This summer, Teatro Audaz San Antonio proudly announces its 10th Anniversary Season, Audaz X: A Decade of Familia, with a new residency partnership that includes three mainstage productions and an SNL-inspired comedy series, marking a major milestone for the award-winning Latinx theater company and signaling an exciting new chapter in its continued growth.

This landmark season celebrates ten years of fearless storytelling rooted in community, resilience, and the elevation of underrepresented voices, all while continuing to find home in every corazón reached. Audaz X honors the journey that built this familia and looks ahead with a renewed commitment to bold, community-centered storytelling and the development of San Antonio artists.

“Audaz X stands as both a celebration and a call to action, highlighting the importance of continued investment in Latinx theatre, community storytelling, and the company’s future growth, including expanded programming, its new residency, and long-term sustainability efforts,” said Laura T. Garza, Co-Founder and Executive Artistic Director of Teatro Audaz. 

SEASONAL RESIDENCY PARTNERSHIP WITH SAY SÍ

This milestone season marks a significant evolution for Teatro Audaz through a seasonal residency partnership with SAY Sí at its 1310 S. Brazos St. campus.

For the first time in its history, Teatro Audaz will house its office, rehearsal, storage, and performance spaces under one roof, a major step forward in strengthening operations, artistic collaboration, and long-term sustainability.

“Having all of our work in one place, even for this season, is a meaningful step forward for our company,” said Garza. “This partnership with SAY Sí allows us to operate more intentionally, deepen our community connections, and continue building the kind of artistic home our artists and audiences deserve.”

2026 MAINSTAGE SEASON

Teatro Audaz will continue its commitment to developing new Latinx and underrepresented voices featuring three mainstage productions. These original works were selected with Teatro’s “familia” theme in mind and are all regional or San Antonio premieres.

Audaz to the MAXX: Sketchy Nights in San Antonio – This is comedy without limits. This is storytelling without fear.

This ain’t your abuela’s theatre! It’s fast, fearless, and Audaz to the MAXX – where bold comedy meets cabaret flair, local flavor, and sharp commentary. This monthly sketch comedy series blends SNL-style energy with puro San Anto flavor. Season 2 launches June 24, with additional performances throughout the summer and fall.

Performance dates: June 24, July 29, Sept. 30, Oct. 28 at 7:30 p.m. (lobby opens at 6:30 p.m.).

Tickets can be found here. General admission: $20, VIP: $35. Students/Military/Seniors/Educators (must present ID at the door).

Con Mis Manos: Everyone’s Familia, written by Misael Martinez and directed by Jillian Campos
July 9–19, 2026 (Education Night: July 9)

This is a bilingual production about how a Hispanic family comes to grips with their mother dying from cancer. Set in Deep South Texas, the drama centers around the Gutierrez family, and follows David as he looks back at his father’s way of handling his wife’s illness. “With these hands, your Papi can fix anything,” Con Mis Manos is a powerful work centered on identity, heritage, and the stories we carry.

Performance Dates:

EDUCATION NIGHT: Thursday, July 9, 2026 – 7:30 p.m.
OPENING NIGHT RECEPTION: Friday, July 10, 2026 – 7:30 p.m.
TEATRO PA’ TODOS: Saturday, July 11, 2026 – 7:30 p.m.
MATINEE: Sunday, July 12, 2026 – 2:30 p.m.
ASL NIGHT: Thursday, July 16, 2026 – 7:30 p.m.
Friday, July 17, 2026 – 7:30 p.m.
Saturday, July 18, 2026 – 7:30 p.m.
CLOSING MATINEE: Sunday, July 19, 2026 – 2:30 p.m.

Tickets are available here. General admission: $3

Aye No! A Modern Gay Fairy Tale, written by Liz Coronado-Castillo and directed by Laura T. Garza
August 27 – September 6, 2026

Aye, No!  is a play by Chicana writer Liz Coronado-Castillo that explores themes of sexual identity, cultural collision, and family acceptance in a small border town.  The story follows Alicia, a young woman who returns home from college to visit her family in a small Texas border town. She brings along her friend, Cathy, intending to introduce her to her family.

Performance Dates:

EDUCATION NIGHT:  Thursday, August 27, 2026 -7:30 p.m.
OPENING NIGHT RECEPTION: Friday, August 28, 2026 -7:30 p.m.
TEATRO PA’ TODOS:  Saturday, August 29, 2026 – 7:30 p.m.
MATINEE:  Sunday, August 30, 2026 – 2:30 p.m.
Thursday, September 3, 2026 – 7:30 p.m.
ASL NIGHT:  Friday, September 4, 2026 – 7:30 p.m.
Saturday, September 5, 2026 – 7:30 p.m.
CLOSING MATINEE:  Sunday, September 6, 2026 – 2:30 p.m.

