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    4 reasons to leap into Houston Ballet's new 2018-19 season

    Tarra Gaines
    Feb 12, 2018 | 4:09 pm
    Karina Gonzalez and Connor Walsh at Houston Ballet The Tempest
    The Houston Ballet finally returns to the Wortham Center in November..
    Photo by Amitava Sarkar courtesy of Houston Ballet

    After a year traveling the wilds of Houston and Sugar Land, (with a side sojourn tour to Dubai), the Houston Ballet will finally return to its beloved home — the Wortham Center — for the 2018-2019 season, and what a Houston and world premiere lineup it will dance.

    The ballet comes fast and furious once the season arrives, and we have the major Houston Ballet trends, and the not-to-miss shows.

    All hail the Snow Queen
    The season will begin somewhat later than usual — in the fall of 2018 — with artistic director Stanton Welch’s lavish Nutcracker (November 23-December 29). Welch’s re-imaging of the holiday classic premiered two years ago and quickly became a new favorite with young and mature dance and sweet lovers alike.

    Home stage advantage
    As the Wortham will not reopen until September 2018, after a year of repair due to Harvey flooding damage, the late beginning to the season will give the Ballet time to stretch its legs, likely literally, in the rejuvenated center. Reveling in the comforts of home, the season brings many big, lavish ballets to the Brown Theater Stage including Ben Stevenson’s Coppélia, Ronald Hynd’s The Merry Widow and Welch’s Marie.

    Not one, but two world premieres
    Along with big ballets making a glorious returns to Houston, look out for a season of radiant Houston Ballet premieres, including the world premiere Sylvia from Welch and a still untitled work from the reigning rock star of the dance world, New York City Ballet’s resident choreographer and soloist, Justin Peck.

    “Having premieres in our repertoire allows our company to continuously grow and improve. I am proud of our company for achieving exhilarating, diverse performances year after year, and I look forward to sharing the 2018/19 Season with our audiences,” says Welch with the season’s unveiling, in a statement.

    After the Nutcracker, the full season begins with Welch’s interpretation of the ancient myth of the huntress Sylvia (February 21-March 3), set to Léo Delibes’ famous score. Welch’s world premiere re-imagining of this classic love story complicated with much god and goddess meddling, will be enhanced by costume and sets from ballet and opera designer Jerome Kaplan and projections by Houston Ballet favorite Wendall K. Harrington.

    Peck’s to-be-announced brand new work, commissioned by HB, will be a part of mixed repertory program (March 21-24), title Premieres, which appears to be the theme of the season. The program also includes two Houston premiere, Aszure Barton’s 2006 Come In, bringing a female choreographer back after several seasons, and Jiří Kylián’s Dream Time.

    Spring showstoppers
    Dancing right on the heals of Sylvia comes the Houston Ballet’s thrilling contribution to the dance world’s year-long birthday party for one of the greats of choreographer, Jerome Robbins. The program, Robbins: A Centennial Celebration (March 7-10, 2019), brings three classic dances to the stage: Fancy Free with music by Leonard Bernstein; The Cage, music by Igor Stravinsky, and The Concert (or the Perils of Everybody), music by Frédéric Chopin. Fancy Free will be another Houston Ballet premiere.

    In May (17-26), the whole family can enjoy the return of former HB artistic director Ben Stevenson’s Coppélia and the return of music composed by Léo Delibes. Stevenson’s interpretation of the classic story of the dollmaker Dr. Coppélius, and his lovely creation, Coppélia, has delighted children and adults for decades. No tragic ballet ends in this one.

    Another great story set to dance (and the music of Franz Lehár) arrives in in late spring (May 31-June 9) with British choreographer Ronald Hynd’s grand The Merry Widow. To end the season, Welch the artistic director brings back Welch the choreographer and a queen’s story for the ages Marie. This danced retelling of the complex life and death of Marie Antoinette is set to the music of Dmitri Shostakovich, arranged by Ermanno Flori.

    The 2018-2019 season leaves Houston much to look forward to, but not to worry for those who can’t wait. The 2017-2018 season is just hitting its stride as Houston Ballet grand jetés its way through the Theater District making appearances at the Hobby Center, Jones Hall and George R. Brown in the coming months. If you happen to be in Dubai, UAE in October, the company will also be take Swan Lake to that towering city. 


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    untitled art 2026

    Prestigious contemporary art fair returns to Houston for 2026

    Holly Beretto
    Apr 9, 2026 | 12:30 pm
    Untitled Art entry way
    Courtesy of World Red Eye
    Untitled Art, the acclaimed contemporary art fair, returns to Houston this October.

    A prestigious contemporary art fair is coming back to the Bayou City. Untitled Art, Houston returns this October for its second edition. To mark the occasion and kick off plans, the show commissioned two artist projects that will be unveiled this weekend at the 39th annual Art Car Parade on Saturday, April 11 in downtown Houston.

    The art show will be held at the George R. Brown Convention Center October 2 to 4. An invitation-only VIP and Press Preview will take place on Thursday, October 1.

    Houston was the organization’s first expansion from its home base in Miami. When the show arrived in the city last fall, it showcased the works of contemporary artists from Houston, other parts of Texas, and around the world.

    Houstonians showed lots of enthusiasm for last year’s inaugural fair. The organization reported that several galleries reported six-figure sales and sold-out booths, and leaders from the Museum of Fine Arts, Houston, The Menil Collection, and Contemporary Arts Museum Houston were in attendance all weekend.

    This year, the show promises to be even more dynamic, with programming that includes live podcast recordings, panel discussions, culinary activations, and artist-led projects with an emphasis on embedding the fair within Houston’s civic and cultural fabric. Show attendees can expect an international roster of galleries alongside collectors, curators, and artists increasingly attuned to Houston’s evolving position as both a cultural gateway to Latin America and a substantial force in the international art scene.

    “Houston has proven to be a vital artery for the contemporary art market, blending a deep institutional history with a bold, global future,” Jeffrey Lawson, founder of Untitled Art, said in a statement. “We are thrilled to return and deepen our commitment to the city’s creative community.”

    Beyond the exhibits at the show, Untitled Art has made a commitment to helping ensure art and art collecting is accessible to the larger community. Last year, programming events took place all over the the city, with private collection visits, studio tours with artists, and guided engagements at institutions such as the Museum of Fine Arts, Houston, The Menil Collection, Contemporary Arts Museum Houston, and Asia Society Texas Center, in collaboration with more than two dozen cultural partners.

    This year’s Art Car entry marks the first of its kind for the organization. Untitled Art commissioned collaborations with ascendant emerging Los Angeles-based artists Aryo Toh Djojo and Mario Ayala. Ayala's exhibition Seven Vans is currently on view at the Contemporary Arts Museum Houston.

    “Houston continues to assert itself as a cultural capital of the South, and the inaugural edition confirmed that there is a serious and attentive audience invested in contemporary art from local, national, and international dealers alike," said Michael Slenske, director of Untitled Art, Houston.

    Information about ticket sales will be available closer to the opening.

    Untitled Art entry way
    Courtesy of World Red Eye

    Untitled Art, the acclaimed contemporary art fair, returns to Houston this October.

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