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    The University of Tamarie

    Wild campus life at The University of Tamarie: Summer's wackiest comedy skewers cutthroat kindergarten and Ted Cruz

    Tarra Gaines
    Jul 29, 2015 | 11:46 am

    From its humble beginnings 20 years ago as a kind of performance art dance piece with thrift shop fashion and a pasta cooking segment, Tamarie Cooper’s summer musical extravaganzas have become an August tradition for many Houston theater lovers.

    With The University of Tamarie, her 18th summer musical theater event (she skipped one year to have a baby and another after her 10-year anniversary show), Cooper is taking on education in a story about her quest to earn that one final credit to graduate from college.

    What other show anywhere can audiences see a dancing Ted Cruz alongside the adorable incarnations of Haiku Poetry and Cursive Writing?

    With this crazy plot, Cooper, along with writing partner Patrick Reynolds and a cast of hometown favorites, manages to skewer everything from real contemporary politics and social issues like sex education, homeschooling and the Texas Board of Education to the hugely silly — like her own love of '70s television theme songs. What other show anywhere can audiences see a dancing Ted Cruz alongside the adorable incarnations of Haiku Poetry and Cursive Writing?

    I caught up with Cooper by phone recently to get the scoop on the wild campus life at The University of Tamarie.

    CultureMap: Since you’ve been doing this for almost two decades now, do you have devoted fans who’ve seen all the shows and maybe remember all the plots and jokes?

    Tamarie Cooper: There are a few people and I love it. I think it one the coolest things about the shows are the people who make this sort of an event every summer, the ones who proudly boast how many they’ve seen.

    There was one show, my second show, that I did on a school bus. It had to be a very loose experience because we could get caught in traffic for 10 minutes. It was crazy and it ran only three weeks in the daytime and only 40 people could fit on the bus. So there are a limited amount of people in Houston who had that experience and those are the ones who are always like: I was on the bus. I was with you on the bus.

    CM: That’s one you should really bring back, a bus reunion mini-show.

    TC: I’m older now. I require more comfort. It was a school bus with no air conditioning. No, no, no, we’d have to go full on Greyhound with a bathroom in the back.

    CM: Maybe you could use a food truck?

    TC: Yeah, with a food truck that follows us. That’s perfect. You never know, it could be in my future.

    "When I was dilly-dallying for all those years at the University of Houston, it was about $500 a semester, but it’s like 20 grand a year now."

    CM: I know getting your daughter Rose into a good kindergarten was one of the inspirations for the show but now that the show has forced you on this trip back through memories of your own education from elementary school to college, is there anything you did or experienced you want Rose to absolutely avoid in her own schooling?

    TC: We have pretty child-driven household here and when Rose wants to do something, usually she’s going to get to do it. I’m happy that she’s going to get to go to a nice magnet elementary school. We won the lottery!

    I do sometimes have my thoughts about kindergarten being a totally different experience than when I was a kid. But no, I said all that stuff [in the show] about college, but I hope she goes to college. I hope we find a way to pay for it. It’s harder now. When I was dilly-dallying for all those years at the University of Houston, it was about $500 a semester, but it’s like 20 grand a year now.

    CM: In the show, you tell us that you’ve earned hundreds of college credit hours without graduating. Is that true?

    TC: I do have something like 200 hours. However, I am not an hour away from graduating, because I never finished my core. I would take classes like "The Politics and Social Policy During the Gulf War" or math history and all these things that didn’t really add up to an actually degree plan. So yeah it’s ancient history.

    CM: There’s a line in the show about the power of musical theater, which I believe is said somewhat ironically or even sarcastically, but putting on a new musical every year, you must think they do have some kind of power. True?

    TC: I have a very interesting relationship with musical theater. I love it but at the same time I mock it. I grew up taking tap and ballet and watching all the big MGM movie musicals. It was magical for me. When I’m channel surfing and My Fair Lady or Fiddler on the Roof is on, I’m going to stop and watch.

    "I have a very interesting relationship with musical theater. I love it but at the same time I mock it."

    But myself, obviously, I don’t really fit the cookie cutter of the musical theater ingenue. What I kind of like to do with my shows is mix up that formula. So it’s not just me, but you’ll see so many types of people: ages and sizes and shapes and colors, and it’s so intimate in our setting too. You’re seeing the work. You’re seeing the sweat coming off of people’s bodies. The heart is all there. We do it completely sincerely but at the same time there’s sort of the joke of how ridiculous it is that someone is suddenly breaking into song.

    CM: Does musical theater also have some type of political or cultural power?

    TC: Well one of the things I do enjoy is bringing some social and political satire into the show. I’ve always felt that humor is a powerful and fascinating way to make people think about those issues. Something like The Daily Show is a perfect example, where they’re taking very real and intense various issues but presenting it with comedy because otherwise you’re going to go crazy.

    CM: There’s that pretty ancient idea of the comedian, the court jester, being one of the few people who can get away with speaking truth to power, but does music also fit into that idea of comedy and truth?

