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    The CultureMap Interview

    The naked truth: Idina Menzel reveals why she'll be shoeless — and maybedress-less — for Houston Symphony shows

    Joel Luks
    Oct 13, 2011 | 3:59 pm

    It's not everyday that the Houston Symphony has an attention-starved, bisexual, green-faced, adoptive wicked mom who prefers to fly by broomstick on the Jones Hall stage. These are just some of the characters that have made Idina Menzel a household name just about everywhere.

    The men love her. The gays want to be her. And the ladies drool over her husband Taye Diggs (have you seen the abs?)

    Menzel's rise to the ranks of celeb began with her 1996 Broadway role as Maureen Johnson in the original Rent, the musical that updated the story of Giacomo Puccini's La Boheme and made numbers cool via the song "525,600." She received a Tony nomination for Best Performance by a Featured Actress in a Musical.

    Ironically, it was Menzel yelling "fuck" emphatically after cackling the high note in the midst of her Wicked audition — "Defying Gravity" is not for the weak — that helped earn her a spot as Elphaba in that hit musical.

    When it rains, it pours. Menzel won a Tony, three Broadway.com Audience Awards and a Drama Desk Award for the role. With her appearances in the TV hit Glee as Shelby Corcoran, now the former coach of rival show choir Vocal Adrenaline, the 40-year-old is at the top of her game.

    We caught up with the busy actress, singer and songwriter when Menzel was in her car right outside the set of Glee. Over the phone while sitting in her car, Menzel gave us the insider scoop on her life and her shows with the Houston Symphony this weekend (Menzel performs with the Symphony Friday, Saturday and Sunday night).

    CultureMap: I can imagine that performing on a theater stage is quite different from the television set of Glee. Do you have a preference? What feels more comfortable for you?

    Idina Menzel: Technically there are a lot of differences, but there is one common denominator. As an artist and performer, whether you are on stage or on set, it's imperative that I find the willingness to expose my vulnerabilities and connect with people.

    That doesn't change regardless of wherever I happen to be performing. So I feel it as a very similar experience even though the surroundings are quite different.

    CM: In high school, did you have a favorite musical or a memorable musical experience?

    IM: I went to high school in Long Island in a district that was very supportive of the arts. We did many school plays, musicals, concerts, you name it.

    In 1988, we took a trip to the Soviet Union with the special honors choir. The choir was amazing. At that age, as a junior, the opportunity to see the world, meet students our own age doing the same thing in a different culture really opened my eyes.

    I now know how fortunate I was to be a part of a school system that could support such a program, that had the means to raise the needed funds to send us abroad.

    CM: Very important question. Who are you wearing in Houston?

    IM: That's a really good question (laughs) and it's bit of a long story. There was a mistake made when I went to London just last week and all my wardrobe is stuck in customs. I usually wear this gorgeous white dress.

    At this point, your guess is as good as mine. As soon as I am finished with Glee today, off I go to figure that out.

    I never wear shoes on stage. So that's not an issue.

    CM: No shoes? Comfort? Afraid to fall over?

    IM: (Laughs) It's more of a comfort thing. One day my ankles were hurting after lifting the stroller, suitcases, running through the airport and thought to myself, there is no way I am putting those 3-inch platform heels on. So I didn't.

    It was the best show I had performed. I felt grounded, more like myself. It's more about have the freedom to just be me out there, and that means being comfortable.

    CM: And the hair? I mean, look at you. It's amazing.

    IM: My hair (laughs)? Gosh, I don't have many tricks. I am lucky I had the time to shower two days in a row. I don't feel very glamorous right now. My hormones are all screwed up from having a baby. My hair doesn't know what it's doing most of the time.

    CM: So, you just celebrated the big 4-0 and Walker is now 2 years old. How do you balance between being a mom, a wife and a very active working performing artist.

    IM: Good question. I am learning everyday how to do it better; I struggle with finding balance everyday. As a mother, I feel empowered. I certainly can feel when I am spending too much in my career, when I need to spend more time with my husband and my child. That's something all working women struggle with.

