Area theatergoers who haven’t experienced productions by UMKC’s graduate theatre program are missing out on some great shows, such as the funny but shocking “Oh, Beautiful,” by Theresa Rebeck, and William Congreve’s “The Way of the World.” As theatre professor Ted Swetz announced in the planning for Congreve’s Restoration-era comedy, “Get ready, for the shackles have been hilariously thrown off.”
In Rachel Ignotofsky’s short 27 years on earth, the Kansas City artist and author has re-imagined the planet and its inhabitants as colorful, wacky and whimsical characters, all with a compelling message to share: Dream it, be it and don’t be afraid of shattering stereotypes, especially if you are a girl interested in science or […]
When Jim and Virginia Moffett began buying pictures around 1990, they were advised by Henry Adams, then curator of American art at the Nelson-Atkins Museum of Art, to “stay within your region.” Adams believed that focusing on artists with local connections would enable the Moffetts to have a superior and more organized collection. Now, a quarter-century after they began collecting, the Moffetts are concentrating on organizing various museum exhibitions […]
Although she completed her B.F.A. at the Kansas City Art Institute just three years ago, Cristina Muñiz has been making art for more than 20 years. It shows in the mature personal vocabulary she has evolved, fired by memories of growing up in a big Mexican-American family in San Antonio, but reaching out to encompass the broader realm of human experience. “What I push my work towards is to a point where it doesn’t exclude anybody,” Muñiz says.
All too often, artists who breathe life back into comatose old neighborhoods are forced out when the revival spawns high rents. Some Kansas City artists have fallen victim to this cycle in the Crossroads and West Bottoms. Kansas City is working on several fronts to solve this problem, such as […]
When Devon Carney became Kansas City Ballet’s new artistic director in May 2013, one of the first decisions he made was to choose a lighting designer. He turned to Trad A. Burns, a designer Carney worked with during his tenure with the Cincinnati Ballet. With more than 600 productions to his credit, for companies ranging from the Joffrey to the New York City Ballet, Burns has built a reputation for endowing performances with transcendence.