Tickets are available here. General admission: $35

Esperanza Rising, written by Alvaro Saar Rios and directed by AnaLisa Leos
December 16–22, 2026 (Education Night: Dec. 16)

Adapted by Alvaro Saar Rios from Pam Muñoz Ryan’s novel, Esperanza Rising is the story of a Mexican pampered landowner’s daughter who is suddenly forced to start over at the bottom as a migrant farmworker in the United States during the Great Depression.

Performance Dates:

EDUCATION NIGHT:  Wednesday, December 16, 2026 – 7:30 p.m.
OPENING NIGHT RECEPTION: Thursday, December 17, 2026 – 7:30 p.m.
TEATRO PA’ TODOS:  Friday, December 18, 2026 – 7:30 p.m.
ASL NIGHT:  Saturday, December 19, 2026 – 7:30 p.m.
MATINEE:  Sunday, December 20, 2026 – 2:30 p.m.
Monday, December 21, 2026 – 7:30 p.m.
Tuesday, December 22, 2026 – 7:30 p.m.

Tickets are available here. General admission: $35.

COMMUNITY PROGRAMMING

Teatro Audaz’s season also includes youth and community engagement initiatives, reinforcing its commitment to cultivating the next generation of artists:

Camp Viva Broadway Summer Camp + Showcase (June 14–20, 2026)

Student Performance Showcase (June 20, 2026 from 2:00 p.m.-4:00 p.m.) Novio Boy written by Gary Soto and directed by Isa de la Cerda and Briana Morales.

Join Teatro Audaz as they celebrate the incredible work of Camp Viva Broadway students and the next generation of storytellers. When ninth-grader Rudy lands a date with Patricia, an older eleventh-grade girl, he suddenly finds himself scrambling for money, confidence, and the right words to say. With plenty of advice from friends and family, Rudy embarks on a journey filled with laughter, awkward moments, and valuable lessons about growing up. 

To learn more about Novio Boy, click here: https://www.teatroaudaz.com/events/novio-boy.

Photos courtesy Teatro Audaz.

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The San Pedro Playhouse and Classic Theatre are proud to announce their 2026/27 Season, What We Do For Love, a nine-production lineup spanning two venues and nearly a year of live theatre in the heart of San Antonio. From beloved Broadway classics to intimate dramatic works, the season explores love in all its forms: courageous and complicated, joyful and devastating, stubborn and transcendent.

The season officially premieres on October 2, 2026 at the Russell Hill Rogers Theater and spans productions in both the historic RHR Theater and the Classic Theatre, with the beloved Shakespeare in the Park tradition returning to San Pedro Springs Park in April 2027.

The season kicks off with the cult classic horror-comedy musical Little Shop of Horrors, followed by the beloved family favorite, Annie, and the heartwarming holiday event, It’s a Wonderful Life: A Live Radio Play. Audiences will experience the powerful, award-winning drama The Mountaintop, the groundbreaking Broadway sensation A Chorus Line, and Shakespeare’s iconic tragedy Macbeth.

Edward Albee’s incisive At Home at the Zoo offers intimate storytelling, while Lin-Manuel Miranda’s Tony-winning In the Heights brings vibrant music and culture to the stage. Closing the season with wit and sophistication, Noël Coward’s sparkling comedy Blithe Spirit promises laughter, charm, and a truly unforgettable theatrical experience.

“This season is about the full spectrum of what love asks of us,” said Asia Ciaravino, President and CEO of San Pedro Playhouse and Classic Theatre. “We chose these nine stories because together they reflect that love isn’t just a feeling, it’s a force. It drives us to sacrifice, to fight, to open our hearts even when it’s terrifying. We believe live theater is one of the few places where an entire community can explore that together, and we can’t wait to share this season with San Antonio.”

“Programming this season felt like putting together a conversation that’s been happening for centuries,” said Rick Sanchez, Vice President of Artistic Programming. “Each of these works asks the same essential question in a completely different way. Questions about courage, love, and the choices we make in our lives, but in such wildly different ways. From the humor of Blithe Spirit to the energy of In the Heights, and the heart of Annie to the intensity of The Mountaintop, every production is a chance to see someone wrestling with what matters most to them.”

2026/27 SEASON AT A GLANCE

Little Shop of Horrors
Book and Lyrics by Howard Ashman
Music by Alan Menken
Based on the film by Roger Corman, Screenplay by Charles Griffith

Oct. 2 – Nov. 1, 2026 | Russell Hill Rogers Theater

Shy florist Seymour has finally found his ticket to success! A mysterious little plant that brings him fame, fortune, and maybe even the girl of his dreams. There’s just one catch — this mysterious Venus flytrap has very specific needs, and meeting them comes at a cost.

Annie
Book by Thomas Meehan
Music by Charles Strouse
Lyrics by Martin Charnin

Nov. 27 -Dec. 22, 2026 | Russell Hill Rogers Theater

Directed by Rick Sanchez

When a determined young orphan enters the life of wealthy Oliver Warbucks, neither of them expects what happens next. Set against New York City during the Great Depression, this beloved musical celebrates the courage it takes to open your heart and the love that comes when you finally do.

