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    CultureMap Video

    Houston's funniest woman twerks the holidays in summer musical romp

    Joel Luks
    Jul 17, 2014 | 1:12 pm
    Houston's funniest woman twerks the holidays in summer musical romp
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    Noel Bowers is a salacious Easter bunny who puts Miley Cyrus' twerking action to shame. Kyle Sturdivant plays a flamboyant giant Thanksgiving turkey with an anal fixation. And Greg Dean stands for an over-commercialized Christmas tycoon— not jolly Santa — who rules over a cast that represents a throng of, shall we say, lesser holidays.

    Then there's Independence Day, Susan B. Anthony Day, Columbus Day, Administrative Professional's Day, Flag Day, April Fool's Day, New Year's Day and Halloween — and on and on and on.

    Beware of Arbor Day, though. You never know when neglected holidays will execute their evil plan in revenge.

    "I get to charge the audience so I can work out my issues on stage instead of paying someone to hear about my problems," she says.

    Houston comedienne Tamarie Cooper's 17th show may be billed as A Very Tamarie Christmas, but the vaudevillian romp, written in collaboration with Patrick Reynolds, is a ridiculous odyssey that thumbs its nose at the stereotypes of countless holidays. The Catastrophic Theatre production opens on Thursday and runs through Aug. 30.

    "I've always wanted to do a variety show about the holidays," Cooper says in a video interview. "It probably comes from my love for that old movie by Fred Astaire and Bing Crosby Holiday Inn."

    But given the organization of the theater company's season, which typically mounts her works during the summer, the topical subject of Christmas was off the table for a long time. Until artistic director Jason Nodler suggested Cooper move forward with the idea. What started as a Christmas musical quickly expanded into scores of other celebrations, each of them personified by a pageant-like costumed character fused with pop culture references from Cooper's childhood.

    Cooper describes herself as a non-practicing Jew who grew up with many different traditions.

    "I try to put in things from my own life that people can relate to so that we can all feel part of the show," Cooper explains. "Whether the subject matter is political or a form of social commentary, there's always going to be an easy entry way for people to relate to the material."

    "I just want people to laugh and to have a really good time — we all need that."

    Cooper admits that her text has turned raunchier and lewder over the years. No obscenities were written into her first shows, but she now feels that harmless profanity is very much a part of the modern vernacular. She concentrates on creating accessible works that encourage audiences of laugh out loud.

    "I am a big supporter of laughter," Cooper says. "I think that comedy still sometimes gets the shaft a little bit in culture. If it's funny, it's not as important as something that's more serious. Comedy is often considered more lowbrow, but I've always found that it's important to be able to laugh at anything."

    Cooper jokes that writing her shows is a form of psychotherapy.

    "I get to charge the audience so I can work out my issues on stage instead of paying someone to hear about my problems," she adds." I just want people to laugh and to have a really good time — we all need that."

    ___

    Catastrophic Theatre presents A Very Tamarie Christmas through Aug. 30. Tickets are pay-what-you-can, suggested price is $25, and may be purchased online or by calling 713-522-2723.

    Noel Bowers, left, plays a salacious Easter bunny.

    Catastrophic Very Tamarie Christmas
      
    Photo by Joel Luks
    Noel Bowers, left, plays a salacious Easter bunny.
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    Salutations, Soon Youn

    Houston Ballet principal dancer announces retirement after 13 years

    Holly Beretto
    Jun 20, 2025 | 10:00 am
    ​Houston Ballet Principal Soo Youn Cho
    Photo by Amitava Sarkar (2016). Courtesy of Houston Ballet.
    Houston Ballet Principal Soo Youn Cho and in Theme and Variations.

    Houston Ballet principal dancer Soon Youn Cho has announced her retirement, after 13 years with the company.

    For more than a decade, she has captivated audiences with her elegance, emotional authenticity, and technical brilliance. Audiences have seen her in roles such as Aurora in The Sleeping Beauty, Kitri in Don Quixote, Odette/Odile in Swan Lake, the Sugar Plum Fairy in The Nutcracker, and Suzuki in Madame Butterfly, among many others.

    Cho’s retirement follows a period of recovery from spinal surgery prompted by chronic back issues that intensified during and after her pregnancy.

    "This decision was not made lightly, but with a great deal of reflection and acceptance over the past year," said Cho. “Since I first began ballet at the age of four, it has been the greatest love of my life. Even through pain and injury, I felt joy and purpose in every moment. I gave my best to every step along the way, and I now leave the stage with a peaceful heart and deep gratitude.”

    Cho further said that even before becoming pregnant, she had been managing chronic back issues throughout her career.

    “With dedication, careful conditioning, and the unwavering support of those around me, I was able to continue dancing for many years,” she said. “Despite my best efforts to recover, I’ve come to the difficult realization that I won’t be able to return to dancing at the level I once did. With a heavy but full heart, I’ve decided to retire from the stage.”

    Born in Korea and trained there, as well as in Canada and Germany, Cho danced with Opera Leipzig Ballet in Leipzig, Germany and the Tulsa Ballet in Tulsa, Oklahoma, where she was promoted to principal in 2010. She joined the Houston Ballet in 2012 as a demi soloist. She quickly rose through the ranks, promoted to soloist in 2014, then first soloist in 2016. In 2018, she became the Houston Ballet’s first Korean principal.

    Upon achieving the designation, she said, “I feel like I have made an important mark in history, along with other great dancers, for my people in such a great company.”

    Cho’s roles onstage reflected her wide artistic range and commitment to storytelling through dance. Her Houston Ballet colleagues and audiences admire and praise the passion and sincerity she brought to every performance. One of those, Cho’s portrayal of Suzuki in Madame Butterfly, is especially close to her heart, not only for its emotional depth but for the lifelong friendship it sparked with fellow principal Yuriko Kajiya.

    “Becoming part of this Company and working alongside such extraordinary people has been one of the greatest blessings and privileges of my life. I close this chapter with a full heart and immense appreciation for the art, the audiences, and the people who made it all so meaningful.”

    Cho said that while she doesn’t yet know what will come next, she departs the company filled with gratitude.

    “Looking back, I feel nothing but gratitude,” she said. “Gratitude for the incredible colleagues and mentors I’ve shared the studio with. Gratitude for the audiences who supported us performance after performance. And gratitude for the art form itself — so demanding, so beautiful, and so deeply rewarding. I leave the stage with peace in my heart. Because I gave everything I had to this journey, I can move forward without regret.”

    \u200bHouston Ballet Principal Soo Youn Cho
      

    Photo by Amitava Sarkar (2016). Courtesy of Houston Ballet.

    Houston Ballet Principal Soo Youn Cho and in Theme and Variations.

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