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    Iconic Building Saved

    An iconic arts building is saved: Houston's humble dance barn gets a new dramatic future

    Nancy Wozny
    nancy wozny
    Apr 15, 2013 | 1:06 pm

    I parted with both my childhood home and the home I raised my own children in within a period of six months, so you bet I have something to say about the process of saying farewell to a set of treasured walls and moving on to new digs.

    Space is on my mind because there are new developments in arts spaces right here in Houston. In June, The Houston Metropolitan Dance Center moves into its fancy new Caroline digs. Catastrophic Theatre moved into the DiverseWorks' old warehouse digs and Houston City Dance Studio has moved from Rice Village to the River Oaks Shopping area. More moves are in planning stages.

    "I remember being underwhelmed the first time I saw the place. I think that is everyone's reaction the first time they see it from the outside."

    But the most dramatic space shift occurred when Jennifer Wood, of Suchu Dance, handed over the keys to Barnevelder, Houston's leading dance hub, to Dance Source Houston (DSH), the city's nationally recognized service organization. When I think of all the dance I have seen in the past decade, most of it occurred under Barnevelder's humble roof. It wasn't named after a sturdy chicken breed for nothing.

    The Hand Off

    "I'm proud and happy that DSH was here, ready and willing to pick up the mantle to save this dance home and hub," says Christina Giannelli, DSH founder and board president. "It's so important to assure that this amazing resource for performing artists continues. It would have left a huge hole to lose it. Our goal is to keep it up and running."

    For the past 12 years, Barnevelder was the space to see contemporary dance, the home of the Big Range Dance Festival, as well as an affordable venue for rehearsals and workshops. The space was utilized by the theater companies, such as Classical Theatre, Mildred's Umbrella and Divergence Vocal Theater. The shift in management to Dance Source Houston made sense all round. The organization will graduate from Houston Arts Alliance's incubator program in September, and needed an office.

    "We were literally finishing building the sprung floor as the audience was walking in."

    Plus, Dance Source is increasing its scope and visibility, so it's time to have an actual place to hold and manage events.

    Still, the shift came with some emotional pain.

    "Moving on from Barnevelder has not been an easy decision, but a necessary one," says Wood, who built the space with Louie Salatan as a home for Suchu Dance and the community. "Having been in that space for 13 years I feel Barnevelder has come to define the art we create and produce. I'm proud of all the work and struggle that went into creating Barnevelder, and of all the wonderful work that was created and performed there, not just by my company, but by so many people from Houston and around the country and other parts of the world.

    "I'm glad that it will continue to serve its purpose while I explore other adventures."

    Suchu Dance hosted The Dance Gathering on Saturday, and be finishing out its season there with Bosk, from June 7 to 22. Wood will be traveling to Italy for a festival in Sorrento, and collaborate with Mildred's Umbrella for a kid's dance camp at Studio 101.

    Some Barn History

    Some 13 years ago, dance fans were summoned to an old industrial air conditioning company and asked to imagine it as a space for dance. The cement floor was slopped. I don't recall any heat or air conditioning, and there was a guy dressed as a chicken. I left thinking, "Good luck with that."

    "I remember being underwhelmed the first time I saw the place," recalls Wood. "I think that is everyone's reaction the first time they see it from the outside."

    "It was built by the blood, sweat and tears of many. I hope we can increase that sense of shared ownership as we move forward."

    Wood remembers those early days. "Where the theater is now was an area where they would dip giant air conditioners in huge vats of acid," she says. "What is now the lobby was divided into a bunch of small offices with smelly green carpet.

    "What is now studio B was a big workroom with oil on the floor and dirt and tools and a big pillar in the middle."

    Wood, known for her wit, created a site-specific performance in the space as a way to introduce the public to her idea of building a theater, leaving everything as it was when the previous tenants left.

    "The dance led the audience through the entire space, from the tiny rooms, to the oily work room and into the huge metal building with the garage doors," she says. "What is now the secret performers' bathroom was originally there but it wasn't tucked into a dark hallway like it is now. We concluded this site-specific piece by having the dancers, probably eight to 10 of them, all cram into this tiny bathroom and flush."

    The official first performance was Eight Flying Dogs. "We were literally finishing building the sprung floor as the audience was walking in," Wood says.

    She went on to create more than 40 works in the space, while numerous local troupes used the theater for their shows. Lighting, mobile seating, showers and a spiffed-up lobby were added. Wood filled the space with dance, and for that, we should be thankful.

