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    New Center of Dance opens next spring

    Even in tough times, Houston Ballet thinks big

    Cecil C. Conner
    Aug 22, 2010 | 11:00 am
    The sleek glass and black granite six-story building, located downtown with an overhead walkway to the Wortham Theater Center, will be the largest of its kind in the country, with nine studios and a black box dance lab.

    Now in the summer of 2010, in the sputtering recovery of the Great Recession 2008 with the stock market struggling to reach the level at which it was at in 2004, we are asked to reflect on the state of the arts in Houston. No one would be surprised to hear that the last three years have not been easy, nor do we expect the current and future years to be a breeze either.

    At Houston Ballet, we have seen that the income over the last three fiscal years (ending June 30, 2008, 2009 and 2010) has remained relatively constant, while costs of doing business continue to rise. This means we have had to find ways to provide the same quality of performances and services without increasing overall expenses.

    One unfortunate result has been a pay freeze for non-union employees for two years in a row. This has been a real burden on our employees. We have also found less expensive ways to produce the same high level of production and performance.

    Houston Ballet is building a new state of the art facility in downtown Houston, across the street from the Wortham Theater Center, to house the ballet’s rehearsal facilities, production and administrative offices, wardrobe shop, physical therapy department and a dormitory for upper level out-of-town students.

    In 2005 we began the strategic planning for a new facility to replace our current building on West Gray where we have been since 1984. This strategic plan was developed long before there was any hint of the looming economic crisis. We committed to buy the land in downtown early in 2007 and commenced a combined building and endowment fundraising campaign. In May of 2007 Houston Ballet sold its facility on West Gray and completed the purchase of the land for the new building.

    Fortunately, a number of the major commitments for the construction of the new building were made before the onslaught of the economic crisis, but fundraising became much more difficult in the fall of 2008 and 2009. However, the board commitment to move forward with this project was firm, and there was a deadline to move out of the facilities on West Gray. Houston has a tradition of moving forward in tough times, and the building of the Wortham Theater Center and the Menil Collection in the midst of the oil bust are prime examples of this attitude. Therefore construction of our new Center for Dance commenced on July 15, 2009. It is scheduled to open next spring.

    There have been benefits in moving forward with construction, especially in cost savings in steel and concrete prices which have been $3 million less than originally estimated. Also, this project has provided jobs to scores of construction personnel in the Houston area, with over 350,000 hours of employment being provided.

    Interestingly, two other ballet companies in the United States were faced with the issue of whether to move forward with new buildings. Kansas City Ballet began renovations in the fall of 2009 of the 1914 Union Station Power House to become their new home, the Todd Bolender Center. Pennsylvania Ballet in Philadelphia closed on a piece of property in the summer of 2007 to house their company and school but have postponed plans for their building because of the recession’s impact.

    Our view is that the arts scene in Houston will continue to be vibrant and vital to the economy of the city and to the quality of life.

    Cecil C. Conner is managing director of Houston Ballet

    The new Houston Ballet Center for Dance is expected to be completed in early spring.

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    Movie Review

    20-year-old YouTube horror creator's Backrooms is an auspicious debut

    Alex Bentley
    May 28, 2026 | 4:00 pm
    Chiwetel Ejiofor in Backrooms
    Photo courtesy of A24
    Chiwetel Ejiofor in Backrooms.

    YouTube has become such a big part of the culture that it was only a matter of time before content creators started making waves in big screen filmmaking. Interestingly, most of them have made their names in the horror genre, including Danny and Michael Philippou (Talk to Me, Bring Her Back), Mark "Markiplier" Fischbach (the recent Iron Lung), and now Kane Parsons with Backrooms.

    Set in 1990, the film centers on Clark (Chiwetel Ejiofor), who owns a rundown furniture store in a nondescript city. He is divorced and seemingly depressed, two things that come up in his multiple sessions with his therapist, Mary (Renate Reinsve). Lately, he has taken to sleeping in the store instead of going home, which allows him to notice strange electrical activity when the lights are supposed to be turned off.

    When investigating the issues one night, he discovers a mysterious opening that leads to a completely different structure with a seemingly endless amount of rooms and corridors. Some of them are innocuous and some of them contain strange and creepy elements. With nothing else of interest in his life, Clark returns to the area night after night, eventually drawing in his employee, Kat (Lukita Maxwell), her boyfriend Bobby (Finn Bennett), and Mary.

    The 20-year-old Parsons, helped by a number of well-known producers, demonstrates an astonishing level of filmmaking prowess for a first-time feature filmmaker. There is no trace of amateurishness in the progression of the story or the visual style of the film. Whatever confusion arises comes from the plot itself, which is designed to raise way more questions than answers.

    Clark’s journey into the bewildering collection of rooms is full of intrigue instead of scares for most of the film, but when Parsons decides to amp things up, he really goes for it. The final third of the film contains some haunting imagery that defies description or explanation. It seems clear that Parsons’ preferred method of storytelling is to keep the audience off-balance, unable to predict what comes next.

    What he also seems to understand, however, is that you have to give the audience something to hold on to, and in this case it’s the backstories of Clark and Mary. Both seem to be living differing versions of pathetic, uninteresting lives, but things revealed in their sessions broaden the scope of their stories. The strange world they find seems to reflect their respective traumas, giving a tenuous connection to reality that keeps the film from becoming too frustrating.

    Ejiofor and Reinsve, both of whom are Oscar nominees, give the film an air of legitimacy that allows viewers to follow whatever odd roads Parsons wants to go down. Because it’s impossible to tell where the film is heading, the steady acting of Ejiofor and Reinsve is crucial in its success. Maxwell, Bennett, and Mark Duplass are good in brief appearances, but don’t appear enough to have a huge impact.

    The ambiguous nature of Backrooms lends it the possibility of becoming a franchise, as Parsons could seemingly take it in any direction he wanted and have it feel part of the larger whole. Given how well done this and other recent films by YouTubers have been, the melding of the two seemingly disparate mediums makes more sense than ever.

    ---

    Backrooms opens in theaters on May 29.

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