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    The CultureMap Interview

    Xanadu star romps on roller skates, plays in "pageant closet" and channels Olivia Newton John

    Clifford Pugh
    Jun 25, 2014 | 11:41 am

    In a decade at Stages Repertory Theatre, Holland Vavra has portrayed a stripper, an agoraphobic housewife, a 1940s pinup girl, a Steel Magnolia and a Wonderette, among other roles. But nothing has compared to the attention she is getting for her current turn as the roller-skating star in Xanadu — a part made famous by Olivia Newton John in the '80s cult film.

    "It's just a big party — and it's on roller skates."

    The musical has become a big summer hit for Stages, which has extended performances through July 20. The production, a wild romp that improbably combines rollers skaters in legwarmers with muses in Greek togas and some of the decade's most iconic tunes, draws a cadre of excited Houston theatergoers who have already seen the production seven or eight times, mouthing the lyrics to such songs as "Suddenly" and "I'm Alive" along with the cast.

    "They're our super fans," says the show's star, who everyone calls Holland (in a one-name tribute kind of like Cher). "It's fabulous."

    CultureMap caught up with the 31-year-old actress to find out more.

    CultureMap: You've done a lot of different roles at Stages. How does this compare to the ones you've done in the past?

    Holland Vavra: Oh gosh, this is the first one I can say I am legitimately starring in. This is my 14th show at Stages and I've been very, very blessed by the people there. But this one is different. It's just a wonderful show to do. There's nothing sad or upsetting about it. It's just a big party — and it's on roller skates.

    CM: Did you have to learn to roller skate for this role?

    HV: Oh, no. I have been skating as long as I can remember actually. I am very comfortable on roller skates — it just so happens there is an entire musical on roller skates and thankfully I am able to do it.

    CM: Has it improved your roller skating skills?

    HV: It's made me more comfortable on them. My turning is really good now. I can turn really fast. It's a new element to be on roller skates in a small space.

    CM: Why is Xanadu so beloved?

    HV: The '80s was such a great time for people. I'm a child of the '80s. I was young (born in 1982), but I do remember this music. People can hear the first notes of a tune and remember where they were the first time they heard it.

    "You find your niche, your theater family and you just stay with them."

    CM: How hard is it to make a living as an actress in Houston?

    HV: I have been really blessed with the people at Stages. I started working there when I was 21. I've gone on to TUTS and done other things here and there, but I always come back to Stages. I am union and it's difficult to work constantly in Houston as union. But I think we have a wonderful theater community in Houston. You find your niche, your theater family and you just stay with them.

    CM: On Twitter, you once said, "I want to be Carol Burnett." Does that still stand?

    HV: I do love her. And Madeline Kahn. The humor those women could produce was way beyond what was happening at the time. Oddly enough, in the show, towards the end of the second act, there are four of us on stage and we crack each other up so hard that we have to figure something to say on the spot. We jokingly say it's The Carol Burnett Show.

    CM: Is Holland a family name?

    HV: No, it's not. Both of my parents were in theater and just wanted me to have an interesting name, maybe crossing their fingers that their little girl would be an actress. I guess they got what they wanted.

    CM: You were in the Miss Texas pageant. What do you feel about pageants now, looking back?

    HV: There is a great deal of humor and satire in pageants, but the best part is the women are real, they are funny and talented and smart. I enjoyed my three years (in competition). It's fun to play dress-up every day. And I won the talent (portion) when I was there so I got a lot of my tuition paid.

    I currently have what most of friends, particularly Mitchell Greco, the director, and Mark Ivy, who is also in the show, refer to it as my "pageant closet." It is fun to come play in the pageant closet when you come over.

    Xanadu continues Wednesdays through Sundays at Stages, 3201 Allen Parkway, through July 20. Tickets are $19 - $65.

    Holland Vavra, right, is on a roll in the Stages production of Xanadu, with co-star Cameron Bautsch.

    Cameron Bautsch and Holland Vavra in Stages production of Xanadu June 2104
    Photo by Bruce Bennett
    Holland Vavra, right, is on a roll in the Stages production of Xanadu, with co-star Cameron Bautsch.
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    Where the River Took Us

    Texas Pulitzer winner discusses new podcast about life after July 4th flood

    Natalie Grigson
    May 29, 2026 | 11:30 am
    Aaron Parsley
    Photo courtesy of Texas Monthly
    Aaron Parsley's new podcast "Where the River Took Us" looks at how the flood has impacted his own family and others this past year.