It’s a Wonderful Life: A Live Radio Play
by Joe Landry

Dec. 3-20, 2026 | Classic Theatre

Step into a 1940s radio studio for this heartwarming holiday classic! When George Bailey hits rock bottom on Christmas Eve, an angel shows him just how much one life can matter. A joyful reminder that love, sacrifice, and community create ripples far beyond what we can see.

The Mountaintop
by Katori Hall

Jan. 28 – Feb. 14, 2027 | Classic Theatre

On the eve of his tragic assassination, Dr. Martin Luther King Jr. spends his final night in Room 306 of the Lorraine Motel. In Katori Hall’s intimate reimagining, we witness a man wrestling with his legacy, his fears, and his unwavering love for justice and his people.

A Chorus Line
Conceived and Originally Directed and Choreographed by Michael Bennett
Book by James Kirkwood and Nicholas Dante
Music by Marvin Hamlisch
Lyrics by Edward Kleban
Co-choreographed by Bob Avian

Feb. 19-March 21, 2027 | Russell Hill Rogers Theater

Seventeen dancers. One job. Everything they’ve got. In a bare Broadway rehearsal studio, these performers lay it all on the line, sharing the sacrifices, heartbreaks, and dreams that brought them here. Because when you love what you do this much, you risk everything to be one singular sensation.

FREE Shakespeare in the Park

Macbeth
by William Shakespeare

April 6-11, 2027 | San Pedro Springs Park

Ambition fueled by love and prophecy drives a Scottish nobleman to seize the crown at any cost. But in Shakespeare’s darkest tragedy, Macbeth and Lady Macbeth discover that the things we do for power can corrupt even the strongest bonds of love. Experience this timeless tale under the stars in historic San Pedro Springs Park.

This production marks a momentous homecoming: Classic Theatre founders Tony Ciaravino and Asia Ciaravino, who also serves as CEO of San Pedro Playhouse, take the stage together as Macbeth and Lady Macbeth, with Asia returning to the stage for the first time in over a decade. Also, this year, we’re proud to announce that Shakespeare in the Park is free for all. Three years of learning, growing, and investing in this beloved event have brought San Pedro Playhouse and Classic Theatre to this moment, and it is the San Antonio community that made it possible. Because of that steadfast support, the magic of Shakespeare under the stars now belongs to everyone. VIP packages and seating upgrades will be available for those who want an elevated experience.

Edward Albee’s At Home at the Zoo
May 6-30, 2027 | Classic Theatre

In Edward Albee’s searing two-part drama, strangers collide in Central Park, forcing uncomfortable truths about loneliness, connection, and the desperate need to be seen. What lengths will we go to for understanding? For companionship? For love?

In the Heights
Music and Lyrics by Book by Lin-Manuel Miranda and Quiara Alegría Hudes
Conceived by Lin-Manuel Miranda

June 11-July 11, 2027 | Russell Hill Rogers Theater

Welcome to Washington Heights, where the coffee is strong, the music is loud, and dreams are big. Bodega owner Usnavi and his neighbors are chasing their shot at something better while holding tight to the place and people they love. A joyful, heartfelt celebration of home, heritage, and community that’ll have you dancing in your seat

Blithe Spirit by Noël Coward
July 29-Aug. 22, 2027 | Classic Theatre

Charles Condomine thought inviting a medium to his dinner party would be good research for his next novel. He didn’t expect to actually summon his late wife’s ghost, or that she’d be determined to sabotage his new marriage! Noël Coward’s wickedly funny comedy proves that some loves simply refuse to rest in peace.

Ticketing and parking information can be found here.

The post Great Playwrights and Contemporary Musicals Highlight San Pedro Playhouse and Classic Theatre 2026/27 Season appeared first on ArtScene SA.

Join the Children’s Ballet of San Antonio for a “Fiesta de Plaza” with the company’s production of the legendary Don Quixote, running May 8-9. It’s the perfect time to present this ballet masterpiece, based on the iconic Spanish novel, right after San Antonio’s Fiesta season winds down and just before Mother’s Day.

Performed at the stunning Majestic Theatre downtown, CBSA’s vibrant production is fun for the whole family, with charming characters, a romantic score, classic choreography and, of course, the hilarious antics of Don Quixote, plus a few original spins like aerialist and acro performances and a contemporary number. Show up one hour early for a special souvenir market and cast photos to make memories that will last a lifetime.

