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    The Review Is In

    Houston Ballet's winter program offers two thrilling new additions and one celebrated clunker

    Theodore Bale
    Mar 12, 2016 | 1:00 pm

    If there is a common denominator at the heart of Houston Ballet’s current Winter Mixed Repertory Program, perhaps it has something to do with groups of men and women behaving together in highly stylized environments. Musically, the featured dances by Wayne McGregor, Jiří Kylián, and Jerome Robbins bear no obvious relationship. They don’t need to, necessarily, and I’m thrilled when dancing is free of narrative. When an artistic director puts three pieces together, however, the dances will either potentiate each other or have the opposite effect. Neutrality is off the table.

     

    British choreographer Wayne McGregor’s Dyad 1929 for 12 dancers is a wonderful opener. Houston Ballet’s press release says the choreographer dedicated it to the memory of Merce Cunningham, though his Wiki-profile calls it “…one of two ballets that McGregor created to celebrate the centenary of the Ballets Russes” (the other one is titled Dyad 1929) for The Australian Ballet. To my eyes, the choreography looks nothing like Cunningham’s work. If we take the word “dyad” by one of its many meanings, namely, a two-person group, McGregor’s stage strategy becomes apparent.

     

    With Lucy Carter’s stunning bright yellow horizontal lights (recreated for Houston Ballet by Simon Bennison), Moritz Junge’s nuclear-laboratory costumes, and Steve Reich’s pulsing and gorgeous Double Sextet as a thrilling foundation, Dyad 1929 is a highly appealing work. I wouldn’t call it experimental, but rather formally exact. The suddenly undulating spine that seems to move from one dancer to the next was already well-developed by Jorma Elo in 2009, when McGregor premiered this piece. There are many episodes of precise, dense partnering, not to mention virtuosic pointe work and intermittent unison phrasing that makes for a kind of punctuation of the phrasing.

     

    The accomplished musicians of the Houston Ballet Orchestra, under Ermanno Florio’s expert conducting, gave Reich’s score a mostly confident interpretation. It is fiendishly difficult to play and wonderfully easy for listeners to enjoy. Reich used a sort of A-B-A, or otherwise palindrome form, with the slowest section in the middle. McGregor put a challenging pas-de-deux in this position. Elsewhere, he shows the six men and women in various permutations, including a section for just the women and another for only the men. This gives the feeling of an incredibly intricate etude. The dancers offered a devoted, clean interpretation.

     

    Could it do with any improvements? Not in its interpretation by Houston Ballet, though I wondered about some of McGregor’s choreographic decisions. A deadpan walk seems the easy way to get dancers off and on stage, but it is at odds with the otherwise intricate choreography. Anna Sokolow was perfecting that kind of deadpan walk by the early 1950s, though in her hands it was extremely powerful. And if you put a grid of huge black dots on both the floor and the wall, shouldn’t you use them to organize the dancers more precisely? This seemed like a bit of a wasted opportunity.

     

     Jiří Kylián’s ominous Wings of Wax followed, and it was clearly the high point of the program. Houston Ballet has been steadily building its repertory of Kylián’s ballets, which is thrilling for audiences. In this case, the dancers have taken on one of the choreographer’s darker and more challenging pieces. It’s not a crowd-pleaser, but rather something that challenges both performer and viewer with its perplexing, idiosyncratic organization of events.

     

    The curtain rises on a white, upside-down tree floating in the center of the stage, just beyond the proscenium arch. It is circled by a roving spotlight, which resembles some kind of errant meteorite. Of course, it references the sun in the story of Icarus, upon which Kylián based his ballet. The dancing comes from four male-female couples, with sharp divisions at times between the men and the women. In one particularly stunning event, the women seem to freeze as the music changes from Bach to John Cage, while the men travel rapidly around them. It’s one of those moments (we saw plenty of them in Neumeier’s brilliant Midsummer Night’s Dream last year) where two vastly different realms co-exist within the same space.

     

    As the music moves through various fragments — from Philip Glass’ String Quartet No. 5 and then an adagio from Bach’s Goldberg Variations arranged for String Trio — the dancing becomes increasingly lyrical, slower, as if it is attempting to disappear altogether. This is a timeless, archetypal work that is one of the most exciting dances Houston Ballet has acquired in many years.

     

    Oh, how I wanted to love the final work, Jerome Robbins’ West Side Story Suite. And oh, how it flopped on opening night!

     

    The problems are numerous. As celebrated as it is, this ballet is embarrassingly dated. There seems to be something actually quaint about boys fighting with switchblades when street gangs today are fully stocked with automatic firearms. And do we really need to witness Houston Ballet’s women attempting to sing in hokey Puerto-Rican accents? Or better yet — is it in the least entertaining?

     

    I won’t pick at Robbins’ choreography. It achieves its purpose, even if it is detached from the musical setting in which it originated. We could probably do with a little less stage combat. A few of the dancers, Rhodes Elliott in particular, proved themselves to be competent singers. West Side Story needs spectacular singers, however. And it was actually the “professional” singers who were the worst on opening night, in particular Jack Beetle, who went sour on every high note. Florio seemed to be over-conducting throughout, as if he were trying to rouse the necessary energy into the suite.

