The creative team for this Capital T Theatre Company production seems fully aware of the darkness in Haidle’s comedy, but they bring to it a brightness that keeps the whole affair surprisingly light. Mark Pickell’s living-room set, with its flat, butcher-paper rug and walls outlined in thick, black marks and shaded in pastels, recalls a cheery coloring-book illustration. And Tiny Robinson’s Lucy seems just like the kid who colored it in; the actress – who is an adult – plays the child with the exuberance of a kindergartner set free at recess, all giddy, playful energy busting loose…More at AustinChronicle.com

German artist Michael Wutz is this year’s visiting artist in printmaking at the University of Texas. In a solo show, he exhibits his eerie landscapes that depict a quasi-apocalyptic vision of our world close to flat-lining.read more at austin360.com

Katherine Bash — aka the Principal Investigator for the Itinerant Laboratory for Perceptual Inquiry — looks for new meaning and new philosophy in the quotidian landscape around us, then uses photographs and poetry to bring it together.read more at austin360.com

Punk has been denying the rumors of its demise since at least 1981, when The Exploited released the seminal Punk’s Not Dead and launched a million backpatches. Since then, the genre, while not dying exactly, has seen its fair share of respirators and bedsores, with aging godfathers gamely trotting themselves out for creaky reunion-tour cash, Johnny Rotten and Henry Rollins turning into reality-TV stars, and snot-nosed ignoramuses forming bands “influenced” by Blink-182. On the 30th anniversary of the year that punk broke, filmmaker Susan Dyner’s exhaustive documentary takes a razorblade to that fat and bloated subject, ripping it up and starting again by interviewing nearly evry band that ever mattered (including members of The Damned, Ramones, Subhumans, Black Flag, Minor Threat, and Dead Kennedys) and combining them with vintage and modern performances for a probing, philosophical look at the punk movement and its sociopolitical context. Far from just another self-congraulatory tribute, Punk’s Not Dead puts the music through the prism of history, giving it life one more time.

n Heather McDonald’s odd yet thoughtful one-man play, a lapsed Episcopal priest faces the ultimate test of faith when his wife, after several miscarriages, gives birth to a beautiful baby girl who is covered with downy white fur.read more at austin360.com