letscher’s new work. Berman said he had several other events in the works as well.

“Lance Letscher: Work from the Middle Ages” is on view through Jan. 28 at Berman’s gallery in Wimberely. See www.dbermangallery.com for more information.

Austin mayor Lee Leffingwell, police chief Art Acevedo and representatives of Ballet Austin announced the project today at a press conference at City Hall.

More than 40 organizations have joined Ballet Austin to host the three-month series of programs, performances and exhibits centered around human rights and against bigotry.

The collaboration began Jan. 16 — Martin Luther King Jr. Day — and continues through April 19, Yom HaShoah, Holocaust Remembrance Day.

The Anti-Defamation League Austin, the city of Austin, KLRU-TV, Austin Police Department and the Austin Independent School District are among the lead collaborators. Among other events are an exhibit at St. Edward’s University of paintings by Robert Shetterly, ‘Americans Who Tell the Truth’ and a production of ‘The Laramie Project’ at Zach Theatre.

On March 20, Holocaust survivor Gerda Weissman will be interviewed live by Dan Rather at the ACL Moody Theatre.

A complete roster of programs is at www.balletaustin.org/light

Premiered in 2005, “Light” brought Ballet Austin considerable attention. Mills used the story of one Holocaust survivor — Houston resident Naomi Warren — as the inspiration for the 75-minute ballet which is set to the music of contemporary composers including Steve Reich, Philip Glass, Evelyn Glennie, Michael Gordon and Arvo Part.

“Light” will be performed March 23-25 at the Long Center.

Richard Buckley, ALO artistic director and principal conductor, will lead all three productions.

And also starting next season, ALO performances will be scheduled on Thursday nights (7:30 p.m.), Saturday nights (7:30 p.m.) followed by a 3 p.m. Sunday matinee. This season ALO reduced the number of performances from four to three in order to cut costs.

‘Pagliacci’ is designed by Roberto Laganà; the production of ‘Figaro’ was originated by the Opera Company of Philadelphia and ‘Faust’ is a coproduction of Arizona Opera, Lyric Opera Baltimore and Opera Lyra Ottawa.

ALO recently sold its building on Barton Springs Road in an effort to pay off nearly $2 million in debt.

ALO presents ‘Lucia di Lammermoor’ next with three performances Jan. 28, Feb. 3 and 5 at the Long Center.

The biennial competition will be in spring of 2014. The timing of the competition coincides with the Butler School of Music’s centennial.

Previous hosts for the event have included the Royal Academy of Music in London, the Royal Welsh College of Music in Cardiff and the Norwegian Academy of Music in Oslo.

Open to violinists under the age of 22, the 10-day competition and festival has musicians vie for cash prizes and concert opportunities. Past winners include Nikolaj Znaider, Julia Fischer and Ray Chen.