Stephen Christopher Anthony as 'Evan Hansen' and the North American touring company of DEAR EVAN HANSEN. Photo by Matthew Murphy, 2019.
By: Harrison Lorenzen
It is not often you can find such an elegant balance between comedy, love, and a heart-wrenching story of a community grieving in the aftermath of suicide. Dear Evan Hansen, stopping in Houston along its 50-city national tour, opened Tuesday to a sold-out house at the Hobby Center. The cast, working with quite intense subject matter, brought such emotion to the stage that they held the attention of the entire audience throughout the performance. Benj Pasek and Justin Paul wrote beautiful songs to accentuate the emotions of the characters throughout, and the book by Steven Levenson helped to alleviate the sadness with expertly placed comedy. The actors delivered this constantly shifting material with ease and flair. The set is minimal, with a variety of pieces being brought on and off to create the spaces, but the possibilities are endless with the assortment of projections and screens utilized throughout. (more…)
Tyler’s set began with IGOR’s overture tack, “IGOR’S THEME.” The performance was introduced by the characteristic ear-piercing bass synths found in every track throughout IGOR. The bass fueled the crowd while Tyler faced his fans, frozen in the center of the stage, entirely emotionless. Then, the beat dropped, and the IGOR TOOR fun began, all while Tyler stared directly at the crowd, unmoving.
Following his introduction, Tyler began getting loose and into the performance with his following performance of “I THINK”. The hard-hitting, however groovy and rhythmic track, led to intricate mix of mosh-pits and dance circles, and allowed fans to release all of their pent-up energy.
Tyler’s performance could be broken down into several acts, each separated by the drop of the curtain providing the backdrop for his set. Each set was distinguishable, with the first being his energizing tracks from IGOR, followed by some of his melodic, slower tracks, then a section of classic throwbacks from GOBLIN, WOLF, and Flower Boy, before returning to crowd sing-a-longs like “See You Again”, and “ARE WE STILL FRIENDS?”
As the concert continued, and Tyler danced his heart out on stage, played the piano, and joked with the crowd, all while donning a fluffy blonde wig, retro sunglasses, and a full teal suit, it’s clear that Tyler is able to stick to his authentic self without selling out for a mainstream audience. This is even clear in his performance techniques, as other hip-hop artists of the current generation use classic concert gimmicks of yelling at the crowd to open up a mosh pit, using restraint-and- 3, 2, 1 release techniques to get fans excited, and throwing water bottles into the crowd; none of these were present for the IGOR TOOR. It was refreshing to witness a hip-hop concert performed in a unique manner with an artistic performance vision, and resultantly see fans react to the beauty and complexity of Tyler’s music, rather than gimmicks. Building on this, Tyler also performed without any backing vocal tracks, facing up to the challenges that come with performing entirely live, and letting fans enjoy his uniquely deep voice. The concert, for Tyler, was a stage that he treated as intimately as if it were one back at home where he was by himself and just immersing himself in the music. Here, we could be there with him, feel how much Tyler cared for his artistry, and let his love embrace us. The stage design was simple, using the same elements theatrical scene elements seen throughout Tyler’s various music videos and album visuals, allowing the majority of the attention to remain on the artist. However in the latter part of the concert, various sections of the backdrop were used to display eccentric visuals, some which showed his hair growing and shrinking into his head and another which cut up a projection of Tyler into various distorted pieces. Tyler’s Instagram bio often summarized the vibe of the concert perfectly, as an “indie movie with a budget.”
As this was the last stop on the tour, and the end of Tyler’s IGOR era, Tyler ended the concert with an emotional and tear-filled thank you to his fans and commented on how he made it this far by simply being weird. This weirdness provided for a captivating and one-of-a-kind hip-hop performance, truly raising the bar for other performers within the genre.
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Can anyone say cold front? Weekend two of Austin City Limits (ACL) began with chilly temperatures and cloudy skies that threatened Texas natives to stay inside. Good thing they didn’t because ACL 2019 came to show off and she truly did! There were many notable moments during the festival, Tame Impala’s closing set, fireworks during Childish Gambino, Billie Eillish losing an earring while performing, but let’s focus on a few Texas stars who stole the show!