    TC: I think sometimes it’s an easier way for people to approach the subject matter. Probably if you were to take a poll we have a more liberal audience base, but that’s not to say that there’s not many people of maybe a more conservative mindset who do see my show, but because we make fun of everything and nothing is scared, and it’s all done with such jest and ridiculousness than I think it’s a little bit easier to let it wash over you.

    The University of Tamarie runs now through August 29 at Catastrophic Theatre.

    Sex Ed class at the University of Tamarie.

    unspecified
    news/arts

    fall theater preview

    Sneak peek at the 2026 fall performance slates for 15 Houston companies

    Tarra Gaines
    Aug 18, 2026 | 1:00 pm
    Theatre Under the Stars presents The Music Man
    Photo courtesy of Theatre Under the Stars
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    For theater and performing arts lovers, late summer is the most wonderful time of the year, as stage companies across the city begin their new 2026-2027 seasons. But before the curtains rise, most of those companies also give us the gift of Houston Theater Week and all those buy-one-get-one-free discounts.

    To get ready, CultureMap has put together this fall theater guide with the opening shows and dates for each company, as well as taking an early look at what the rest of the fall and holidays will bring. So grab those discounted tickets for a fall filled with blockbuster musicals, dramas, comedies, as well as lots of classics and audience favorites.

    A.D. Players opens with Holly Street (August 19)
    The spiritual and family friendly theater company began its season a bit early with a poignant world premiere set in small town Kentucky in the 1940s after World War II. Holly Street tells the story of two sisters at Christmas time and two unexpected guests.

    The company takes a break for a month and then offers one of the funniest, yet heartwarming holiday plays for all ages withThe Best Christmas Pageant Ever, the beloved comedy about a children’s play that goes wrong.

    Houston Ballet opens with Pecos Bill (September 11)
    HB says howdy to a great fall season with a mixed rep program that holds something for all dance tastes. The performance includes Stanton Welch’s rollicking ballet version of cowboy folklore, Pecos Bill’s adventures. Performances also feature George Balanchine’s elegant and dynamic Symphonie Concertante, and an HB debut, Meadow, a work by celebrated choreographer Lar Lubovitch.

    For the first full story ballet of the fall (September 24), HB brings the opulence of Sir Kenneth MacMillan’s now classic and tragic Mamon, the doomed love story between an irresistibly beautiful femme fatale and impoverished student. Of course, in November, it wouldn’t be the holidays without Stanton Welch’s version of The Nutcracker Ballet that brings the story’s focus back to the adventurous Clara.

    4th Wall Theatre opens with Proof (September 11)
    The first of several Pulitzer Prize-winning plays produced this season comes from this intimate stage. Playwright David Auburn’s Proof is the story of the daughter of a genius mathematician who might have inherited both his aptitude for math and his mental instability. The play travels back and forth through the present and past to study the formulas of family, loss, and love

    Over the years, 4th Wall has produced several wild and moving adaptations of Jane Austen novels. This year, it will present Are the Bennet Girls Ok? This new version of the Pride and Prejudice story, that had a recent Off-Broadway debut to much critical praise, tells the Bennet girls’ marriage quests from their mother’s point of view.

    Main Street Theater opens with Cold War Choir Practice (September 12)
    Also earning lots of recent off-Broadway buzz, this genre-defying comedy with music is one of the most intriguing picks for the fall. In Reagan’s America, a young girl is embroiled in intrigue when her estranged uncle, a prominent Black conservative, brings his mysteriously ill, white wife home for the holidays and forces long-simmering tensions within the family to boil.

    From Victorian England to a fast food joint, theaters across the world and certainly in Houston have put Dickens’s Christmas Carol into a multitude of settings. For the holidays, MST invites Houstonians to a Dublin pub for An Irish Carol, where rich owner David has lost touch with his own humanity in the interest of self-protection and material success. Now on Christmas Eve, a voice from the past will ask David to look at his relationships in the past, present, and possible future to perhaps change his life for the better.

    Theatre Under the Stars opens presenting The Music Man (September 15)
    TUTS changes its usual mix of more self-produced shows than touring shows, leaning in on presenting this season. The season begins with this classic musical comedy about a charming con man who gets conned himself by small town sincerity and love.

    The touring hits continue in October with Mrs. Doubtfire, the musical based on the Robin Williams comedy about a divorced man who disguises himself as a British nanny to take care of his kids. Then for the holidays, TUTS brings back its own leviathan-sized production of Disney’s The Little Mermaid for under the sea family fun with a cast filled with Houston singing sensations, including students from the TUTS schools.

    Rec Room opens with Amadeus (September 17)
    The east-ish downtown theater company decided to take some time off after last year's productions of Angels in American to switch from a calendar year season to the traditional fall/spring season that most Houston companies use. Now they’re back and celebrating their 10 year anniversary with plays Houstonians haven’t seen in quite a while, or ever, on a local professional stage. The season begins with the now classic 20th century play about the (mostly one-sided) rivalry between composers Antonio Salieri and Wolfgang Amadeus Mozart, and its exploration of jealousy and the nature of genius.

