Found at Austinist.com:
Dan Solomon on The Incredible Shrinking Man, Tongue and Groove Theatre:
Tongue And Groove Theater proved itself, with The Red Balloon, to be one of Austin's more interesting theatrical stylists. Omnivorous in its approach, the company seemed determined to just create a brilliant, beautiful live experience, unconcerned with being Theater-with-capital-letters and instead mostly interested in giving audiences what they want, not what they expect.
That's a tradition it's more than carrying on with The Incredible Shrinking Man, the work-in-progress performance of which may have been the highlight of the FronteraFest Long Fringe. It's a silent piece, with three actors whom we neither hear nor see, except silhouetted behind a projector screen, and all of the backgrounds come in the form of projected animation. [. . .]
Bastion Carboni on Waiting for the BIg O by Daniel Huntley Solon:
Political drama is a minefield. The compulsion to discuss hot-button issues seems, more often than not, to beget messy and overwrought or overtly agenda-laden work and halt open conversation, rather than inspire it. Not that it can't and hasn't been done really well; it's just that the bar is high.
Waiting for the Big O chooses a different tactic, purportedly choosing museum-piece observations of the political climate in November 2008 rather than dissection of the deeper connotations of those events. [. . . ]