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    Houston Friends of Chamber Music

    From head usher to headliner: A violinist's amazing journey from the back of the house to center stage

    Joel Luks
    Sep 16, 2013 | 3:24 pm

    While Miró Quartet violinist William Fedkenheuer prepares for his upcoming concert with Houston Friends of Chamber Music that opens the presenter's 2013-14 season Tuesday night at Rice University's Stude Concert Hall, memories of his time studying at the Shepherd School of Music whirl about his tuneful mind.

    As an incoming freshman, Fedkenheuer had been offered a healthy scholarship to study with Kathleen Winkler, but, as such is the case with most undergraduate degrees, the emerging classical musician needed to supplement his income. He sought to do so primarily with industry related work that included gigs, private teaching and serving as a recording engineer for the school's concert office.

    It wasn't long before Fedkenheuer seized an opportunity to become an usher for Houston Friends of Chamber Music. An older colleague whose responsibilities included hiring part-time staff to man events at Shepherd recruited Fedkenheuer to be one of the happy faces that greeted audiences as they entered the reverberant hall. The job turned into a three-year stint as the head usher for Houston Friends of Chamber Music. Moreover, under the supervision of volunteer board members, Fedkenheuer developed a step-by-step manual to help future stage managers execute a consistent protocol.

    "Inevitably, every concert has latecomers," he says. "From the middle of the lobby, you have a clear view of every entrance into the hall. We would watch as they would try each doorway — up and down the stairs — to see if they could find one of us to be a softy. To those seasoned ticket holders that you got to knew well, it was particularly difficult to say no. But we had to."

    With no cellphones, beepers and social media to distract listeners, Fedkenheuer didn't have to remove anyone from the concert hall, but he did have to request, on more than a few occasions, for passionate classical music buffs to pipe down and keep discussions about the performance to a more appropriate time.

    "When you are sharing your music with the world, you only hope for that kind of intense interaction."

    Fedkenheuer confesses that he did break concert etiquette from time to time — for good reason.

    "One subscriber had obviously been emotionally touched by the Emerson String Quartet's interpretation of Beethoven's Opus 131 (String Quartet No. 14) — she had tears in her eyes," he recalls. "I was able to facilitate a meeting with the artists backstage. I knew she had experienced something meaningful.

    "As an artist, isn't this what you want? When you are sharing your music with the world, you only hope for that kind of intense interaction. I will always remember her."

    Fedkenheuer met his wife, Yi Ching, also a violinist, at Shepherd.

    After graduate studies at Indiana University, Fedkenheuer's career as a chamber musician launched successfully, first as a member of the Borromeo String Quartet and then as a violinist with the Fry Street Quartet. He joined the Austin-based Miró Quartet in 2011, an appointment that also included a faculty post at the University of Texas at Austin's Butler School of Music, where the quartet has held residency since 2003.

    The Miró Quartet's Houston Friends of Chamber Music performance is a homecoming of sorts for Fedkenheuer, who in essence has journeyed from head usher to headliner. Officials at Houston Friends of Chamber Music are looking to the Miró Quartet as the potential replacement for the recently retired Tokyo String Quartet, which for many seasons served as the ensemble that debuted or closed a lineup of notable chamber groups hosted by this art presenter.

    "It's such a great honor for our quartet, but especially for myself as I have a more intimate history with the series," Fedkenheuer says. "Everyone in the Miró, as students and as professionals, has admired Houston Friends of Chamber Music.

    "To be considered for a spot that's so meaningful for Houston audiences is humbling."

    ___

    Houston Friends of Chamber Music presents the Miró Quartet on Tuesday, 7:30 p.m., at Rice University's Shepherd School of Music. Tickets start at $20 and can be purchased online or by calling 713-348-5400.

    Houston Friends of Chamber Music is looking to the Miró Quartet as the potential replacement for the recently retired Tokyo String Quartet.

    1 Miro Quartet preview September 2013
    Photo by © Nathan Russell
    Houston Friends of Chamber Music is looking to the Miró Quartet as the potential replacement for the recently retired Tokyo String Quartet.
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    Movie Review

    Summer camp drama The Plague proves middle school is still pure horror

    Alex Bentley
    Jan 2, 2026 | 2:30 pm
    Everett Blunck in The Plague
    Photo courtesy of IFC
    Everett Blunck in The Plague.

    Anybody who’s attended elementary school in the last 100 years knows the concept of “cooties,” a fictional affliction that is typically caught when touched by a member of the opposite sex. A more updated version of the same idea is featured in the Diary of a Wimpy Kid series, this time called the “Cheese Touch,” making anyone who touches a moldy piece of cheese on the school’s basketball court an outcast.

    A much more menacing version of this “disease” is on display in The Plague, which takes place at a summer water polo camp for tweens. The film focuses on Ben (Everett Blunck), a slightly awkward boy who struggles to fit in with the “cool” crowd led by Jake (Kayo Martin). That group has no problems making fun of others that they deem to be different, especially Eli (Kenny Rasmussen), who has been ostracized because of a rash he has that the kids call “the plague.”

    Ben wants to be part of the main group, but his natural empathy leads him to reach out to Eli on more than one occasion despite Eli engaging in some uncomfortable behavior. With the camp’s coach (Joel Edgerton) not much help when it comes to the bullying tactics by Jake and others, especially those that take place at night, Ben is left to fend for himself. His vacillations between wanting to be accepted and wanting to do what’s right continue until his hand is forced.

    Written and directed by first-time feature filmmaker Charlie Polinger, the film has all the feel of a horror movie without actually being a horror. The staging used by Polinger gives the film a claustrophobic feel as Ben can’t seem to escape the psychological torture inflicted by Jake and others no matter where he goes. He also employs a jarring score by Johan Lenox to great effect, one that’s designed to keep viewers on edge even when nothing bad is happening.

    No matter how far removed you are from middle school, the film will likely bring up feelings you thought you had left behind. Much like with Bo Burnham’s Eighth Grade, Polinger finds a way to tap into something universal in his depiction of tweens, an age when everyone is still discovering who they really are. Some go along to get along, others don’t even attempt to fit in, but no one truly feels settled.

    Whether the plague is real or not in the world of the film is up for debate. While most of the time it comes off as something made up to underscore the feeling of otherness felt by Ben, Polinger does literalize it to a degree. He even tiptoes up to the line of body horror before wisely retreating, although what he does show will still make some viewers squeamish. However, because he seems to be leaning one way before pulling back, there’s the possibility that some will be disappointed by the tease of something more intense.

    The film’s biggest success is in its casting. Finding good child actors is notoriously tough, and yet Polinger and casting director Rebecca Dealy found a bunch who sell the story for all it’s worth. Blunck, Martin, and Rasmussen get the most play, but everyone else complements them well. Edgerton is the only well-known actor in the film, but he’s used sparingly and isn’t asked to do much, leaving the kids to carry the story on their shoulders.

    Fitting in as a tween is hard enough without others actively trying to find ways to cast someone out. The Plague is an effective demonstration of the dynamics that can play out in a competitive environment that also includes a group that has yet to develop into fully-rounded people. It features discomfort on multiple levels, marking an auspicious debut for Polinger.

    ---

    The Plague is now playing in theaters.

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