Once upon a time, I was listening to an old episode of the paranormal true crime podcast And That’s Why We Drink and the idea for The Last Seance of Harry Houdini was first born. A few years later, and we hit a full circle moment when ATWWD Podcaster Em Schulz attended the closing night performance of the show! Listen to a portion of a recent episode as the co-hosts recount that closing night performance on Bottle Alley’s Instagram page.
52nd B. Iden Payne Award WINS! /
On November 3, 2025, the 52nd annual B. Iden Payne Awards were held to celebrate outstanding performances in the Austin Theatre scene from the 2024-2025 season. I was honored with two awards myself! One for Outstanding Direction in Musical Theatre (FALSETTOS) and for Outstanding Intimacy Direction (VENUS IN FUR). Thank you to the B. Iden council and to Groundfloor Theatre and Dirty Gold Theater for the opportunities!
FALSETTOS also won 4 other B. Idens that night: Outstanding Production of a Musical, Outstanding Orchestra, Outstanding Lead Performer in a Musical (Jacob Rosenbaum - Marvin), and Outstanding Young Performer (Juno McQueen - Jason). Very proud of this show and all those who collaborated on it.
Congrats to everyone else of their wins, and I can’t wait to see what next season has in store for us.
Falsettos wins big at the inaugural Austin Theatre Critics Awards /
On June 9 our production of Falsettos was honored with multiple awards including Outstanding Production of a Musical. Megan DeYoung won an award for Outstanding Actress in a Leading Role in a Musical, and Patrick Anthony won for Outstanding Lighting Design.
Thank you again to the Austin critics for the recognition and for a lovely evening. Read the rest of the write up by the Austin American Statesman here.
Electric and Captivating! Austin Chronicle reviews 'Venus in Fur' /
The Austin Chronicle reviewed my work as Intimacy Director for Dirty Gold’s premier production of VENUS IN FUR calling the production deliciously dirty and theatrically gold. Also the sexiest sociological lecture in town.
Under director Roy Lazorwitz, with help from intimacy [director] Trace Turner, Dirty Gold’s Venus shoots sensual sparks…This show leaves the audience breathless, paying rapt attention to the performers’ every gulp and finger twitch.
Lazorwitz and Turner beautifully stage their growing relationship, using physical distance to enhance their delectable dance… players draw closer as the stakes – and the heat – rise.
Madness and Mayhem in LIPSTICK - A Review from the Austin Chronicle /
Cat McCarrey celebrates our production of LIPSTICK by Lane Michael Stanley as a nice of pure enjoyment in 65 minutes.
Director Trace Turner, who has spearheaded some invigoratingly innovative stage work before, continues to make bold strokes with their boisterous blocking… The characters flit around each other, disappearing through doors and narrowly missing collisions, with cheeky grace.
Read the rest of the Chronicle’s review here! Thank you, Cat!
BWW Reviews LIPSTICK: A Queer Farce /
“A vibrant mix of joy, laughter, mayhem, plot-twists, and sit-com style energy” writes Victoria Schwarz of Broadway World Austin.
Trace Turner, director, crafts the interplay between characters in this show with whimsy, a deep understanding of the material, and an authentic representation of the truths and biases the LGBTQIA2S+ community navigates.
Read more about this joyful and silly show with our ‘top notch’ team here!
Falsettos is the 'Best Show in Austin' /
Kelsey Bradshaw featured Falsettos on her podcast, ‘City Cast Austin’ and called us the best show in Austin for the holidays.
“It felt almost unbelievable that the show I was watching was in a small theater in East Austin instead of Broadway or the Tony Awards or the dang moon.”
You can read her article and find the rest of the podcast here. Thank you, Kelsey!
Broadway World Reviews Falsettos /
Sabrina Wallace of Broadway World reviewed our “must-see” production of Falsettos!
“Director Trace Turner leans into the absurd humor of Finn’s lyrics, amplifying comedic moments that poke fun at Jewish culture, fractured families, and queer relationships. This approach lends the production a lighter, more accessible tone…”
Read the rest of the review here.
