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    Out of The Alley

    Brutalist building gets a $45.6 million revamp as Houston's premier theater company zooms forward

    Joel Luks
    Jan 29, 2014 | 7:03 am

    The clock had been ticking ever since the Alley Theatre announced in April the launch of a $73 million big ticket campaign that would include a $46.5 million renovation of its 1968 Ulrich Franzen brutalist building. Although the architectural style was all the rage during the mid 20th century, the castle-like structure that was conceived as a "building that sings from any viewpoint" seemed as if it was warming up to croon its swan song, dingy, sad and passé — a far cry from the groundbreaking modern marvel it once was.

    The time is now, ladies and gentlemen. Alley Theatre officials are set to reveal Wednesday afternoon that the execution of the makeover will begin in July. The renovation process is expected to continue through the following summer and to be completed in the fall, in time for the beginning of the 2015-16 season.

    "The reception from the Houston community toward the Alley campaign has been excellent," Roger Plank, co-chair of the Extended Engagement Capital Campaign, said in a statement. "We have raised $40.3 million to date and are eager to begin construction."

    The schedule of improvements is ambitious. The highlights include:

    • Remove four steel columns in the middle of the stage
    • Add a fly loft with computer controlled motorized rigging
    • Create a fully trapped stage floor that will allow the ability to have an orchestra pit
    • Replace front of house ceiling with a catwalk system for light and sound
    • Upgrade speakers with remote amplification ability
    • Renovate actor dressing rooms and add additional dressing rooms
    • Add American with Disabilities Act seating in multiple locations with lifts
    • Replace interior with all new seats and carpeting
    • Replace air conditioning/heating system with a significantly quieter multi-zoned system with localized control
    • Replace windows with energy efficient glass
    • Replace the entire roof
    • Install new plumbing throughout the building

    Studio RED Architects was selected for the undertaking, alongside a creative team that includes Studio RED principal Pete Ed Garrett, Irvine Team DCS president and CEO Dennis Irvine, lighting and scenic designer Kevin Rigdon, Jaffe Holden Acoustics chairman Mark Holden and Bill Conner Associates founder Bill Conner as project consultant.

    Before the Alley relocates to the University of Houston, many upgrades to the school's facilities are needed.

    Back to School

    In the meantime, the University of Houston will play host to the professional company during the 2014-15 season. The Lyndall Finley Wortham Theatre, which Alley administrators say is similar to Broadway and League of Resident Theatres houses, was the only space available for the duration of the facelift venture.

    "This is an outstanding opportunity for our theater students to directly engage with the Alley's working professionals," UH chancellor Renu Khator says. "In addition to specific internships, simply sharing the hallways is a wonderful chance for our students to make connections and gain insight from the Alley's experienced and talented actors and staff. I know they'll experience the energy of our students as well."

    Before the Alley relocates to the University of Houston, many upgrades to the school's facilities are needed.

    The Wortham Stage will be outfitted with a new framework for lighting, sound equipment and stage machinery. State of the art control platforms, flooring, air systems, communications systems and lighting will be installed in the Quintero Theatre. The costume shop will also be expanded.

    While the gesture of southern hospitality is commendable, the temporary move could have a negative effect on the Alley's revenue.

    The Alley is accustomed to operating on two stages that collectively accommodate 1,130 theater goers. It isn't rare for production runs to overlap one another. With 565 seats and one performance stage — 50 percent less capacity than its downtown property — the Alley's interim home at the University of Houston could hinder the nonprofit from meeting the needs of its audience.

    One additional significant drawback is the disaster of a parking situation that's experienced by anyone visiting the University of Houston. School of Theatre and Dance director Jim Johnson says that parking concerns are being addressed with a major overhaul. Lets just hope UH gets its act together. That would deserve a standing ovation.

    As for the Alley's 68th season, the lineup will be released next week.

    The University of Houston will play host to the Alley Theatre during the 2014-15 season.

    Alley Theatre @UH
    Rendering courtesy of Alley Theatre
    The University of Houston will play host to the Alley Theatre during the 2014-15 season.
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    doubling down

    Shepherd School builds on 50 years with a 2026-27 season of discovery

    Joel Luks
    Jun 10, 2026 | 11:00 am
    Rice University Shepherd School of Music
    Photo by Michael Stravato
    The Shepherd School's 2026-27 season includes six world premieres.

    The next generation of classical music doesn’t wait in the wings at Rice University’s Shepherd School of Music.

    It walks onto the stage, often with a world premiere in hand, and slaps listeners with music so energetically performed that they might need a glass of wine or a Xanax to come down from the thrill.

    Fresh off its milestone 50th anniversary, the Shepherd School’s 2026–27 season doubles down on discovery. The lineup includes six world premieres, the Texas premiere of Matthew Aucoin and Sarah Ruhl’s opera Eurydice, celebrated guest artists, and a steady reminder that Houston audiences can hear rising talent before the rest of the world catches on.

    For students, Shepherd continues to function as a foundation where rigorous conservatory training meets the resources of a major research university. For audiences, it’s an invitation to witness artists in the midst of becoming, tackling ambitious repertoire in halls whose acoustics reward every nuance.

    The orchestral season, led primarily by Distinguished Resident Director of Orchestras Miguel Harth-Bedoya, embraces both pillars of the canon and brand-new voices. Opening night sets the tone with Ravel’s Alborada del gracioso, Richard Strauss’ Death and Transfiguration, the world premiere of Jake Berran’s Probabolophony, winner of the 2026 Cooper Prize, and Hindemith’s Symphonic Metamorphosis.

    The season also launches what is planned as a multi-year exploration of Gustav Mahler with Symphony No. 1, “Titan,” while spotlighting Shepherd faculty members as soloists, including pianist Jon Kimura Parker and oboist Erin Hannigan. Along the way come additional premieres by alumni composers, concerto appearances from competition winners, and opportunities for conducting students to take the podium.

    Shepherd will present a fully staged production of Richard Strauss’ Ariadne auf Naxos before mounting the Texas premiere — and first university performance — of Eurydice, with composer Aucoin visiting campus to work directly with students and audiences.

    Guest artists add another layer, from Aleko Endowed Artist Julia Bullock collaborating with Shepherd opera students to alumna Kate Soper returning with the acclaimed Wet Ink Ensemble. Chamber concerts, faculty recitals, festivals, and family programming round out a calendar of more than 400 events, many offered for free or at low cost.

    The season also includes the Adventurous Electric Guitar Festival at Wortham Theatre, where concerts, workshops, and presentations explore contemporary electric guitar and electroacoustic performance in collaboration with Rice Electroacoustic Music Labs (REMLABS).

    Notably, the school will also inaugurate its undergraduate orchestral conducting degree, the only program of its kind in the nation.

    This author recently caught Miguel Harth-Bedoya deep in score study before a concert, next to his visiting family, meticulously parsing Ravel’s Alborada del gracioso.

    It was a fitting snapshot of the institution itself: Craftsmanship behind moments that can feel effortless once the lights dim and the music begins. That dedication has defined Shepherd for more than 50 years, and the 2026–27 season suggests the next movement is well underway.

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