vanguard theatre

January 1st 2012 | 7PM performance | $15 admission |

*early doors at 5PM for refreshments and hangin’ out!

Salvage Vanguard Theatre, 2803 Manor Rd.

Church of the Friendly Ghost Featured Series 2012, Performance #1:

…a music event curated by Austin musician/engineer Matt Burnett.

| Sunday, November 27 | 8PM | Salvage Vanguard Theatre | $5 |

“Immersion Two [The Cube]” features performances by:

Saturday, 7 May, Music begins at 11:00pm. 10pm doors.
please join us after you’ve been to hear NMC’s rendition of “The Great Learning”
you may wish to consider this the after-party…

+Free admission.
+Complimentary refreshments courtesy of Dripping Springs Vodka.
@Salvage Vanguard Theatre, 2803 Manor Road.
* There will be sno-cones.

We're all meat.

Or, puppets, as it were. That's essentially the message of Upton Sinclair's brilliant, wrenching 1906 novel, The Jungle.

The book, a stark depiction of poverty, corruption, and brutality in America's turn-of-the-last-century meatpacking industry, is an indictment of an unjust system that affects everybody in the food chain.

Church of the Friendly Ghost presents Justin Sherburn and Systm
Sunday, December 12
Salvage Vanguard Theatre (2803 Manor Road)
$5, 8 pm

Josh Meyer, Rubber Rep Biography of Physical Sensation
Through October 30th
Salvage Vanguard Theatre (2803 Manor Road)
Tickets: $15-25, No one under 18 admitted, Thu-Sat, 8pm

PROJECTproject PROJECTproject at Out of Bounds Comedy Festival
Friday, September 3
Salvage Vanguard Theatre (2803 Manor Road)
$12

The Meeting Point presents Working the Line, May 14th, 2010 @ Salvage Vanguard Theatre
One night only * two performances
Friday May 14th 7:00 and 9:30 pm
Salvage Vanguard Theatre
2803 Manor Road, Austin
$9.50 advance/$12 at the door

By Michael Meigs

Austin-based dancemaker Cheryl Chaddick’s choreography spans a wide range of performance dynamics.

In Friday night’s performance of ‘Freefall’ — the first of a three weekend run at Salvage Vanguard Theatre — the Chaddick Dance Theater presented an evening of Chaddick’s work, including pieces that seemed made for an audience to watch and others that seemed more about dancers on introspective journeys.