     

    It was the sad scenic designs, the bad mugging and machismo, the forced merriment that made this piece unsustainable and an inferior companion for McGregor and Kylián. Please, give us some more Robbins, but steer clear of clichés. Why not his Goldberg Variations, his stunning re-interpretation of Afternoon of a Faun, or even his legendary, creepy The Cage? Any of those would have made this program a thrilling triple-header.

    Arists of the Houston Ballet in the production of "Dyad."

    Dyad artists of the Houston Ballet, choreographer Wayne McGregor
      
    Photo by Amitava Sarkar
    Arists of the Houston Ballet in the production of "Dyad."
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    Best July & August Theater

    Broadway hits and Shakespeare festival headline Houston's 12 best summer shows

    Tarra Gaines
    Jul 1, 2025 | 9:30 am
    Broadway at the Hobby Center presents Parade
    Photo by Joan Marcus
    Broadway at the Hobby Center presents Parade

    Lions and tigers and zebras and murder. Oh, my! From big blockbuster shows to annual chilly thrillers, summertime is some of the best time for theater in Houston. Shakespeare, jukebox musicals, mysteries, and madcap comedies always headline our summer must-sees. This year is no different, but we’re also got intriguing musical dramas, Tony Award winning Broadway shows, bittersweet love stories, and even a local world premiere. There’s no place like Houston for summer theater.

    The Wizard of Oz at A.D. Players (July 9-August 10)
    Something wicked this way comes from A.D. Players this summer. Yes, long before the musical told from certain witches’ perspectives, L. Frank Baum’s original journey to Oz began with a Kansas girl’s ride on a tornado. She found a magical and musical land filled lively lions, tin men, and scarecrows. Follow the yellow brick road to classic songs like “Over the Rainbow” and “We’re Off to See the Wizard,” but after a great adventure, learn that enduring message that there’s no place like home. Our favorite Galleria area Players say this newly imagined production will have incredible production values to delight the whole family.

    Crabs in a Bucket at MATCH (July 10-19)
    This satire comes by Houston-raised, nationally acclaimed playwright Bernardo Cubría gets its first regional production with a stellar local cast. Amargo and Pootz are two bitter crabs living in a shucking bucket. They spend their days judging the other crabs that got out, the ones who couldn't take it, and the losers who still live among them. When a new crab arrives filled with hope and change, they are faced with who they once were and their incessant dream of getting the shuck out. Any similarities between this crabby circumstance and human relationships are purely intentional.

    The Mirror Crack’d at Alley Theatre (July 11-August 17)
    Move over Hercule Poirot and you too Sherlock, because it takes a woman to untangle all the mysterious threads of jealousy, lies, and ambition in those seemingly charming English towns. One of Agatha Christie’s greatest detectives, Miss Marple, uses a cheerful and kind-auntie demeanor to disguise a keen intellect and nose for solving crime. For this Miss Marple case, the filming of a star-studded movie in a quaint village leads to a chilling murder, and everyone becomes a suspect. The Alley’s annual Summer Chills mystery production is usually one of their most popular shows, but this one will also make a bit of theatrical history as this production of the Christie classic, adapted by Rachel Wagstaff, marks the first time iconic sleuth Miss Marple has appeared on the U.S. stage.

    The 39 Steps at Main Street Theater (July 12-August 10)
    The classic Alfred Hitchcock spy thriller becomes exhilarating comic mayhem onstage when performed by just four actors. The original 39 Steps film is the story of an ordinary man accused of a murder he did not commit after he accidentally becomes involved with a mysterious and deadly woman. He must then go on the run over the English and Scottish countryside trying to allude both the police and an international spy ring attempting to steal British military secrets. In this hilarious parody adaptation by Patrick Barlow, the four actors leap in and out of over 150 characters, sometimes playing multiple roles in the span of seconds while also performing dynamic chase scenes, including an onstage plane crash. Look for some of our local favs to get quite the theatrical workout in this breakneck comedy.

    Parade presented by Broadway at the Hobby Center (July 15-20)
    For the penultimate show of Broadway at Hobby’s 24-25 season, they’re bringing in the 2023 Tony Award winner for Best Revival of a Musical. Set at the turn of the 20th century, the dramatic and still very timely story chronicles what happens when murder, politics, and prejudice meet during a sensationalized murder trial. Based on a true story, Parade depicts newlywed Jewish couple, Leo and Lucille Frank, struggling to make a home and find community in Georgia. When Leo is accused of an unspeakable crime, it propels them into an unimaginable test of faith, humanity, justice, and devotion. Riveting and complex, Parade reminds us that to love, we must truly see one another.