    The Future

    The future looks bright for Barnevelder. Dance Source Houston executive director Stephanie Wong would like Houston to know that Barnevelder is open for business. "Choice dates are available," she says. "There's been a lot of interest."

    A devoted crowd of dance lovers showed up on Sunday for a clean up day, and a benefit "Barn Raising" dance concert is planned for May.

    For Wong, the move is a smart one, allowing the organization to offer more benefits to the community. She's been busy looking at other models across the nation for guidance and ideas.

    "We've always been a virtual hub," she says. "Now we will be a physical one as well."

    Although the space has been linked to Suchu, it always had a feeling of shared ownership.

    "It was built by the blood, sweat and tears of many," Wong says. "I hope we can increase that sense of shared ownership as we move forward. I want to create a safe haven for artists to play, explore and create."

    Barnevelder MovementArts Complex

    Dance Source Houston - Barnevelder
      
    Photo by © Lynn Lane
    Barnevelder MovementArts Complex
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    Movie Review

    28 Years Later revives zombie franchise for new generation

    Alex Bentley
    Jun 20, 2025 | 5:00 pm
    Aaron Taylor-Johnson and Alfie Williams in 28 Years Later
    Photo by Miya Mizuno
    Aaron Taylor-Johnson and Alfie Williams in 28 Years Later.

    The 2000s brought two of the best zombie movies ever made in 28 Days Later and 28 Weeks Later. Both films, despite being made by different filmmakers, featured intense action with fast-moving zombies, harrowing sequences, and real emotional connections with their main characters. Now the original director and writer — Danny Boyle and Alex Garland — have returned with the first of a possible three sequels, 28 Years Later.

    The rage virus from the first two films that turns humans into insatiable monsters has successfully been contained to the United Kingdom, and one group of survivors has managed to band together on a small island off the coast of England. We’re introduced to the group through Jamie (Aaron Taylor-Johnson), his wife, Isla (Jodie Comer), and his son, Spike (Alfie Williams).

    Isla is sick with an unknown illness, while Jamie is set to take the 12-year-old Spike on his first trip to the mainland to hunt zombies. That trip not only gives Spike an education as to the different types of feral zombies that now populate England, but also a clue that other people have survived there. When he discovers that one of them may be a doctor, he makes plans to take his mother there in hopes of finding a cure for whatever ails her.

    While the first two films were notable for their brisk pace that kept the potency of the stories high, Boyle and Garland almost go in the opposite direction for much of this film. The first 90 minutes are relatively slow, with only a couple of sequences that raise the blood pressure. The final half hour or so go a long way toward filling that void, so it’s clear that the filmmakers were biding their time for the story to come in the sequel. A bit more balance in this film would have served them well, though.

    What they do show involves some weird, wild stuff that is objectively upsetting, even for fans of the genre. The zombies have evolved in strange ways, giving them a variety of body shapes and abilities to suit the environment in which they live. These storytelling choices may thrill some and have others scratching their heads. Another human character living on his own (played by Ralph Fiennes), appears to have gone the way of Colonel Kurtz in Apocalypse Now, with a revelation that is bone-chilling.

    Boyle, who’s directed everything from Trainspotting to Slumdog Millionaire, doesn’t have a signature style, and he makes some choices in this film that test your patience. He occasionally employs an odd technique in which the film stutters, for a lack of better term. It’s a bit jarring, especially since it doesn’t seem to improve the storytelling. He also inserts scenes from older films involving medieval warfare that emulate the bow-and-arrow weaponry used by characters in this film, but the exact connection he’s trying to make is unclear.

    The young Williams has a lot put on his shoulders in the film, and he proves to be up to the task of carrying the story. He isn’t precocious or annoying, instead reacting almost exactly like you’d expect a boy of his age to do when faced with extreme situations. Taylor-Johnson and Comer are good complements for him, drawing him out with their polar opposite characters. Fiennes makes a huge impression in the final act of the film, while Jack O’Connell makes a very brief appearance, teasing a bigger role to come.

    It’s difficult to fully judge 28 Years Later because it’s designed to only give you part of the story; part 2, The Bone Temple, is due in 2026, while a third film will follow if the first two do well. This film has its moments and winds up on the positive side of the ledger, but it’s also a frustrating experience that could have used a more stand-alone story.

    ---

    28 Years Later is now playing in theaters.

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