A Night in Old Spain

If you love the colorful dresses and party atmosphere of Fiesta, you won’t want to miss Don Quixote, set in a timeless Barcelona plaza full of dashing toreros (bullfighters), dancing ladies and star-crossed lovers. Into the scene bumbles Don Quixote, a comically delusional knight, and his trusty sidekick Sancho Panza, who meet the beautiful Kitri, promised in marriage to a wealthy nobleman but in love with the poor barber Basilio. The massively misguided knight mistakes Kitri for Dulcinea, the woman of his dreams, so when she uses the plaza festivities as cover to elope with her beloved, he follows her on a madcap journey of fortune tellers, circus acts and yes, windmills. The ballet ends back on the plaza with the whole town celebrating the wedding of Kitri and Basilio.

Don Quixote is a natural fit for South Texas audiences with its fiesta focus and Spanish heritage. Even those who lean more rodeo than rond de jambe will marvel at the charismatic, cape-whipping toreros during the magnificent “Dance of Espada and the Toreros.” However, this classic version of Don Quixote, with music by Ludwig Minkus and choreography dating back more than 100 years, was first popularized far from Latino audiences in Russia. Legendary prima ballerina Anna Pavlova introduced the production to the West in 1924, where it has been considered a living link to the famed Russian Imperial ballet style ever since.

“It is the rare classical ballet that is joyful and comedic,” says CBSA founder and artistic director Vanessa Bessler, explaining what sets Don Quixote apart from other ballet masterpieces. “The whole production feels like a celebration. No one dies or is betrayed, and there is a happy ending.”

Viva Virtuosity!

It is also renowned in ballet circles for its energetic and demanding choreography. “The famous duet between Kitri and Basilio showcases everything classical ballet can do — dizzying pirouettes, soaring leaps and feather-light lifts — and is considered one of the ultimate tests of a dancer’s ability,” says Bessler.

The Children’s Ballet of San Antonio, whose young company members have earned more than 100 placements in prestigious national and international dance competitions in the 2025-26 season alone, has a cast that is more than up to the challenge, boasting dancers who have achieved the pinnacle of the highest honors at the Youth America Grand Prix, received invitations to train at European powerhouses such as the Royal Ballet of London, Dutch National Academy and Germany’s John Cranko School and more.

Better Than Brunch

Don Quixote appeals to both children, who laugh at the comedic hijinks, and ballet-loving adults, who marvel at the top-tier technique, and makes a perfect Mother’s Day weekend event. And like every CBSA production, it is a testament to the talent of young artists, nurtured by Bessler since she founded the company more than 11 years ago. Now internationally-recognized, CBSA is on the vanguard of local youth performing arts, committed to providing young performers with professional-level stage experience so they can pursue their artistic passions.

CBSA productions attract hundreds of auditioners and Bessler is known for her inclusive approach to casting. The result is a heartwarming, high-quality piece of art that celebrates the joy of dance and the ability of the littlest ballerinas.

Don Quixote will be performed on Friday, May 8 at 7:00 p.m. and Saturday, May 9 at 2:00 p.m. at the Majestic Theatre, 224 E. Houston Street. Tickets are available here.

The post CBSA’s Performance of ‘Don Quixote’ at the Majestic Theatre May 8-9 appeared first on ArtScene SA.

Note: This story is from 2014.

As a member of the press for the Hollywood Fringe Festival, which ran from June 12 to June 29, I took in no fewer than 15 productions, writing reviews and providing exclusive interviews with some of the gifted companies who presented terrific work at the Fringe.

One of the most fun aspects of the event for me was that I could take my bike on the Metro from Universal City and ride around Hollywood, making the experience as “green” as possible.

But now onto some of my Fringe favorites. Click on the links to be taken to my reviews and more.

Paul Hoan Ziedler’s Woof-Woof was a dynamic, foul-mouthed kick in the teeth, telling the story of a severely traumatized Iraq war vet who, just released from the army psychiatric hospital, decides to go visit his childhood friend in New York, even though he’s in no way prepared to re-enter society. The actors — Jay Seals, Devin Skrade and especially Brett Donaldson — really delivered.

Benjamin Durham (face covered) and Jonny Rodgers in No Homo.

Also good was two-time Fringe Fest award-winner No Homo: A Bromantic Tragedy, which skirted potential clichés and offfered up a scenario with fully-developed characters everyone in Los Angeles can relate to. And it was funny, too!

Another happy surprise was The Best of 25 Plays Per Hour, which consisted of sketches running around two minutes apiece. This sort of format runs the risk of becoming tedious, but the enormously talented company, Theater Unleashed, knew just how to present the pieces for maximum impact. Naturally, most of them were comedy skits, but there were a few poignant ones thrown in to break it up.

Brendan Weinhold and Dawn Alden in Four Tree Plays.

There was even an entertaining avant-garde theater piece, Four Tree Plays, consisting of a quartet of environmentally-themed pieces performed by actors who played trees, animals and even the occasional human. It had humor, it had movement, and it felt…oh, so avant-garde.

