'A call to wake up': What to expect from Austin arts in 2023

In March 2020, I sat down to lunch with Bob Bursey, the incoming head of Texas Performing Arts, the gigantic creative complex at the University of Texas.

The previous year, Bursey had won a Tony Award for best revival of a musical as one of the producers of a radically inclusive staging of Rodgers and Hammerstein's "Oklahoma!"

Long a visionary who had helped to create more than 100 new works, Bursey spoke softly and thoughtfully while he listened with a depth of curiosity not altogether common for ringmasters of such big theatrical ventures.

I thought: Austin just won the artistic lottery. Another key group has hired an insightful leader who fits into the local culture and will help shape the future of this city's dynamic arts scene.

A few days after our lunch, Austin — and the rest of the country — shut down because of COVID-19.

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Instead of seeing what fresh confabulations Bursey could usher into the world, I watched instead as he dealt with the crash of the country's touring circuit — including the lucrative Broadway in Austin series — as well as unnerving health protocols, the early retirement of veteran university employees and a redesign of Bass Concert Hall, the main venue in the complex.

Bursey was not alone. Several new arts leaders followed him to Austin during the pandemic. Not all dealt with the same issues, but all had time to wonder: What do we do next?

Even: Exactly why do we do this?

Recently, as pandemic conditions improved, I contacted six relatively new captains of the arts. First I asked about particular shows they really wanted to see in 2023. Then I asked them to spot new trends.

They talked about new audiences, wider accessibility, deeper audience engagement, authentic connections, unheralded partnerships with other arts groups and more stable finances.

They also talked about their unvarnished feelings. That's what I liked best.

"People are tired of being tired — or maybe I am projecting," says sharon maidenberg, executive director and CEO of The Contemporary Austin (maidenberg does not capitalize her name). "I think we’ll start to see, I hope, more exhibitions that celebrate joy — shows imbued with energy and color that are sort of a call to wake up."

'New tastemakers will and have emerged'

Who: Kenyon Adams is director of public programs for Blanton Museum of Art. Originally from Florida, and most recently from Brooklyn, Adams is a senior fellow at the Hannah Arendt Center for Politics and Humanities and an artist in residence at Texas Performing Arts, and he formerly served as the founding arts initiative director at Grace Farms and the SANAA-designed River Building. He has also served as a strategic advisor to Austin’s Fusebox Festival.

Looking forward to: "I'm most excited about the opening of the Blanton's new grounds, designed by Snøhetta, a favorite architectural firm whose work I've long admired. In spring 2023, there will be so many enjoyable features of the new space, including the unveiling of new permanent installations — among them a commissioned mural by artist Carmen Herrera, the Butler Sound Gallery, the Moody Patio and the newly restored destination artwork, 'Austin'by Ellsworth Kelly."

Trends to watch: "I think one thing we can expect to see is a push for new arts audiences. Diverse communities are really present in Austin, and our city's arts institutions would be wise to perceive a growing group of new arts patrons. This will eventually mean that new tastemakers will and have emerged, with the audiences and patrons to affirm their fresh perspectives. This might feel like a power shift, or at the very least a cultural one which, in my view, anticipates the maturation of Austin's burgeoning prowess as an international cultural center, and indeed, a metropolis. I want to see arts audiences from the greater Austin metro area being pursued and welcomed with more serious intention. The best of Austin is for all its communities."

'Theater is uniquely positioned as an art form'

Who: Jamie Herlich McIalwain is managing director for Zach Theatre. Herlich McIalwain is a Seattle native whose background includes roles at Seattle Rep, Seattle Opera, New Century Theatre Company and Edmonds Center for the Arts. Most recently, she served as the chief advancement officer at Seattle Rep, and she relocated to Austin in September 2022.

Looking forward to: "Personally, I like to be both entertained and intellectually engaged by work on stage, so I'm particularly excited by our upcoming production of 'Roe' (April 5-30) by Lisa Loomer. I saw this show a few years ago, and realized that, while I was obviously familiar with the (Roe v. Wade) case, I had no idea how it came to be, who was involved in it, and what motivated them. This play opened that up to me and was fascinating. What I'm most excited by now is both the timeliness of it given current events and the fact that the story itself is deeply tied to Texas and Austin in particular. Theater is uniquely positioned as an art form with a storytelling imperative that sets it apart from other disciplines and I'm really excited for Zach to lean into that in big ways with this production."

Trends to watch: "The pandemic has fundamentally changed our field. We are still in a process of discovery about what the future may look like, but I anticipate that all arts organizations will be considering programming choices more deeply than ever. We need to do work that inspires people to spend their most precious resource — time — with us. I think we'll see more attention paid to building out a thoughtful experience for patrons, whether that's deeper engagement with the work itself or the wrap-around experience of being at the venue before and afterwards."

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'Community is made whole with accessibility'

Who: Claudia Chapa is curator of Hispanic and Latinx programming for Austin Opera. Originally from Mexico, Chapa trained at the University of Texas Butler School of Music. The mezzo-soprano has sung roles across the country, recently in “The Barber of Seville" for Austin Opera.

Looking forward to: "Hands down, I’m most looking forward to our biggest community-centered event, 'Bella Noche de Música,' at Waterloo Park’s Moody Amphitheater on April 4. ... This event will be a meaningful step toward launching our Hispanic and Latinx programming initiative. When I curate, a main focus of mine is to bridge the gap between two musical worlds. The music highlighted in this concert flows between grand operatic singing and intimate vocal showcasing. I’m excited for the artists to share their dynamic range of storytelling. Another great aspect of this event is that Moody Foundation has made a generous donation that will provide 3,000 free tickets to the Austin community. This incredible gift increases our effort to make 'Bella Noche de Música' accessible for everyone."

