TUTS Big Changes

Evolution or revolution? New artistic advisor explains what's behind the big changes at TUTS

Big changes behind the scenes at Theatre Under the Stars are leading to huge changes on stage, including a surprise, revised 2016-2017 season. As CultureMap recently reported, half of the upcoming TUTS season has been scrapped to be replaced by what officials at the nearly 50-year-old theater institution are describing as a more diverse selection of musicals. We’ve already taken a look at what the TUTS new, new season will bring, so perhaps it’s time to get a glimpse behind the curtain at some of the drama singing in these transitions.

In April — approximately a month after the retirement of John Breckenridge, the company’s former CEO and president — TUTS announced that Sheldon Epps, the current artistic director at the Pasadena Playhouse would be joining the organization as artistic advisor.

Missing from the official statement was the acknowledgement that director Bruce Lumpkin would no longer be acting as artistic director, his position at TUTS since 2012. (Early in June, downtown theater company, Kaleidoscope Theater announced that Lumpkin as well as former TUTS associate artistic director Marley Wisnoski, will be joining their company’s creative team.)

Past and Present

Sheldon Epps, a long-time theater and television director, has been praised for bringing theatrical diversity to California's Pasadena Playhouse while raising its reputation. Within that first announcement welcoming Epps to Houston were several statements describing the continuing evolution of TUTS, with Amy Pierce, chair of the board of directors stating that the organization “must evolve,” and chair-elect Randy Stilley saying that along with the Epps partnership, “we plan to evolve our entire organization.”

So when I had the chance to speak directly with Epps after a recent TUTS press event covering the new version of the 2016-2017 season, the first question I asked was how he saw this TUTS evolution.

While he prefaced his comment that it wasn’t meant to be a disparagement, but rather his understanding as a historical truth of the organization, Epps said he believed that TUTS has had production leaders but not an artistic one for some time.

“TUTS has not had an artistic leader for a while. The people who have been the leaders of the organization, at the high end, have been mainly from the area of production, specifically meaning not directors,” Epps said.

“John Breckenridge had worked in the organization for a long time but mainly on the production side. Frank [Young], going back further, was perhaps closer to that during his time, in that he was a musical director. He was a director of productions. In some ways, I think that TUTS is headed towards a model where there is more artistic input into the programming and of the overall outlook and composition of the organization.”

This emphasis on community and diversity was something Epps continued to repeat throughout the interview, stating that TUTS should have a mission that “emerges primarily from an artistic imperative” and that through “its artistry, make this connection to the community.”

The New New Season

“When you look at this season now it does have a greater eye towards artistry towards diversity of theatrical experiences and towards reaching a more diverse and a younger audience,” Epps said, referring to the revised season with his selections of Lin-Manuel Miranda’s first Tony-winning musical In the Heights; Sondheim’s Into the Woods as the December/holiday show and the classic, Motown-inspired Dreamgirls; as well as keeping the controversial Fun Home in the lineup.

Something that makes TUTS unique among Houston theater companies is that its seasons contain both self-produced musicals as well as nationally traveling productions, which for this coming 2016-2017 lineup will be An American in Paris and the Tony Award winner, Fun Home.

Earlier in his general statements to the press Epps had praised the selection of Fun Home in the first version of the season. Based on Alison Bechdel’s best-selling graphic memoir, the musical deals with sexual orientation, gender roles, father/daughter relationships, emotional abuse and suicide, yet is described by many critics as joyful and uplifting.

While not referencing the tragedy in Orlando directly, Epps made it clear that TUTS should be very “proud” for bringing this particular show to town because “there are events in a society which make it even more necessary for us to do certain things with our art,” and Fun Home is one of those works that also “promotes understanding, compassion and community.”

When I asked about potential directors for the TUTS productions, Epps wouldn’t name names yet, but said some Tony-nominated directors were ready to come aboard, though contracts had not yet been signed.

“TUTS shouldn’t underestimate its history, its recognition in the country. I think there’s a lot of artists around who are thrilled to be asked to come here, to work in Houston,” he stated, but would only say “I hope to” when I asked if he would be directing himself.

Into the Future

One of the big questions about the changes at TUTS still unanswered is the state of TUTS Underground, the two-year-old additional series of smaller, edgier musicals chosen for the Zilkha Hall stage, which was created during Lumpkin’s tenure. This season's roster included musicals based on the edgy teen horror movie, Heathers, and The Sweet Potato Queens. Though Epps promised an announcement in July, the only thing we know for certain is that some variation on the idea will continue, but it will no longer be called Underground.

Many of the self-produced, Sarofim Hall shows and those shows produced under the Underground name used Houston actors and artists, and Epps did say he thinks that will remain an important component.

“I sense there are some really top notch artists who make this their home. I think that one way we can continue to connect with the community, as often as possible as often as it allows the work to emerge in a first class way, we can and want to continue to work with local artists and people from the community,” he said.

While TUTS doesn’t seem to be ready to talk about anything beyond this next season, Epps did give hints that this artistic advisor position is not necessarily a one (season) and done gig. He said that the nature of selecting a theater season means he’s already thinking ahead to 2017/2018.