    I feel comforted by the thought that everyday I leave the set, I do something for myself to ensure I am a better mother, a better wife. Also, performing is part of my life, it's who I am. If I didn't perform, I would not be the best version of myself, which translates in being a good mom.

    CM: We hear you make a mean breakfast. French toast? Any other Idina Menzel signature dishes?

    IM: Yes, I make really amazing French toast. I soak the bread really well in the eggs. And it's all about the bread you use. I try not to use too much syrup, opt for agave nectar mostly. I make wicked omelets, pancakes and organic oatmeal with bananas.

    Just don't ask me to cook dinner.

    CM: What are you passionate about lately?

    IM: I started A Broader Way Foundation in an effort to support young people in the arts. Camp BroaderWay took 30 young inner city girls to a 10-day performing arts camp up in the Berkshire Mountains.

    It wasn't just music activities. They participated in camp fires, hikes, bunk skits, improvisation workshops and writing projects.

    The students worked in a collaboration with composer Jeanine Tesori and using their ideas, they put together a beautiful original production which was performed in New York City.

    I'd like the organization to grow so I can reach out more young people. I'd like more of them to have this experience and expand to Los Angeles, perhaps other cities.

    CM: First time in Houston?

    IM: Yes. My visit is culminating a year-and-a-half of shows. I am thrilled to stay in Houston for three nights, discover new things, see new places and meet Houston audiences. I just need to know where to go to eat.

    CM: We'll get our readers to give you restaurant suggestions.

    Chime in. What are the must-hit spots for the Broadway/Glee queen?

    Idina Menzel will perform with the Houston Symphony Friday through Sunday at Jones Hall. Tickets start at $35 and can be purchased online or by calling 713-224-7575.

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    MFAH expands

    Houston museum acquires historic Masonic lodge property for new greenspace

    Eric Sandler
    Dec 23, 2025 | 2:16 pm
    Holland Lodge masonic building
    Holland Lodge No. 1, A.F. & A.M./Facebook
    The building at 4911 will be torn down for the new greenspace.

    The Museum of Fine Arts, Houston has acquired a prime parcel to expand its campus in the Museum District. On Tuesday, December 23, the museum announced it has purchased a two-acre parcel of land at 4911 Montrose Blvd that will bring its total footprint to 16 acres.

    Located just north of the Glassel School of Art, the property will be developed as a greenspace that will serve as a community lawn as well as be utilized for future museum events and parking. MFAH has retained landscape architects Nelson Byrd Woltz — the firm responsible for work at Memorial Park and the recently-opened Ismaili Center — to create the design for the new greenspace.

    Museum of Fine Arts, Houston greenspace rendering A rendering offers a bird's-eye preview of the new greenspace.Image by by Cong Nie/Courtesy of Museum of Fine Arts, Houston

    At this time, the museum does not have plans to build anything on the property, according to a press release.

    To make way for the greenspace, the property’s existing building, Holland Lodge No. 1, will be torn down. Built in 1954 as a home for the oldest Masonic lodge chapter in Texas, the building features a sandstone mural facade. It has been for sale since at least 2005, according to a report in the Houston Chronicle.

    Demolition on the site is expected to begin in spring 2026 with the greenspace opening in approximately two years, according to press materials. In addition to the Glassell School, the museum’s campus includes the Audrey Jones Beck Building, the Caroline Wiess Law Building, the Lillie and Hugh Roy Cullen Sculpture Garden, and the Nancy and Rich Kinder Building.

    “We are delighted to contribute to Houston’s greenspace access with this new initiative, which will expand the museum’s 14-acre campus to a thoroughly walkable 16 acres,” Gary Tinterow, director and Margaret Alkek Williams chair of the MFAH, said in a statement. “While the primary objective for the purchase of this property is to secure land for any potential future expansion of the museum, our priority now is to create a welcoming community lawn. Thoughtfully designed by Nelson Byrd Woltz, one of the leading firms in sustainable landscape practice, the site will serve as public greenspace and provide additional parking for museum visitors.”

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