Trends to watch: "I foresee a greater demand for authentic connection and engagement with our community. There is an indescribable feeling that only live performance can provide — especially when there is a sense of community. Throughout my career, a personal mission of mine has been to show that opera and the arts in general are for everyone. Accessibility is key; community is made whole with accessibility."

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Collaboration: 'It’s how to sustain the arts ecosystem'

Who: Bob Bursey is executive and artistic director for Texas Performing Arts. A Tony Award-winning producer, Bursey has helped create more than 100 new dance, theater and music productions. At Texas Performing Arts, he leads Broadway in Austin, curates a season of international performing arts, and brings comedians, concerts and family attractions to Bass Concert Hall. He came to Austin after more than 20 years in New York.

Looking forward to: "On April 19, we’re presenting Vuyani Dance Theater from South Africa. They’ll perform a stunningly beautiful production. I saw it in New York just before the pandemic and it’s stayed with me ever since.  Bringing it to Austin has been a dream since then. The choreography is by Gregory Maqoma, a star of the international dance world. The music is performed live by an a capella choir. They sing the South African style of vocal music that was made internationally famous by the harmonies on 'Diamonds on the Soles of Her Shoes' from Paul Simon’s 'Graceland.' The singing is such a key part of it. We’re doing the project together with Austin Opera as part of their Opera ATX series."

Trends to watch: "Partnerships. My sense as a relative newcomer is that there is a lot of opportunity for Austin’s arts organizations to work together to do things that are bigger or more adventurous. I love that there’s a new generation of arts leaders in Austin who are collaboratively minded. Museums, theaters and music spaces across the country are trying to figure out how to flourish in the post-pandemic world. I think collaborative projects and partnerships are the path forward. It’s how to sustain the arts ecosystem and create incredible experiences.  We’re cooking up some exciting ones for this year. I hope it’s something we’ll see a lot of in the future."

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'New layers of dimension and energy'

Who: sharon maidenberg is executive director and CEO of The Contemporary Austin. Originally from the East Coast, sharon and her family moved to Austin in the summer of 2020 after having lived in the California Bay Area for 20 years.

Looking forward to: "Our spring exhibition, 'Eamon Ore-Giron: Competing with Lighting / Rivalizando con el Relámpago.' The show brings together paintings from the last 20 years by Eamon, who is an artist, musician, DJ and performer. His work is really dynamic — his practice moves from figuration and abstraction and pulls inspiration from Mesoamerican deities, the American Southwest, Indigenous and craft traditions, and even Russian suprematism. The work is almost restless, which I think is something everyone can relate to right now. And because Eamon’s practice is both aesthetically beautiful and also inspires programs, there will be a host of opportunities to engage with the project. I’ve known Eamon personally for years and I am selfishly excited that we’re bringing his work to Austin."

Trends to watch: "I think performance and interdisciplinary artwork will be a huge factor in exhibitions next year, adding in new layers of dimension and energy to our work as arts stewards. I also foresee more Austin institutions featuring work by more local and regional artists of many diverse voices and points of view. At The Contemporary Austin, we will continue to center thought-provoking and under-sung artwork and programs in 2023 and beyond."

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'We have to get even more creative'

Who: David Pratt is CEO and executive director of Austin Symphony Orchestra. A native of Australia, Pratt has led multiple music organizations with diverse teams, delivering significant community impact and balanced budgets ranging from $1 million to $18 million. His most recent previous post was at the Savannah Music Festival.

Looking forward to: "Our concert on April 6: 'Brahms X Radiohead.' The best way to describe it is an epic symphonic synthesis of Radiohead’s album "OK Computer" and Brahms’ First Symphony.  Radiohead’s album 'OK Computer' is often described as one of the best rock albums ever produced. Equally, Brahms’ First Symphony is hugely popular amongst classical music lovers. I am a big fan of these types of concerts where different music genres are blended and performed by an orchestra. It provides an entirely new experience for an array of music aficionados.

"Steve Hackman, who is a visionary composer, conductor, producer and songwriter, created this show. He has produced concerts for symphonies that fuse different genres of music, and does it in a way that is thrilling and exciting for the listener. When I first watched this concert — an agent sent me a video link to watch in 2021 — I was taken by how seamlessly he integrates the music of Radiohead with Brahms and at times, I am, like, is that Brahms or Radiohead? This is an experience that all music fans will enjoy, and I am happy we are doing this in a venue we have not performed in before — the Moody Amphitheater at Waterloo Park."

Trends to watch: "It has been a challenging time for the performing arts in Austin and around the country, first dealing with a pandemic over the past few years, and now what can only be described as an unstable economic climate. While we are not officially in a recession, I am seeing recession-like behavior by patrons and the ticket-buying audience. What does this mean? We have to get even more creative in what we present and how we communicate offerings to current and potential audiences. In looking ahead, I think we will see more and more exhilarating and imaginative music and concert experiences that match the diversity and demographics of Central Texas."

Michael Barnes writes about the people, places, culture and history of Austin and Texas. He can be reached at mbarnes@gannett.com.

This article originally appeared on Austin American-Statesman: What's next in Austin theater, art, opera and music in 2023