    Iolanthe from the Gilbert and Sullivan Society of Houston (July 19-27)
    We always look forward this annual summer performance treat, as Houston’s own esteemed Gilbert and Sullivan Society presents another opera gem from the Gilbert and Sullivan treasure trove of musicals. Marrying fantasy and satire, Iolanthe is set in a magical version of England filled with both snobby aristocrats and equally smug faeries. The fairy and human world clash when Strephon, the half-fairy, half-human son of the title character falls in love with the lovely human Phyllis, a ward of the Lord Chancellor. Chaos ensues amid a lively and beautiful score as the fairies interfere in British politics, elevating Strephon to Parliament and upending tradition. The comic opera skews the British legal system, the House of Lords, and Victorian sensibilities all with clever lyrics. Keeping with the fairytale setting, the production design will showcase dreamy lighting, larger-than-life flora set pieces, and costumes inspired by whimsical bugs.

    The Last Five Years at Queensbury Theatre (July 23-27)
    When this bitter sweet musical made its debut in the early 2000s, it garnered lots of critics and audience acclaim with its fresh way to tell its love story, simultaneously from both the ending and beginning. Cathy, an aspiring actress, sings their story from the end of their marriage looking back, while Jamie, a rising novelist, begins with their first meeting full of sparks and attraction. The musical tellings of their love and loss cross just once, with a wedding song they sing together in the middle of the show. Then, fate pulls them apart. Queensbury plans on updating the already innovative show for our cell phone-obsessed digital age. The show will blend live performance with social media and technology to reflect how we connect, communicate, and fall apart today. Get ready for a fresh take on this iconic musical, where texts, tweets, and time collide.

    Honky Tonk Laundry at Stages (July 25-August 17)
    The history of this show at Stages has all of the highs and lows of a real honky tonk song. The feel-good musical created by Roger Bean, who also brought the world The Marvelous Wonderettes, was supposed to be one of the first shows through the wash cycle when Stages’ Gordy campus opened back in 2020, but the pandemic put it on hold after only a week of shows. Stages did release a streaming version of the show, but now it’s back in its full live and in-person glory. The title says it all as a woman tries to turn an inherited washeteria into a honky tonk club. Two unlikely friends spin suds, stories, and songs by Reba, Dolly, Carrie, and more. This musical load contains over 20 country hits, including “Before He Cheats,” “These Boots Are Made for Walkin’,” and “Wide Open Spaces.” At the center of all the sudsy songs is a story of friendship, grit, and finding your voice, one spin at a time.

    Houston Shakespeare Festival at Miller Outdoor Theatre (July 31-August 8)
    It wouldn’t be summer without free Shakespeare productions at Miller thanks in no small part to the University of Houston School of Theatre & Dance. This year brings a bard-tacular pairing with one of the great history plays, Henry V, and the effervescent comedy, As You Like It. Henry V lets us explore the qualities of leadership in all its challenges, complexities, and compromises as the young English king attempts to claim the French throne via battlefields and princess wooing. As You Like It marries some of Shakespeare’s best comic tropes including women disguised as men and urbanities losing their way, and sometimes sanity, in forests. Mix in some brotherly hate, mistaken identity, mixed up lovers, and a happy ending, and what’s not to like. The annual festival also offers some of the greatest roles for young regional actors getting their professional start and local favorites who have graced many a Houston stage.

    Life of Pi presented by Broadway at the Hobby Center (August 19-24)
    The Broadway at the Hobby Center 24-25 season ends not with a musical, but with this epic play. Based on the internationally award-winning novel and visually stunning film, this show won three Tony Awards and the Olivier Award for Best Play. After a shipwreck in the middle of the Pacific Ocean, a sixteen-year-old boy named Pi survives on a lifeboat with four companions: a hyena, a zebra, an orangutan and a Royal Bengal tiger. On this makeshift, floating menagerie, boy and animals must survive together. Told with jaw-dropping visuals, world class puppetry and exquisite stagecraft, this beguiling show creates a breathtaking journey filled with wonder, awe and joy.

    While Childhood Slept from Garden Theatre (August 15-17)
    This emotional musical has some deep Houston history, as it had its world premiere here in 1999. It later received an off-Broadway reading, and its finale number, “We Will Not Forget,” was featured in the documentary Paperclips. In 2005, a revised version with new songs was performed once again in Houston. Based on a true story of the boys of Home Number One in the Nazi concentration camp, Terezin, the musical chronicles how the children create a secret republic within the camp, publishing their own magazine of art, poetry, and short stories. A visit from The Red Cross presents the opportunity to disguise their magazine as a secret message and a means of escape. The show will be produced in partnership with Holocaust Museum Houston.

    The Chosen Ones from Thunderclap Productions (August 28-September 6)
    While we have many new takes on classic stories on stages across the city this summer, if you’re looking for something new with some timely resonance, don’t miss this world premiere musical, by local and award winning playwright Aaron Alon. The show chronicles the stories of a group of LGBTQ+ teens sent to a conversion therapy summer camp, led by an “ex-gay” minister. With humor, sorrow, and hope the Chosen Ones explores themes of living authentically, found families, and defying conventions. Look for a large cast of fresh and up and coming local performers in this funny and moving musical, which is also a part of Thunderclap’s John Steven Kellett Memorial Series of works relating to LGBTQ+ equity.

    Broadway at the Hobby Center presents Parade
      

    Photo by Joan Marcus

    Broadway at the Hobby Center presents Parade.

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