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    Let's Talk

    Anna Deavere Smith sparks discussion of life, death, and dignity in Let Me Down Easy

    Tarra Gaines
    Jan 25, 2017 | 10:30 am

    An evening centered around death and dying would not usually also be filled with laughter and joy, but then the Baylor College of Medicine Center for Medical Ethics and Health Policy didn’t ask just anyone to headline their annual bioethics outreach event; they invited acclaimed playwright, author and film and television actress Anna Deavere Smith.

    Though for decades, Smith has been that frequent television guest star who commands every scene on shows like Black-ish, Nurse Jackie and The West Wing, the Tony and Pulitzer nominee’s plays have won her just as much renown. For this special event, An Evening with Anna Deavere Smith, The Center for Medical Ethics and Health Policy asked the actress/playwright to perform excerpts from her one-woman show Let Me Down Easy, and so to depict through drama that fundamental human need to live and die with dignity.

    Each year the Baylor’s Center for Medical Ethics offers a public outreach program that uses entertainment and arts to raise awareness of different bioethical issues. This year’s focus on the resilience of the human spirit and quality of life issues during life-threatening circumstances might at first seem rather abstract, but when seen through the perspectives of Smith’s characters, all based on real people, those issues become moving drama that we all can comprehend and find connections with in our own lives.

    As she has done with many of her previous plays, Smith spent years conducting hundreds of interviews, including in the Texas Medical Center, to get a better understanding of how humans deal with health, illness and death. She then wove those voices together to create Let Me Down Easy.

    In the excerpts she performed for the sold-out event at the Wortham Center, Smith portrayed doctors, patients, the late movie critic Joel Siegal, Governor Ann Richards and Matthieu Ricard,a writer and Buddhist monk, all of whom she interviewed for the project. None of the people she depicted had one definitive answer to that eternal question of mortality but taken together they give hope and solace even as they continued to question and live, sometimes as they prepared to take that final step through death’s doorway.

    The evening continued with a panel discussion moderated by Houston Public Media host Ernie Manouse, and consisting of Smith; Dr. Alicia Monroe, provost and senior vice president for academic and faculty affairs at Baylor College of Medicine, and Amy McGuire, director of the Center for Medical Ethics and Health Policy at Baylor College of Medicine. The final panelist, Dr. Eduardo Bruera, chair of department of Palliative Care and Rehabilitation Medicine at MD Anderson Cancer Center, was also one of the interviewees Smith had just portrayed in her play. Together, the panel members furthered the discussion on how we can live and die well.

    For 400 members of the audience, that discussion continued over dinner in the Wortham Center Grand Foyer. With open-seating and a conversation facilitator at each table, guests of different ages and from diverse backgrounds pondered those questions of life, death and dignity that concerns us all and connects us together. With stories and ideas shared at the dinner table, the dialog about death amid life continued late into the evening and, likely for some, into the weeks ahead.

    Moderator Ernie Manouse with the event's discussion panel: Anna Deavere Smith, Dr. Alicia Monroe, Dr. Amy McGuire and Dr. Eduardo Bruera.

    An Evening with Anna Deavere Smith: Panel discussion with Anna Deavere Smith, Ernie Manouse, Dr. Alicia Monroe, Dr. Amy McGuire and Dr. Eduardo Bruera
    Photo by Dabfoto
    Moderator Ernie Manouse with the event's discussion panel: Anna Deavere Smith, Dr. Alicia Monroe, Dr. Amy McGuire and Dr. Eduardo Bruera.
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    let's dance

    Houston Ballet leaps into 2026-2027 with world premieres and Swan Lake

    Tarra Gaines
    Feb 17, 2026 | 10:30 am
    Artists of Houston Ballet in Stanton Welch’s Swan Lake
    Photo by Lawrence Elizabeth Knox
    Artists of Houston Ballet in Stanton Welch’s Swan Lake.

    Announcing its 2026-2027 season, Houston Ballet leaps into an immersive wonderland with the world premiere ballet Where’s Alice? from co-artistic director Stanton Welch. This is just one of many dance adventures set for a season filled with spectacular story ballets, cutting edge contemporary dances, and world premieres.

    “This season reflects the full breadth of what Houston Ballet is — and where we’re going,” Houston Ballet co-artistic director Julie Kent said in a statement. “We are honoring the great choreographic voices that have shaped our art form, from Balanchine and MacMillan to Lubovitch and Peck, while simultaneously opening the door to new creative possibilities through world premieres and bold collaborations.”

    The season begins September 11 through 20 with a classic Texas twang for Pecos Bill, the title production of an eclectic mixed repertory program. Stanton Welch’s fun and rollicking dance follows the adventures of the folklore cowboy, Pecos Bill. The program also showcases a work from 20th century dance master, George Balanchine, with the elegant and dynamic Symphonie Concertante. And for the first time, the company will perform celebrated choreographer Lar Lubovitch’s Meadow, a piece Julie Kent herself once danced when it first debuted.

    Sir Kenneth MacMillan’s Manon returns September 24 through October 4. First performed by the company in 1994, the doomed love story between irresistibly beautiful femme fatale, Manon, and impoverished student, Des Grieux, has had audiences swooning for decades.

    Of course, it wouldn’t be a Houston Ballet season without the annual Margaret Alkek Williams Jubilee of Dance. And then closing out 2026, the company gifts Houston with Welch’s delightful and delectable Nutcracker Ballet.

    The new year premieres Where's Alice? , Welch’s brand new work will be a re-envisioning of Lewis Carroll’s Alice in Wonderland, February 25 through March 7. Describing it as one of the most ambitious undertakings in HB’s recent history, the company plans for Alice to become a fully immersive theater experience that incorporates cutting-edge audio and visual effects that will take audience down the rabbit hole into a living, breathing, wondrous world.

    Keeping with what looks to be the 26-27 season’s theme of blockbuster ballets from Welch, the company floats into spring, March 11 through 21, with the classic story of Madam Butterfly, a dramatic exploration of love, sacrifice, and cultural collision danced to Puccini’s heartbreaking score.

    Beginning May 27 through June 6, HB offers the second mixed repertory program of the season, The Rite of Spring, and with it another world premiere. First, the company brings back the hypnotic, contemporary ballet, Reflections, a piece it originally debuted by the dance world’s reigning rock star, Justin Peck. Company member and up-and-coming choreographer Jacquelyn Long will create a new ballet for the program. Another highlight of the evening and the title work, Welch’s The Rite of Spring, offers a a visceral and elemental reimagining of dance for Stravinsky’s score that shocked the music world when it first debuted.

    Artists of Houston Ballet in Stanton Welch\u2019s Swan Lake

    Photo by Lawrence Elizabeth Knox

    Artists of Houston Ballet in Stanton Welch’s Swan Lake.

    The season ends June 10 through 27 with one of ballet’s most beloved stories, Swan Lake. Stanton Welch’s celebrated production was first staged by the company in 2006 and has gone on to become an audience favorite. Inspired by Pre-Raphaelite painter John William Waterhouse’s painting “The Lady of Shalott,” the production features lavish sets and costumes.

    Reflecting on the whole season and his Alice in particular, Welch echo’s Kent’s belief that the programming offers a vision that connects the company’s history, present, and future.

    “Where’s Alice? is an example of that vision – a production that pushes the boundaries of ballet through immersive sets and thought-provoking storytelling that makes you question, 'Who in the world am I?' as Alice did, creating an entirely new world audiences can step into,” Welch said. “It’s work like this that allows us to welcome new audiences into the theater while continuing to challenge and inspire our longtime supporters.”

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