    For the ultimate holiday show counter programming, Rec Room will produce a new adaptation of Nobel Prize-winning Italian playwright Dario Fo’s The Accidental Death of an Anarchist. It’s Christmas time at the police station, as Rec Room reimagines Fo’s groundbreaking political farce of the 1970s as a contemporary American satire infused with detective noir, Cold War paranoia, and sharp absurdity.

    Ensemble Theatre opens with Purpose (September 18)
    Ensemble celebrates its 50th season with this recent Best Play Tony and Pulitzer Prize winner by Brandon Jacobs-Jenkins about a prominent and political Black family, the Jenkins. While the patriarch was a leader in the Civil Rights movement, the adult sons are having trouble living up to their father’s legacy. Generational aspirations come to a comic clash for one particularly awkward but purposeful family dinner.

    For the holidays, the company brings back an audience favorite, the joyful and soulful A Motown Christmas, which melds Motown hits and choreography with traditional holiday classics.

    Stages opens with Come From Away (September 19)
    Based on the true story, this poignant and hopeful musical tells the story of a small town in Newfoundland that rallied together to host thousands of stranded international travelers after planes were grounded September 11, 2001. It’s been a few years since Come From Away toured nationally, so Houstonians are definitely looking forward to seeing Stages begin its season with an intimate and homegrown production.

    In October, Stages jumps from a musical with a large cast of characters to The Roommate, the Jen Silverman comedy about two 50-something women with very different personalities and life experiences who begin living together. For the holidays, it brings back another audience favorite with all the music, fun, and wild plots found in The Great American Trailer Park Christmas Musical.

    Alley Theatre opens fall with Romeo and Juliet (September 25)
    While technically the thrilling Girl on the Train began its 26-27 season, the Alley heats up the fall with the play that originated the term star-crossed lovers and is arguably the greatest romantic tragedy in literature. The entire resident acting company will take the stage in Shakespeare’s wrenching tale of young lovers crushed between their warring families.

    In October, the Alley leaps from a classic of world literature to a world premiere satire with Uhuru. This play explores very contemporary themes of access and identity as it follows a group of climbers up Mount Kilimanjaro. Uhuru was developed as part of the Alley All New play reading season. For the holidays, look for both Alley artistic director, Rob Melrose’s, lovely adaptation of A Christmas Carol as well as its very contemporary Texas version of The Night Shift Before Christmas.

    Broadway at the Hobby Center opens with The Sound of Music (September 29)
    Musical lovers might want to see if the Hobby Center will rent a room this fall, because the TUTS and Broadway combined schedules will fill Sarofim Hall with the sound of music almost every week, including the actual Sound of Music. One of the most beloved musicals of all time, Richard Rodgers and Oscar Hammerstein’s story of the von Trapp family and the woman who brought music into their lives tours the country again with new direction from three-time Tony Award winner Jack O’Brien (Hairspray).

    Then, just in time for spooky season, the ghost-est with the mostest, the irrepressible Beetlejuice, returns to haunt Houston after being a surprising comic hit a few seasons ago. Then, the Tony Award-winning Buena Vista Social Club arrives. Depicting the backstage story of the Grammy-winning album of the same name, the show transports audiences into the heart of Cuba, beyond the glitz of the Tropicana into the soul of the music.

    Houston Grand Opera opens with Susannah (October 23)
    Continuing its centenary celebration for the great American composer Carlisle Floyd, HGO opens its season with this tragic beauty of an opera inspired by Floyd’s childhood as a minister’s son. With a score infused with revival hymns and Appalachian folksong, the opera depicts life in a small Tennessee town and the gossip, judgement, and hypocrisy that leads to the ruin of one innocent woman.

    HGO elevates spooky season with upGounod’s masterpiece Faust in late October. This production from acclaimed Scottish director David McVicar reimagines Faust as a tormented composer in Belle Époque Paris, before making a deal with the devil for youth and earthly pleasures.

    Other fall debuts

    While it might only be producing one show this fall, Houstonians still have these plays from some of the city's mid-sized and smaller companies on their must-see lists. In early September, Mildred’s Umbrella gets mad with Jen Silverman’s Collective Rage: A Play in 5 Betties, a sharp comedy with its synopsis in the title as it depicts the lives of five very different women all named Betty. The recently announced Catastrophic Theatre season scheduled the majority of its shows in 2027, but in September the company will revive Eugene Ionesco’s epic absurdest play, Rhinoceros, about a small town whose citizens begin to transform into a herd of giant horned mammals.

    In mid-October, Dirt Dogs presents one of those great dinner parties from hell plays with Donald Margulies’ Pulitzer Prize-winning Dinner with Friends about one couple’s divorce that leads their best friends to question their own marriages. Also in October, Classical Theatre opens its season with one of George Bernard Shaw’s wittiest works from his “Plays Pleasant” collection, Arms and the Man, about a young woman who has romanticized war until she decides to shelter a war-weary enemy soldier.

    Theatre Under the Stars presents The Music Man
    Photo courtesy of Theatre Under the Stars

    Theatre Under the Stars presents The Music Man

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