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    Skeletons in the closet

    Tango-dancing Houston maestro prepares for a family reunion concert

    Joel Luks
    Aug 30, 2013 | 12:53 pm

    You may know Antoine Plante as the curly haired brunette who waves his arms in front of Mercury - The Orchestra Redefined. You may know him for his charming Québécois brogue that tickles his Texanisms. You may even know him as a party guy who isn't shy to impersonate movie characters to entertain his guests.

    But most likely you don't know the maestro as a tango bailarin.

    Tango was all the rage when classically trained Plante lived in Canada. In the late 1990s, he and his brother, Denis, would frequent an Argentinean bar in which the sassy dance was part of the daily charm. Musicians jammed, couples put on the moves and wine flowed. The Plante compadres were so infected by the lively rhythms that they both took up tango dancing, they traveled to Buenos Aires to purchase bandoneóns (accordions essential in tango music) and became part of the scene in Argentina and at home.

    In tango speak, you can call the siblings milongueros.

    "I'll come clean," Antoine Plante tells CultureMap. "We really started doing the tango because we wanted to meet girls."

    Dancing tango, Plante says, is how he wooed his wife, Lori Muratta.

    "I'll come clean. We really started doing the tango because we wanted to meet girls."

    Denis Plante went on to master the bandoneón, a switch from his earlier focus on jazz guitar. Today, the composer-cum-performer is recognized as an international virtuoso. He performs regularly with symphony orchestras and chamber groups, and has recorded albums with the Astorias, Quartango and Bataclan ensembles. Denis Plante's debut solo CD, Cantos de Bandoneón, is a collection of original compositions, some of which are narrative in nature. Take his three-movement work "Noche de Tango." It tells the story of a man who upon returning to his hometown encounters a much different world — and struggles to fit in.

    Antoine Plante, who studied at Conservatoire de Musique de Montréal and at Rice University, was content on the viola de gamba and as a conductor, later establishing one of the most successful period instrument chamber orchestras in Houston and in the country. Mercury - The Orchestra Redefined hits all the right notes with Houston audiences. But his bandoneón, sadly, lives silently somewhere in a dark closet.

    The brothers will reunite for a performance at Miller Outdoor Theatre, set for Saturday at 8 p.m. The program, titled "8 Seasons," includes Astor Piazzolla's Estaciones Porteñas (Four Seasons) and Antonio Vivaldi's Le quattro stagioni (The Four Seasons). Do the math.

    "It's unclear if Piazzolla meant for a musical connection to exist between his composition and Vivaldi's," Antoine Plante explains. "Piazzolla is more abstract than Vivaldi. Piazzolla describes a mood but doesn't paint a picture."

    Still, there's an undeniable link in the overarching theme, especially bearing in mind that Vivaldi's seasonal sketches rank high in popularity, perhaps even in the top five classical music compositions of all time. Vivaldi's Four Seasons has been used for commercial purposes extensively. It's over recorded. It's heard in elevators, hospitals, hotels, weddings, restaurants . . . brunch and mimosas, anyone?

    But, as Antoine Plante points out, the concerti aren't often performed live in their entirety.

    "When listeners experience the piece as a whole, they are surprised," he says. "They are even amazed to learn that the music is accompanied by poetry, which we plan to project above the orchestra so everyone can follow along."

    Although audiences may be familiar with the lovely birds, flowing streams and bucolic dances evoked by the colorful oeuvre, there are other allusions that are, shall we say, less well-mannered. Like a barking dog and a bunch of drunks that pass out because of their indulgence.

    As for the concert, Antoine Plante confides that he's thinking about dusting off his concertina to perform alongside his brother in an impromptu encore selection, taking a nostalgic trip down memory lane to when the single dudes were on prowl for the ladies. He'll be forgiven if he isn't up to the task, but here's something else to ponder.

    What if he were to delight us with a dance demonstration? Wouldn't that be lovely.

    ___

    Mercury - The Orchestra Redefined presents "8 Seasons" Saturday, 8 p.m., at Miller Outdoor Theatre. Admission is free; tickets are available for covered seating.

    Jonathan Godfrey, concertmaster, will be the featured soloist in Vivaldi's Four Seasons.

    Jonathan Godfrey
    Photo by George Hixson
    Jonathan Godfrey, concertmaster, will be the featured soloist in Vivaldi's Four Seasons.
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    Movie Review

    Timothée Chalamet cements star status in new movie Marty Supreme

    Alex Bentley
    Dec 23, 2025 | 4:30 pm
    Timothée Chalamet
    Courtesy
    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also earned an Oscar nomination for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

    ---

    Marty Supreme opens in theaters on December 25.

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