The North American Tour Company of CATS. Photo by Matthew Murphy. 2019
By Harrison Lorenzen
One of Andrew Lloyd Webber’s best-known musicals, CATS, returns to Houston for one week only, wowing audiences with its elaborate dancing, stunning lighting, and most of all, its cats. Opening last night to a nearly full house, featuring patrons of all ages dressed in cheetah print and/or cat ears, CATS had audience members captivated throughout the show. Creeping in and out of oversized junk like ovens and tires while dressed in colorful, striped (or tabby) leotards, the cast led an excellent portrayal of the feline lifestyle. Opting to be at the theater instead of watching the Astros game, guests were not let down with this ensemble’s performance.
From the cold and rainy weather on Friday and Saturday to the bright, sunny, and warm Sunday, Austin Parks Foundation once again drew thousands of music lovers to Austin City Limits Music Festival. Nothing could keep away the fans swarming to see their favorite artists. Young kids were dragging their parents into Austin Kiddie Limits to see Imagination Movers, teens were mobbing the stage to see Lizzo and Childish Gambino, and adults were lounging in yard chairs to see the Cure and Guns and Roses. Zilker Metropolitan Park was buzzing with activity throughout all three days, with bands loading in first thing in the morning, to crews packing up the stages late Sunday night. Fans filled the park from the moment the gates opened at eleven each morning, eager to beat the lines at the sponsored experiences such as the Uber Rewards Lounge or Tito’s Party in the Shack. Stages sprung to life at 11:45 and at any point in the day music could be heard from no fewer than 2 stages at a time.
Wonza Johnson as “Melchior” and the Cast of the Theatre Under The Stars production of Spring Awakening. Photo by Melissa Taylor.
By Harrison Lorenzen
Duncan Sheik combined forces with Steven Sater to take a late 19th-century play about teen angst and sexual frustration turn it on its head. Combining rock music with an 1891 play by German author Frank Wedekind, Spring Awakening has crowds humming along to the beautiful music before realizing the dark natures of the songs they’re hearing and characters they are watching.
On stage now at the Hobby Center for the Arts, Theater Under the Stars Houston brings audiences an incredibly well-crafted performance of Spring Awakening. Striking a great balance between new and old, with an industrial backdrop and rock lighting contrasting period-style costumes and set pieces, TUTS has once again brought their best to the Houston theater scene. With some of the best talent from near and far, the cast is phenomenal both vocally and dramatically. From the heart-racing rock songs to the heart-wrenching ballads, there is not a weak point throughout the entire performance. Every member of the cast is incredibly talented and almost every character, both major and minor, gets a chance to showcase their vocal ability with a solo. The voices layer into beautifully haunting melodies and carry home the messages presented by Sater. The design of the show is precise and integrated. The set consists of an industrial scaffolding backdrop featuring the band on one side and various cast members scattered on the second story catwalk throughout the show, as well as a wood-paneled office suspended high above the right side of the stage. The contrasting steel and wood marks the sharp contrast between the modern music and the historic, conservative story. The lights further progress this contrast by lighting each scene with traditional amber washes, but switching to flashy, neon effects during the musical numbers. In all aspects, TUTS production of Spring Awakening is phenomenal and a must-see. Spring Awakening is on stage at the Hobby Center for Performing Arts through October 20th. For more information visit TUTS.org.
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One of Andrew Lloyd Webber’s best-known musicals, CATS, returns to Houston for one week only, wowing audiences with its elaborate dancing, stunning lighting, and most of all, its cats. Opening last night to a nearly full house, featuring patrons of all ages dressed in cheetah print and/or cat ears, CATS had audience members captivated throughout the show. Creeping in and out of oversized junk like ovens and tires while dressed in colorful, striped (or tabby) leotards, the cast led an excellent portrayal of the feline lifestyle. Opting to be at the theater instead of watching the Astros game, guests were not let down with this ensemble’s performance.