During his decades at the Pasadena Playhouse Epps helped develop shows that later moved to Broadway, including Sister Act and Baby It’s You, so when I asked if he thought TUTS had the potential to do the same, which it has done in the past, his opinion was that it’s hopeful, though noting that its a long, expensive process that requires a lot of resources.

“A big substantial theater like this, I feel, has the resources to develop new work and should,” he affirmed.

TUTS is seeking a younger, more diverse audience with a production of Lin-Manuel Miranda’s first Tony-winning musical In the Heights.

Wikia

TUTS is seeking a younger, more diverse audience with a production of Lin-Manuel Miranda’s first Tony-winning musical In the Heights.

theater

Graceful exit

Ben Stevenson, legendary director of Houston Ballet, dies at 89

Photo courtesy of Texas Ballet Theater

Ben Stevenson, O.B.E.

Ben Stevenson, OBE, longtime artistic director of Houston Ballet and a legendary dancer and choreographer, died March 29, 2026 — just days shy of his 90th birthday, which would have been April 4.

"Stevenson’s profound impact on dance spanned decades and continents, shaping countless careers and elevating ballet companies to global prominence," reads a statement from the Ben Stevenson Trust. His cause of death has not been made public.

Stevenson served as artistic director of Houston Ballet from 1976 to 2003. Over 37 years, he transformed the company from a provincial group into one of the world’s biggest and most respected ensembles.

He also founded the Houston Ballet Academy, which his obituary calls "one of Stevenson's proudest accomplishments."

"In touch with his own inner child, Stevenson focused on developing children’s expression through movement, connecting their bodies and feelings to music," says the obituary. "Through the Ben Stevenson Houston Ballet Academy, he provided nourishment and education for such artistic expression to grow young dancers who would ultimately become his dancers in the Houston Ballet."

Houston Ballet, Sara Webb, The Sleeping Beauty, chor. Ben Stevenson Sara Webb and artists of the Houston Ballet in The Sleeping Beauty, choreographed by Ben Stevenson. Photo by Amitava Sarkar

Stevenson brought up generations of world-renowned dancers, including Lauren Anderson, Janie Parker, Carlos Acosta, and Li Cunxin. "In 1990, Stevenson’s promotion of Lauren Anderson to principal dancer was an important milestone in American ballet, making her one of the first Principal African American ballerinas in history," says the obituary.

In 2003, Stevenson left Houston Ballet to helm the Texas Ballet Theater in Dallas-Fort Worth. He would serve as artistic director at TBT until 2022, when he transitioned to a new role as artistic director laureate — a lifetime appointment. He continued to work with North Texas dancers in studio, set the choreography for his legendary ballets, and attend performances; he was spotted in the audience of the company's most recent mixed-rep program just weeks ago.

Tim O'Keefe, who took the reins as TBT artistic director from Stevenson, said of his passing on Sunday, "Ben was more than a mentor to me — he was family. His artistry, his generosity, and his vision shaped not only my own journey as a dancer and leader, but also the very heart of Texas Ballet Theater.

"I will miss his wisdom, his humor, and his boundless passion for storytelling through dance. While my heart is heavy with grief, I am profoundly grateful for the decades of inspiration and love he shared with me and with this company. His spirit will live on in every performance, every dancer, and every audience moved by his work."

A ballet giant, Stevenson's choreography, from Cinderella to Dracula to The Nutcracker, is performed by companies around the globe.

Houston Ballet's announcement of Stevenson's death on social media Sunday night brought hundreds of comments, many of which were from former dancers in his productions who underscored the impact he'd had on their life and careers.

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Details on memorial services will be announced at a later date.

Below is the full obituary prepared by the Ben Stevenson Trust:

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BEN STEVENSON, OBE, decorated and acclaimed ballet dancer, teacher, choreographer, and artistic director, passed away March 29, 2026.

A native of Portsmouth, England, Stevenson was born April 4, 1936. As a child, Stevenson received his dance training in London, England, at Arts Educational School. Upon graduation, he was awarded the prestigious Adeline Genee Gold Medal, the highest award given to a dancer by the Royal Academy of Dancing. At the age of 18, he was invited by Dame Ninette de Valois to join the world-famous Sadler’s Wells Royal Ballet (currently The Royal Ballet), where he worked with Sir Frederick Ashton, Sir Kenneth MacMillan, and John Cranko. At Sir Anton Dolin’s invitation to London Festival Ballet as a principal dancer, Stevenson performed leading roles in all the classics.

In London’s West End, Stevenson performed the juvenile lead in ”The Music Man”, and appeared in the original casts of ”Half a Sixpence” and ”The Boys From Syracuse”. On British television’s “Sunday Night at the Palladium,” Stevenson danced in musical numbers 52 weeks a year with Judy Garland, Ella Fitzgerald, Shirley Bassey, and Cleo Laine.