The Lost Moon Radio troupe, a Fringe favorite, came loaded for bear with Million Dollar Hair, a riotous musical tribute to a fictitious record producer, hosted by his malapropism-afflicted daughter, who introduces the acts that helped to make her father rich throughout the years. The genre spoofing is mostly dead-on, with some hilarious lyrics — and appreciably fine musicianship.

David Haverty, Kyle Nudo, Leigh Wulff and Michael Shaw Fisher.

Adding to the musical fun was Orgasmico Theatre Company’s The Werewolves of Hollywood Blvd., and this one was really ambitious. With some more spit and polish (and budget), I can easily see it playing successfully off-Broadway.

It’s about an entertainment agent who, when fired by the new owner of his firm, is urged by actual “werewolves” throughout history to get in touch with his animal side. And unlike those musicals whose songs merely set to music the dialogue the characters have just spoken (cough—Wicked), the tunes here actually advance the plot and develop the characters.

Among the other shows I enjoyed, Meet & Greet was a comedy about the “business” that features four actresses who meet in a San Fernando Valley casting office to compete for a lousy role in a trashy series about a “cougar” and her young lover.

Writers Stan Zimmerman and Christian McLaughlin, who’ve both been in the scene for a while, create a knowing and hilarious send-up of the dreadful Hollywood casting process. Carolyn Hennesy (True Blood) and ’80s goofy blond (and game show favorite) Teresa Ganzel brought the star power, ably supported by Vicki Lewis, Daniele Gaither and Paul Iacano. Easy to stage and funny as hell, I can see this becoming a regional theater favorite.

One-person shows were big at the Fringe, and I saw some good ones. I Want to Bury My Testimony was the intimate coming-out story of a former Mormon (Scott Hislop) who describes the challenges of growing up a “girly-boy” in Salt Lake City and Reno. Hislop’s charm and energy really put it over. 

The Wake, written and performed by a riveting Ben Moroski, was a dark and strange piece about a guy getting over being dumped by falling in love with a dead girl. Now who hasn’t done that?  

Linden Arden Stole the Highlights was written and performed by Colin Mitchell (whose Bitter Lemons site I also write for), and it’s a truly galvanizing work. Taking the lyrics of a rather obscure Van Morrison song as a starting point, Mitchell creates a legendary character — an expatriate gangster hiding out in Scotland — and it results in a forceful evening of theater.

If you’ve never experienced the Fringe, one thing to keep in mind is that there’s a scant 30 minutes downtime between shows, with several of them playing each day at each venue. So when one finishes, its company must rush out to let the next one come in, set up, do a lighting and sound check, and be ready to perform. Tick tick tick. Given these time constraints, it makes their accomplishments even more impressive.

I miss the Fringe already. Since shows were happening every day, I could hop the Metro on a Monday or Tuesday night if I felt like it — and go see a play. Now we’re back to a less-sparkling beginning of the week. It feels like the lights have gone out.

The post Theater Flashback: Covering the Hollywood Fringe appeared first on ArtScene SA.

NOTE: This interview was originally conducted in 2016.

With the Netflix release of Pee-wee’s Big Holiday this past March, fans of Paul Reubens’ ageless character have reason to rejoice. The film, directed by John Lee and co-written by Reubens and Paul Rust, puts Pee-wee back on the road, this time taking a cross-country trip to the Big Apple.

Along the way, he meets the anticipated collection of oddball characters, including a gang of female crooks (modeled after the buxom group in Russ Meyers’ Faster Pussycat, Kill, Kill), some helpful Amish folk, and a friendly RV full of hairstylists. Best of all, erstwhile werewolf Joe Manganiello shows off his comic chops in the film as Pee-wee’s new BFF — and it’s hilarious.

On the day after its SXSW premiere, Reubens, Manganiello, Lee, and Rust, along with two of the gang girls, Alia Shawkat and Jessica Pohly, answered some pressing questions about the film and the welcome return of Pee-wee Herman

Co-scripter Rust, who co-created and stars in the Netflix series Love, says he had a blast working with Reubens on the screenplay. Of the many off-kilter characters Pee-wee encounters on the road, among the most delightfully bizarre is a group of extremely happy hairstylists (played by Darryl Stephens, Dionne Gipson, Anthony Alabi and Sonya Eddy) who give him a lift in their RV — and a makeover.

I asked where the idea for this flamboyantly friendly crew came from, and Rust told me they were inspired by the drag documentary Paris is Burning as well as John Waters’ ouevre, Hairspray in particular. As Pee-wee himself remarks, “Who doesn’t like giant hair?”

Rust explained that since there’s a rather long segment involving a farmer and his marriage-hungry daughters preceding this sequence, they felt like they needed to quickly add some more unusual characters. It’s a brief but memorable side-trip.

Lee, who co-created the cult MTV series Wonder Showzen, made his feature directorial debut with Big Holiday. He admitted to being a longtime Pee-wee fan, having first seen him in the 1981 HBO recording of Reubens’ original stage production of Pee-wee’s Playhouse. Working with cinematographer Tim Orr, Lee provides the look and feel required of a Pee-wee Herman film: bright colors, bizarre characters, and an overall childlike innocence.

