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    State of the Arts

    Celebs, collabs and new faces at Houston Symphony next season

    Sarah Rufca
    Jan 19, 2010 | 8:55 am
    • Huang Fitlow
      Photo by Jeff Fitlow
    • Huang Fitlow
      Photo by Jeff Fitlow

    We've still got several months to appreciate the 2009-2010 season of the Houston Symphony, but the announcement of the 2010-2011 schedule should encourage music lovers of all stripes—classical, big band, Broadway, pop and rock, just to name a few—to save the dates. Here's a rundown of highlights of the season:

    Classic Performances

    The season opens Sept. 11 with "A Vienna Soiree," featuring works by Strauss and Mozart and the debut of Houston Symphony's new concertmaster, Frank Huang (who is originally from Sugar Land). Later in the season, be swept into the drama of Beethoven's Eroica symphony (Oct. 28, 30, 31) and marvel at virtuoso Joshua Bell as he plays Schubert and Mendelsohn's Violin Concerto on the Gibson Strativarius, recovered 51 years after it was stolen from a Polish violinist (Oct. 1-3).

    Innovative Pairings

    The Symphony's popular Sound + Vision series has been expanded. A highlight is Lawrence Siegel's Kadisch: "I Am Here," (Nov. 23) with the Holocaust Museum Houston, a premiere of the full symphonic version featuring chorus and vocal soloists singing lyrics based on accounts by 15 Holocaust survivors, four of whom are Houstonians.

    Also featured in Sound + Vision are "Ravel's Spain with Bolero" (Feb. 11-13, 2011), featuring performers from Rice University's Shepherd School of Music in Ravel's one-act opera L'Heure espagnole, plus his popular Bolero; "Wagner's 'Ring' Without Words," and Giuseppe Verdi's deeply moving Requiem (Jan. 20, 22, 23, 2011). Performance Today host Fred Child and Hans Graf examine Deryck Cooke’s completion of Mahler’s unfinished masterpiece, Symphony No. 10 (May 13-15).

    And put on your dancing shoes for the collaboration with the University of North Texas's One O' Clock Lab Band for a big band show of swing, jazz and American standards—think Duke Ellington, John Coltrane, Count Basie and Cole Porter (Nov. 12-14).

    Crossover Appeal

    In addition to guest appearances by Michael Bolton (Sept. 8), Paul Anka (Oct. 21) and Kenny Loggins (Feb. 18-20, 2011), the Symphony will explore other genres of music, from Broadway hits in the Pops's Broadway Rocks! (Sept. 3-5) and "Rogers and Hammerstein" (April 21-23, 2011) with Broadway lead Ashley Brown, to the American standards of Ol' Blue Eyes with "Music of Frank Sinatra" featuring the old-school stylings of Matt Dusk (Jan. 7-9, 2011), the R&B of "A Tribute to Ray Charles" (May 27-29) and even classic rock with "The Music of Led Zeppelin: A Rock Symphony" (April 15, 2011) featuring a psychedelic lights show.

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    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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