In 1967, he staged his first ballet for English National Ballet, a triumphant production of “The Sleeping Beauty” starring Dame Margot Fonteyn. His arrival in the United States one year later marked the beginning of a journey spanning the remainder of his life. Rebecca Harkness appointed him as the Director of the Harkness Youth Dancers in New York City where he created two of his most celebrated works: “Three Preludes” and “Bartok”. After Harkness, Stevenson’s next position was as the Co-Artistic Director with Fredrick Franklin of National Ballet, in Washington, D.C. where he choreographed “Cinderella” and a new production of “The Sleeping Beauty” for the inaugural season of The John F. Kennedy Center for the Performing Arts.

After a brief association with Ruth Page's Chicago Ballet, Stevenson was appointed Artistic Director of Houston Ballet in 1976. During his tenure of 27 years, Houston Ballet grew from a small provincial ensemble to one of the largest and most respected ballet companies in the world. At Stevenson’s invitation, Sir Kenneth MacMillan and Christopher Bruce joined the Houston Ballet in 1989 as Artistic Associate and Resident Choreographer respectively, thereby establishing a permanent core of choreographers whose works contribute to the diversity of the Houston Ballet’s repertory.

One of Stevenson’s proudest accomplishments was establishing the Houston Ballet Academy. In touch with his own inner child, Stevenson focused on developing children’s expression through movement, connecting their bodies and feelings to music. Through the Ben Stevenson Houston Ballet Academy, he provided nourishment and education for such artistic expression to grow young dancers who would ultimately become his dancers in the Houston Ballet.

By establishing a school where he could hone his skills as a teacher to develop dancers, his vision was to build a company from the ground up. As a result, Stevenson trained several generations of world-renowned dancers including Lauren Anderson, Janie Parker, Carlos Acosta, and Li Cunxin. In 1990, Stevenson’s promotion of Lauren Anderson to principal dancer was an important milestone in American ballet, making her one of the first Principal African American ballerinas in history.

$Houston Ballet principal Melody Mennite as Carabosse and former dancer Lauren Anderson as The Queen in Ben Stevenson\u2019s The Sleeping Beauty$ Houston Ballet principal Melody Mennite and former dancer Lauren Anderson in Ben Stevenson’s The Sleeping Beauty. Photo by Amitava Sarkar, courtesy of Houston Ballet

As part of a cultural exchange program in 1978, Stevenson was among the first to gain entrance into China on behalf of the U.S. government, thus beginning a mutual love affair between China and Stevenson. He returned almost every year to teach at the Beijing Dance Academy. To expose the Chinese students to Western dance forms, Stevenson brought with him teachers of jazz and modern dance, including Gwen Verdon. In 1985, he was instrumental in the creation of the Choreographic Department at the Beijing Dance Academy. Stevenson is the only non-Chinese citizen to have been made Honorary Faculty Member there and at the Shenyang Conservatory of Music. In 2018, he was acknowledged by the Chinese government as one the most influential Foreign Experts in the 40 years since China initiated its policy on Reform and Opening Up.

In July 1995, Stevenson led the Houston Ballet, the first full American ballet company to be invited by the Chinese government, on a two-week tour of the People’s Republic of China with performances in Beijing, Shanghai, and Shenzhen. China’s invitation was a direct result of Stevenson's international reputation. Houston Ballet’s opening night performance of “Romeo and Juliet” in Beijing was telecast live and was seen by over 500 million Chinese viewers.

In July 2003, Stevenson became Artistic Director of Texas Ballet Theater in Fort Worth and Dallas. The company began to experience tremendous growth in budget and repertoire, as well as its education programs, all while attracting dancers from around the world. Stevenson remained Artistic Director until 2023–the longest-serving Artistic Director in the company’s history. Under his leadership, TBT flourished. His strong relationships with current and former dancers allowed him to bring world-class choreography to the company, raising the profile not only of TBT, but of the DFW Metroplex as an arts hub. Like he had in Houston, Stevenson recruited dancers to TBT from all over the world.

Legendary for his storytelling, Stevenson has left his mark on stages in London, Munich, Norway, Paris, New York, Santiago, Brisbane, among many others. He is best known for his compelling stagings of “Swan Lake”, “Romeo and Juliet”, “Cinderella”, “The Nutcracker”, “Coppelia”, “Don Quixote”, the original productions of “Peer Gynt”, “Dracula”, “The Snow Maiden” and “Cleopatra”. His wide range of friendships included ballet luminaries and celebrities from across the globe.

For his contributions to the world of dance, Stevenson was named an Officer of the Order of the British Empire (OBE) by Queen Elizabeth II in the New Year’s Honors listed in December 1999. His choreography also earned him numerous awards including three gold medals at the International Ballet Competition of 1972, 1982, and 1986. In April 2000, he was presented with the Dance Magazine Award, one of the most prestigious honors on the American dance scene. In 2005, he was awarded the Texas Medal of Arts.

Devilishly sneaky and intrinsically shy, Stevenson was an introverted extrovert. He shone the brightest in his kitchen, be it at home or a French chateau. Each meal, a feast fit for kings, was a reflection of the importance he placed on communing with dancers, friends and unsuspecting passersby. His generosity knew no bounds. Nourishing body and soul, from the head of his table, he spun tales of his life entrancing all seated around him.

Survivors include Ben’s extended family in Portsmouth, England, and a host of friends and dancers around the world who will never forget him.

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