There’s an ambitious, Gershwin-flavored musical number that spontaneously occurs when Pee-wee finally makes it to Manhattan, and I asked Lee about the logistics of managing all of those moving parts. He said it was done in two days, with himself and Orr pulling out all the stops to make it happen. Even though New York is a very permit-friendly town, that’s still an impressive achievement, and it gives Big Holiday a “big movie” moment.

As Bella, one of the gang girls who hijacks Pee-wee’s Fiat 600 and takes him hostage, Shawkat is irresistibly drawn to the manchild. It doesn’t hurt that her character’s nickname also happens to be Pee-wee, and she becomes his protector. Shawkat said that Bella, like so many others who come into his orbit, sees an innocent beauty in his character and wants to preserve it.

Pohly, who plays the tough-as-nails Pepper, provided this insight: in the world Pee-wee inhabits, the viewer gets the opportunity to bring whatever interpretation he or she wants to it. That’s quite true, and it’s the reason Reubens’ creation has such universal appeal.

Manganiello, who has been friends with Reubens for several years, jumped at the chance to participate in Pee-wee’s Big Holiday. He was a fan even before they met, confessing that he grew up as “a weird kid in a not-weird neighborhood,” and Big Adventure was his entrée into the concept of weirdness in the mainstream.

I asked him how the film’s Joe aligns with the real Joe, and he revealed that his character was originally intended to be a fictional action star named Joe Mancuso, but they decided at the last minute to have him play a version of himself. It was a good call.

Since we’re working in Pee-wee’s alternate universe, our star is blithely ignorant of who Joe Manganiello even is and is utterly incapable of pronouncing his last name: “Mangalalala?”

Nevertheless, the two quickly realize how much they have in common (root beer barrels top the list). Pee-wee views Joe as the very definition of cool, while Pee-wee brings out the 10-year-old kid in Joe, so he invites his new pal to come to New York to attend his birthday party — and that’s how the new adventure begins.

As Pee-wee encounters various setbacks en route to Manhattan, what keeps him motivated are happy dreams about the fun that he and Joe are going to have once he gets to the party. For some unspecified reason, these dreams are all in slow-motion – and in Spanish. Manganiello confessed to not knowing why they’re in that language, but they were a source of great amusement to both him and his wife, Sofia Vergara, when they previewed the film.

Reubens was delighted by the response the premiere received at the Paramount Theatre on March 18. The audience was laughing so heartily that many of the jokes were drowned out. He was also gratified that viewers found the plot, such as it is, absurdly funny. He said, “I love that you get that far into the movie, and [Joe] goes, ‘I want you to come to my birthday party,’ and you say, ‘That’s the plot?’”

Hey, where else are you going to get to see Joe Manganiello dressed in a Pee-wee Herman suit, jumping up and down in slow motion and shouting “Es perfecto!”?

Certainly what makes the film work is this: instead of trying to bring Pee-wee into today’s grimly social-media-driven, 24-hour news cycle world, the filmmakers decided to ignore it all entirely. Rather, we’re transported back into the character’s nostalgically optimistic, candy-colored ouevre, and everyone gets the opportunity to be a kid again – if only for 90 minutes.

But Reubens says he has more scripts and series ideas making their way through the production process, so we can look forward to hopefully spending more quality time with Pee-wee in the near future.

In the meantime, check out Pee-wee’s Big Holiday on Netflix now.

(Production photo courtesy Netflix. Photos of Manganiello and Reubens by the author.)

The post SXSW Flashback: ‘Pee-wee’s Big Holiday’ Interviews appeared first on ArtScene SA.

The Briscoe Western Art Museum invites the community to celebrate Native American Heritage Month at the Yanaguana Indian Arts Festival on Saturday, November 8, 10 a.m. – 4 p.m. at the museum’s campus on the San Antonio River Walk. The festival, museum admission and all activities are free, offering a full day of art, music, dance, storytelling, hands-on crafts and cultural connection for all ages. Free event registration is available online.

