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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 Nutcracker" continues to be a holiday tradition and a big moneymaker for Houston Ballet

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    Movie Review

    Anne Hathaway's busy 2026 continues with meta-thriller Verity

    Alex Bentley
    Oct 2, 2026 | 3:00 pm
    Anne Hathaway in Verity
    Photo by Alisha Wetherill
    Anne Hathaway in Verity.

    Anne Hathaway has been inescapable for movie fans in 2026, starring in no fewer than five different movies across multiple genres, including Mother Mary, The Devil Wears Prada 2, The Odyssey, and The End of Oak Street. The actor (who’s pregnant and about to take a well-earned break) is wrapping up her supremely busy year with the psychological thriller, Verity.

    Hathaway plays the title character, Verity Crawford, a hugely successful author who writes beach read thrillers, often from the perspective of the villain. An unpublicized car accident renders her immobile and mute, and her husband, Jeremy (Josh Hartnett), and agents make the decision to recruit someone to ghostwrite her next book in order to continue her legacy.

    The person hired for the job is Lowen Ashleigh (Dakota Johnson), an aspiring author whose books mostly get ignored. She’s eager to take on the project, but the reality of Verity’s situation throws her for a loop. When she discovers a secret file that seems to be Verity admitting to some very bad things, Lowen starts to spin even more, imagining situations that may not actually be happening.

    Directed by Michael Showalter and adapted by Nick Antosca from the book by Colleen Hoover, the film initially has a nice rhythm to it, setting up the three main characters well and building up tension. Though current day Verity can’t speak or move, the film gets to the heart of her through old interviews Lowen watches to get to know her mind better. Using that footage and other small moments at the house, a type of rivalry develops between the two characters.

    Strangely, though, Showalter and Antosca fail to capitalize on the early momentum. The story stagnates about halfway through the movie and never delivers on what it seems to be promising. Whether they’re too true to Hoover’s original story or change things too much is difficult to tell for those who haven’t read the book, but either way, the result is a big tease with not much in the way of a payoff.

    What’s most disappointing about the film is its inability to decide on a tone. There are some points where it feels like over-the-top, campy fun, and others where it seems like the filmmakers are going for a straight-up horror vibe. The down-the-middle approach that they land on serves neither the story nor the characters well. Moments that should be full of suspense or could get laughs often fall flat because of the indecisiveness of the filmmakers.

    Due to her character’s affliction, Hathaway is reduced to a supporting role in the film, but she gets by on presence alone and still has a few scenes where she demonstrates her star power. Johnson delivers a good performance despite her typical lack of emotion. Like many of her roles, it’s her body that seems to get more attention than her acting. Hartnett is on a roll thanks to recent roles in Oppenheimer and Trap, and he puts in solid work here, as well.

    Verity has the bones of a tense thriller, but it’s filled in with a bunch of questionable story beats that don’t prove as satisfying as the premise. The meta-plot of the authors of thrillers becoming involved in a thriller themselves should have been juicy and full of great twists, but ultimately it’s as catatonic as Verity herself.

    ---

    Verity is now playing in theaters.

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