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    $20,000 Cash in Conroe

    Talent but no hot pink ties: Young Texas Artists Music Competition is seriousbusiness with western flair

    Joel Luks
    Mar 12, 2012 | 4:42 pm
    • The youngest of the entrants, cellist Coleman Itzkoff, took the Entergy GrandPrize.
      Photo by Dave Clements/DWC Photography
    • Pre-party co-chairs Shirley and Lee Pruitt.
      Photo by Alan Montgomery
    • Flutist Gina Choi procured the gold medal in the wind, brass and percussiondivision with Carl Nielsen's Flute Concerto.
      Photo by Alan Montgomery
    • Pianist Wanting Zhao, an apprentice of José Feghali at Texas ChristianUniversity, was the Audience Choice Award Winner in addition to securingfirst-place in her category.
      Photo by Dave Clements/DWC Photography
    • Baritone James D. Rodriguez scooped gold in the voice division.
      Photo by Dave Clements/DWC Photography

    Suffused with genteel 1930s southern charm, the picturesque downtown Conroe enclave that embraces the restored Crighton Theatre has yet to meet a stranger. But don't let the neighborly spirit fool you. At the 28th Annual Young Texas Artists Music Competition Saturday night, townsfolk who filled the grand old theater were as dedicated to their Bach, Beethoven or anything classical music as to their barbecue.

    When pre-party co-chairs Shirley and Lee Pruitt and friends arrived on the scene in Mozart-themed costumes — think Colonial white lofty wigs, ruffled shirts and long overcoats, alongside Western threads, furs, leathers, boots, even a whimsical piano purse — the musicale was set to blend serious business with cowboy pleasure.

    As master of ceremonies, YTA alum and Classical 91.7 KUHA FM radio host Chris Johnson said, the competition is the single most anticipated event on the area's art calendar.

    Itzkoff should have been awarded a total of $6,000 in cash prizes. But as he strolled on stage donning a dark suit accessorized with a hot pink tie and not the obligatory tuxedo, his reward was adjusted: $5,500.

    The emerging talent had spent three days in preliminaries, during which a panel of judges pored through 50 auditions — narrowed down from over 70 local, national and international applications — to eight finalists in four categories: Piano; strings; voice; and wind, brass, percussion, harp and guitar.

    Winners were crowned in each division, an overall top dog and an audience favorite. Adjudicating the competition were Cleveland Institute of Music violin faculty Joan Kwuon, Manhattan School of Music piano professor Miyoko Lotto, North Carolina Opera general director Eric Mitchko and clarinetist and Houston Chamber Choir executive director Becky Tobin.

    The judges were dead on.

    The youngest of the entrants, cellist Coleman Itzkoff, took the Entergy Grand Prize. The 19-year-old's interpretation of Elgar's Concerto for Cello and Orchestra in E Minor stood out as the irrefutable winner. That he played with clear sound, gorgeous deliberate articulation and a vast palette of tonal colors was a testament to his training as a sophomore at Rice University's Shepherd School of Music, studying under the tutelage of Desmond Hoebig.

    It was evident that Itzkoff had parsed through the harmonic and melodic language and layered meaning and affect to render his Elgar mature, playful and mesmerizing. Every note had a rhyme and reason, and the audience followed right along for the musical ride, oohing and aahing with every technical and musical feat.

    Itzkoff should have been awarded a total of $6,000 in cash prizes. But as he strolled on stage donning a dark suit accessorized with a hot pink tie and not the obligatory tuxedo, his reward was adjusted: $5,500 plus formal wear for his upcoming performances with the Allen Philharmonic Orchestra and the Montgomery County Choral Society.

    Rules are rules. The shoes that matched the lacquer of his cello which he had purchased at a Conroe thrift shop over the weekend, those he could keep.

    "I will invest the award in a new bow, "Itzkoff said. "I have been borrowing my grandfather's, and this new bow will allow me to get the fullest sound out of my instrument."

    Flutist Gina Choi procured the gold medal in the wind, brass and percussion division with Carl Nielsen's Flute Concerto. From Orange County, Calif., Choi is finishing her masters degree at Shepherd also, studying with Leone Buyse. She plans on taking auditions — which she described as an American Idol-experience without the fame — to land a spot in an orchestra.

    "I am a big fan of Houston, " Choi said. "It's about time the music scene started looking to the South for talent rather than the East Coast."

    "I am a big fan of Houston, " Choi said. "It's about time the music scene started looking to the South for talent rather than the East Coast."

    Pianist Wanting Zhao, an apprentice of José Feghali at Texas Christian University, was the Audience Choice Award Winner in addition to securing first-place in her category. Her performance of Beethoven's Rondo: Allegro ma non troppo from his Piano Concerto No. 5 earned her $4,000 and a solo engagement with the Conroe Symphony.

    Character first, opera divo second: That's why baritone James D. Rodriguez scooped gold in the voice division. When he sung Rossini's "Medaglie incomparabile" from Il Viaggio a Reims, Rodriguez took many risks which rendered his aria witty and hilarious, the appropriate tenor for opera buffa.

    Silver winners were cellist Lachezar Kostov, baritone Noel Bouley, percussionist Matthew Moore and pianist Hui-Shan Chin, receiving a $1,000 cash award each.

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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