Throughout the day, guests of all ages can enjoy arts and crafts, meet artists, hear Native American music, learn about Native American heritage and culture and explore the Briscoe’s galleries at no cost. Highlights include:

• A spiritual blessing by United San Antonio Pow Wow, Inc., a group that works to provide Native American people the opportunity to participate, practice, teach and exchange tribal traditions among all tribes and to enlighten everyone about the history and culture of America’s first inhabitants.
• A Pow Wow-style drum circle with United San Antonio Pow Wow and Enemy Horse Drumming demonstrating and explaining common pow wow dance styles.
• Indigenous storytelling with Joyous Windrider and Rosie Torres, sharing intergenerational stories and movement that bring Native American stories to life for all ages.
• Live music by Native American artists, including Tim Blueflint Ramel. An enrolled member of the Bad River Band of the Lake Superior Chippewa, a federally recognized American Indian Tribe, flute player Blueflint Ramel has opened for and shared the stage with Grammy Award Winner Mary Youngblood and a wide variety of artists. He is also an accomplished flute and jewelry maker and will demonstrate his craft throughout the day.
• See ledger art with artist George Curtis Levi showcasing art that originated amongst the Cheyenne in the late 1840s. Ledger art utilized pages of repurposed record books (ledgers) to depict everyday life. A member of the Southern Cheyenne tribe in Oklahoma, Levi also has ties to the Arapaho and Oglala Lakota communities.
• See traditional pottery techniques of the Caddo Nation with Chase Kahwinhut Earles, a renowned Caddo pottery maker who has dedicated his craft to reviving and preserving the traditional pottery techniques of his Caddo Nation ancestors. Earles’ creates intricate, historically accurate pottery that reflects the deep cultural heritage of the Caddo people, whose pottery tradition dates back centuries. His works are celebrated for their authenticity, craftsmanship, and connection to Caddo history and spirituality.
• Shane Hendren, a turquoise expert and a Diné/Navajo jewelry maker who is a member of the Indian Arts & Craft Association (IACA), an organization committed to promoting the integrity of materials used in native jewelry.
• Wayne TaySha Earles, a Caddo carver who creates cultural stonework and stone jewelry inspired by ancient Caddo lithic artifacts unearthed largely from the Spiro Mounds in northeastern Oklahoma. Using soapstone, pipestone and alabaster, Earles makes exquisite replications of the ceremonial maces, batons and banner stones turned up by archeologists. He also carves stone pendants, necklaces and chokers.
• Crafts and fun for all ages include ledger art, mixed media collages, leather medallions, basket and loom weaving, a community weaving basket and creating your own parfleche case, a pouch typically made with rawhide that is painted with images or geometric designs. Plains Indians created the parfleche because of its utility, beauty and convenience. Other tribes in North America then adopted its use.
• Browse a curated selection of Native American artwork and talk with the artists as they demonstrate their crafts, including jewelry, pottery, beadwork and textiles.

Named in honor of the Payaya people who were indigenous to the San Antonio area, “Yanaguana” was the word they used to describe what is now known as the San Antonio River. The festival has been held annually since the museum opened and includes free admission to the Briscoe, making it a perfect way to celebrate the vital role Native Americans played in shaping the West while enjoying art and artifacts that highlight Native American history.

Festivalgoers can also enjoy the Briscoe’s 14 galleries and its special exhibition, Going to Texas: Five Centuries of Texas Maps, exploring the history and identity of Texas through 66 rare and original maps from the extraordinary Yana and Marty Davis Map Collection paired with more than 25 artworks from private loans and the Briscoe’s permanent collection. The map collection, on loan from the Museum of the Big Bend at Sul Ross University in Alpine, Texas, reveals how cartography shaped perceptions of the region across centuries. Spanning nearly 500 years, from 1525 to 2006, the collection is widely regarded as one of the most important Texas cartography collections in existence.

Photos courtesy Briscoe Western Art Museum.

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Special Month-Long Altar Exhibition to Be Held in Progreso Gallery Honoring the Late Flaco Jiménez

The Guadalupe Cultural Arts Center will once again bring the community together for its annual Día de los Muertos celebration on Sunday, November 2, 2025, from 6:30 to 8:30 p.m. at the Plaza Guadalupe, 1327 Guadalupe St.

The evening will also include the return of “La Vida de los Muertos”, a free multidisciplinary theater and dance performance presented by the Guadalupe Dance Company, Dance Academy, and Mariachi Academy. This original production combines traditional and contemporary music and dance to bring to life the mythological land of the dead, weaving together stories of family, love, and cultural tradition. The performance will take place at Plaza Guadalupe (1327 Guadalupe St.) from 6:30 to 8:30 p.m. Audience members are encouraged to bring chairs for this outdoor event.

“Día de los Muertos is one of the most meaningful cultural traditions of our community, and the Guadalupe is proud to be an anchor of authenticity in San Antonio’s Westside,” said Cristina Ballí, Executive Director of the Guadalupe Cultural Arts Center. “Our Día de los Muertos Community Celebration, La Vida de Los Muertos, is also one of the most educational programs in the region, teaching audiences of all ages the history, artistry, and meaning of this important tradition. This year, we are deeply honored to feature an altar dedicated to the legendary Flaco Jiménez, whose music and spirit embody the very heart of our culture.”

The Guadalupe Cultural Arts Center continues to honor the life and legacy of the late Flaco Jiménez with a special remembrance exhibition in the Progreso Community Gallery, celebrating his remarkable contributions to music and culture. The exhibit will feature rare photographs and memorabilia from community archivist Ramón Hernández.

