A finalist for the 2006 Richard Rodgers Award, Greetings from Yorkville poignantly chronicles the travails and joys of a Midwestern songwriting duo as they move to Manhattan to realize their dream of a life in musical theater. Under the direction of two-time Tony Award–winner Thommie Walsh, real-life couple Anya Turner and Robert Grusecki dramatize the autobiographical narrative with minimal scenery and few explosions, relying on the textures of her voice interwoven with his piano in a tale that “rings true because it is their own” (New York Times). The Brauntex Theatre will host a one-night-only reprise of the original Off-Broadway run in its intimate 600-seat auditorium, feeding families and garnishing West San Antonio Street with a sliver of Big Apple.
Marketplace Cinema's 12 screening rooms delight audiences with a rotating selection of Hollywood's latest cinematic confections. State-of-the-art Sony 4K projectors quadruple the number of pixels in each image, sharpening images of billowing explosions, tender kisses, and dolphin slap-fights. A kitted-out concession area includes delectable snacks as well as fermented libations for of-age patrons.
Billy’s Ice slings cold drinks and no-frills fare in a casual, open-air atmosphere infused with the notes of live musicians every night of the week. Diners fuel up for shows—which never charge a cover for patrons 21 and older—with Billy’s burgers, served simply without unnecessary accouterments such as caviar or gold-infused mustard. A selection of appetizers includes favorites such as chicken wings and jalapeño poppers. Within the barn-style building and spacious open-air patio, revelers grab a bite, sip libations from the full bar, or gaze at the spot on the moon where Neil Armstrong first body-slammed Buzz Aldrin. Billy's slings eats from 4 p.m. to midnight Monday–Thursday, noon to midnight on Friday and Sunday, and noon to 1 a.m. on Saturday.
Since its origins as a converted parking garage, Alamo Drafthouse Cinema has ushered film-lovers of all breeds into its auditoriums, even gaining a following among Hollywood legends; Quentin Tarantino has been known to host five-day movie marathons at Alamo. The theater has earned that reputation by making moviegoing a personal experience, from the menu of handcrafted snacks and locally brewed beer to the completely ad-free presentations before shows. The staff enforces a strict no-talking, no-texting policy by kicking out any offenders, falling just short of yanking them from their seats with a giant's shepherd's crook.
Both first-run blockbusters and classics are projected onto Alamo's silver screens in crisp 35-millimeter or digital format. Meanwhile, surround speakers immerse audiences in the cinematic soundscape, whether they're seated in one of the expansive theaters afforded to blockbuster reels or the more intimate spaces reserved for indie films wound around tiny bobbins. Despite Alamo's vow of silence, fan-centric Quote-Along and Sing-Along nights encourage guests to shout their favorite lines, and actors, directors, and other celebrities often attend special screenings to lead in-depth discussions. These exclusive events have led to acclaim for Alamo from publications such as Entertainment Weekly, which called it “one of America's most fanatically unique moviegoing experiences,” and Wired, which opined that it "might just be the coolest movie theater in the world."
In support of her high-decibel new album, Rihanna kicks off her hotly anticipated LOUD tour with emphatic gusto and a sizzling roster of special guests. Like an art show at a sundae bar, the LOUD tour floods the senses, enchanting audiences with lavishly designed sets, myriad costume changes, move-busting dancers, and Rihanna's songbook of Grammy magnets. Crooner Cee Lo Green augments the songful offerings with his own vocal talents, and Roc Nation rapper and rhythm scientist J. Cole further helps resuscitate ear drums traumatized by the outside world's blaring car horns and shrill howler monkeys.
The finale concert for the symphony's 70th season boasts a rich performance of Beethoven's brief and powerful Overture to Egmont Op. 84, before the esteemed Nadja Salerno-Sonnenberg takes to the stage. Backed by the San Antonio Symphony, the spirited violin virtuoso will tackle Bruch's grandiose Violin Concerto, bringing her legendary passion to the concerto's seductive first movement, her tender bowing touch to the sweet melodies of the second, and her unrestrained energy to the score's fiery conclusion. After a brief intermission, the Symphony will personally pamper audience members' ears with a performance of Elgar's Symphony no. 1, a sweeping, cinematic work of robust orchestration and exquisite beauty.