    Less than a year ago, the Guadalupe River swallowed everything in its path. Houses. Roadways. Lives. For many Central Texans, time now splits cleanly into a before and an after, and for Aaron Parsley, senior editor at Texas Monthly, that divide is deeply, irreversibly personal. After winning a 2026 Pulitzer Prize for his firsthand account of the flood, he's expanding the narrative in Where the River Took Us, a seven-episode limited narrative podcast out now.

    On July 4, Parsley's family was spending the holiday weekend together at their river house on the Guadalupe: Aaron and his husband Patrick; Aaron's father, Clint, and sister, Alissa; and Alissa's husband, Lance, and their two children, Clay and Rosemary. In the early, still dark hours of the morning, flood waters tore through the Texas Hill Country in what quickly became one of the deadliest natural disasters in recent history.

    Aaron escaped. Patrick escaped. Lance escaped. Clint escaped. Alissa escaped, saving her daughter's life. But Alissa's 20-month-old son, Clay, did not.

    Telling the story
    In the days that followed, Parsley did what writers do: he wrote. Feverishly, at 1, or 3, or 4 in the morning, he wrote. His first-person account of the flood, which started out as an email to his boss, was the cover story for Texas Monthly last August. The story became an instant landmark piece — intimate and devastating in a way only someone who had lived it could make it. In the beginning of May, 2026, the story won Parsley his Pulitzer for feature writing.

    Following up on the original story, Parsley has also written a new feature for Texas Monthly, a quiet reflection on life for his family since the flood, grief's persistence, and the strange, ongoing work of being changed by something.

    In conversation with CultureMap, Parsley — speaking from his home office in Lockhart, where he and Patrick moved in December — was candid about the decision to keep his work focused on something so personal and traumatic.

    "I will say that this experience itself, and then the story, and the response that I got to the story, was so overwhelming in all different kinds of ways," Parsley says. "It would have been on my mind no matter what. I was thinking and asking questions and exploring what this experience means. So, to be able to make that part of my job, I think, is a real privilege and a real opportunity."

    The podcast features voices beyond Parsley's own. Listeners will hear from his sister, Alissa. From a father who lost his daughter at Camp Mystic. From the people who took Aaron and Patrick in when they crawled out of the river that morning. From neighbors who are still out there, still rebuilding.

    Sitting down to formally interview his own family, including his husband and Alissa, was something else entirely.

    "It was extremely strange," he says. "It was emotional. It made me feel really proud of them. Every single person showed up in the best way possible for something like this... And ultimately, those conversations are unforgettable to me, and I really appreciate that I was able to do that. I guess it sort of provided this moment for us to take some time, and sit face-to-face, and ask each other questions, and explore our experience and our lives since."

    Being in the podcast studio helped, he says. "It's dark, it's quiet, we're right in front of each other. It's peaceful in there. It is an intimate setting, and I think it serves the purpose that we were looking for, which is to open up and share."

    Moving forward
    What Parsley is describing feels beyond journalism, though it is, of course, that too. It's a reckoning with his own personal grief, his faith, his relationship with those he loves, and his priorities in life.

    "I was going to be looking at this experience no matter what," he says. "It felt right to be able to do that exploration about what it means to be a survivor of something like this."

    The flood has reshaped nearly everything in his life. The move out to a smaller, quieter, and less hectic community than Austin happened faster than it might have otherwise. Patrick, a talented painter, is now pursuing his art full-time. Parsley describes a new relationship with spirituality, a changed family dynamic, and a clarity about priorities that comes from simultaneously losing so much, but not everything.

    "It's been life-changing," says Parsley. "I've embraced that. I've wanted to prolong the experience of being changed by something. Continuing to write about it, and learn about it, and share about it has been a way that I can ensure that this thing that happened continues to shape my life."

    Parsley also adds that the podcast is an immersive experience. Listeners don't just see the event that changed lives; they get access to the feelings and the unexpected details that come later.

    "It's a depiction of what it feels like to survive something, and all these things that come with that," says Parsley. 'You don't just get back to normal life. There's all this stuff you carry with you, and I'm grateful to have the opportunity to explore that and present what we find in a way that I think is heartfelt and ultimately beautiful."

    Where the River Took Us is written and hosted by Aaron Parsley and executive produced by Melissa Reese. Additional production and editing are by Patrick Michels and Sara Kinney. It is produced, engineered, and scored by Brian Standefer, with story editing by J. K. Nickell, fact-checking by Doyin Oyeniyi, and artwork by Emily Kimbro and Victoria Millner. Studio musicians are Jeff Queen and Peter Shults.

    The podcast launched May 26 with the first two episodes immediately available on Apple Podcasts and other major podcasting platforms. All seven episodes will drop by June 30.

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