This year’s altar exhibition will be on view at the Progreso Community Gallery (1300 Guadalupe St.), beginning Saturday, November 1, from 6 to 9 p.m., and continuing Tuesday through Saturday, 10 a.m. to 4 p.m., through Sunday, November 30, 2025. Community-created altars will honor loved ones, cultural icons, and leaders who have passed on, including a feature altar paying tribute to Jiménez’s lasting legacy as one of San Antonio’s most beloved musical treasures.

Each participant celebrates their altar by honoring their loved ones, cultural icons and community leaders that have passed on. The creation of altars has become a unique cultural expression in Latin America. To book a school tour of the altar exhibit please contact GCAC Educational Director, Belinda Menchaca, at belindam@guadalupeculturalarts.org.

For details regarding this exhibit as well as the free Día de los Muertos outdoor performance, please visit www.guadalupeculturalarts.org.  All donations are appreciated for the Guadalupe to continue its programming throughout the year.

EVENT DETAILS:

• La Vida de los Muertos Music/Dance Performance
  Sunday, November 2, 6:30–8:30 p.m.
  Plaza Guadalupe, 1327 Guadalupe St.
  Featuring the Guadalupe Mariachi Academy, Dance Company, and Dance Academy
  Free and open to the public. Audience members are encouraged to bring chairs.
• Día de los Muertos Altar Exhibition
  Saturday, November 1, 6–9 p.m. (opening night)
  Progreso Community Building, 1300 Guadalupe St.
  Free and open to the public.
  Exhibition continues Tuesday–Saturday, 10 a.m.– 4 p.m., through November 30, 2025.

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Free Community Concert at San Antonio Botanical Garden

Agarita, San Antonio’s innovative chamber ensemble, continues its 2025–2026 season with a free community concert featuring George Gershwin’s iconic Rhapsody in Blue for piano, strings, and clarinets, along with other Gershwin gems and complementary works. Gershwin is one of the few composers who truly integrated jazz in all its style, harmony, and soul into larger-scale classical forms. This performance will feature clarinetist Stanislav Chernyshev and will take place in the beautiful San Antonio Botanical Garden. Thanks to the City of San Antonio for their generous support.

WHEN: Sunday, October 19, 2025, 3:00 PM

WHERE: Betty Kelso Center, San Antonio Botanical Garden, 555 Funston Place, San Antonio, TX 78209

WHO: Agarita Chamber Players
Featuring live performances by Agarita’s ensemble with piano, strings, and clarinets, including guest clarinetist Stanislav Chernyshev.

WHY: Part of Agarita’s free Community Concert series, this event makes high-quality chamber music accessible to the entire San Antonio community. Audiences will experience Gershwin’s innovative integration of jazz and classical music in a beautiful, natural setting.

ADDITIONAL INFORMATION:

• Free tickets are available now
• Family-friendly
• Bilingual programming

For more information, please click here.

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Opening September 4 and running through October 5 at Classic Theatre, Real Women Have Curves is a heartfelt and empowering coming-of-age story. It’s a rich, character-driven play that celebrates culture, resilience, and self-acceptance.

Director Amelia Rico took some time to answer some questions for ArtScene SA.

ArtScene SA: Tell us a bit about the play.

Amelia Rico: Real Women Have Curves is a coming of age semi-autobiographical comedy about a group of women who work at a garment factory in the late 80’s trying to fulfill an insane dress order in the midst of L.A. INS raids and unfair wages for laborers and undocumented workers. We follow Ana, a high school graduate who has a bit of a chip on her shoulder, as she works, sweats and, eventually, sheds more than just her prejudice.

What will make it appealing to San Antonio audiences? How do you hope they will receive it?

San Antonio audiences are going to love this production because, first of all, it’s hilarious! It’s just such a fun show full of recognizable and relatable characters. Despite some of the heavy and, sadly, topical themes, I hope everyone will come with their moms, sisters, and girlfriends, ready to laugh, celebrate womanhood and have a great time.

They might also want to bring a tissue or two just in case. Like many good comedies, it is born out of pain and hardship, which really makes you appreciate the laughs!

What’s your opinion of the state of San Antonio theater today?

Nationwide, theater has been on a decline. I have worked in many theaters that have been struggling to find a foothold amidst cuts in art funding, economic decline, and rise in streaming television. But one thing I have discovered is that a new audience is primed and ready to discover live theater. With a million distractions and time suckers like social media ready and available 24/7 at the tips of your fingers, people are starved for human connection. Enter the Classic Theatre at San Pedro Playhouse with an amazing HERstory season lineup and it just fills me with joy and hope for the future of theater.

Real Women Have Curves plays Thursday through Sunday at the Classic Theatre, 800 West Ashby Place. Tickets and showtimes can be found here.

Feature photo: Amelia Rico with the cast. Photos courtesy Classic Theatre.

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