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    The Arthropologist

    Kicking and screaming to summer arts program fun: Don't ask your kids, justbring 'em

    Nancy Wozny
    May 6, 2010 | 10:23 am
    • Miranda Shawn at Kid's Play
      Photo by Anthony Rathbun
    • Scarecrow (Jonathan Reavis) and Dorothy (Lori Yonley) give the Tin Man (Don KirkDautrive) a good oiling in InterActive Theater Company's "The Wizard of Oz."
    • Chris Howard, music teacher for the Kid's Play/Youth Sound Ensemble, smiles atthe young artists.
      Photo by Anthony Rathbun
    • Soprano Karol Bennett, center, and actress Susan Koozin, right, trying to catcha folk song in "Around the World with Musiqa"
      Photo by Bill Klemm
    • Maestro Antoine Plante directs Mercury Baroque’s fun-filled "Adventure ofBaroque Music."
      Photo by George Hixson

    I was a bit of a clunky mom, the one you felt sorry for in the Target parking lot with snugglie/stroller issues. Even my own kids suspected they were with an amateur. From time to time they would offer advice.

    Once, I baked cookies. My then 5-year-old son pulled me aside, "Mom, you don't have to do this, they sell them at the store."

    The one thing I got right was exposing my two sons to the arts. Maybe you don't want to get lost in the woods with my boys (although they would keep you entertained), but they can talk about art with the best of them.

    I took a page from my father's book. He never asked, "Who is in the mood for George Bernard Shaw's The Devil's Disciple?" Nah, he just piled us into the station wagon and off we went to the opera, ballet, theater or an exhibit. It works the same way around chez Wozny. Our art road trips are the price of the roof, like church, except they often include a trip to our fave family cheap eats, Tacos A Go Go.

    Rule number one: Kids like art better after a tasty meal.

    Houston is just jumping with fine children's arts programs. If I listed them all here, your kids would be grown by the time you finished reading this. Instead, I want to highlight a few that have crossed my path during my time as a CultureMap art sleuth.

    It's Saturday morning, the kids are rested, in a good mood, and have a belly full of organic Cheerios, what should you do? Pack the tots into the car and head directly over to the Wortham Center at 10:30 am for The Adventure of Baroque Music, presented by Mercury Baroque. The early music troupe has had an in-school outreach program for a while now, but this is the first time they have offered a public concert.

    "We wanted to expand the program to everyone," Antoine Plante, Mercury Baroque's artistic director, says.

    The very animated Ana Trevino-Godfrey will lead the festivities, which include an adventure across Europe though music and story. Plante even throws some history in there. It's 1704, and England is at war with France, which wreaks havoc when Queen Anne's oboist can't get a hold of any French wood necessary for making reeds. It's no wonder Plante makes children a priority audience; he grew up with two early musician parents in a home with 150 period instruments.

    Also on Saturday, you can see what Jane Weiner has been up to with Kid's Play: Skool of Rock at 2 p.m. and 7 p.m. at Barnevelder. Weiner, artistic director of Hope Stone Dance, directs Kid's Play, a program that includes dance, theater, music, photography and yoga.

    "The arts offer so many ways for kids to find their voice," Weiner says. "Art strengthens, empowers and heals."

    No stranger to working with youth, Weiner directed the Youth Arts Program for at-risk teens at the famed Bates Dance Festival for 15 years. Weiner, who is bit of jokester, suddenly becomes very serious when it comes to young people. "I think children are America's greatest asset," Weiner says. "They are like dolphins in that they are smarter than we are."

    Weiner understands. She got hooked on dance watching Pennsylvania Ballet's Nutcracker. " Watching that sea of white tulle, I was zapped then and there," she says.

    Kid's Play has been so successful, she's taking it to New Orleans in June.

    When pirouettes trump SpongeBob

    Getting youngsters to cozy up to modern dance is no piece of cake. Just ask the Wozny boys, who had fully hoped to go to college on major scholarships from the foundation for "Children who have seen too much modern dance."

    Karen Stokes thinks we need to leave a few crumbs to better decipher dance, so she created Framing Dance, a snappy intro to dance program for schools. Stokes, artistic director of Travesty Dance Group and head of the Dance Division at University of Houston's School of Theatre & Dance, wants to answer the question "What does it mean?"

    "In dance, that often goes unanswered. Dance needs framing because it's the least accessible and most ephemeral art form," Stokes says. Whether it's learning how dance can tell a story or be just about patterns in space, Framing Dance hands children the keys to dance, such that they feel successful in watching it. The response has been huge.

    "Laughing, applauding, asking questions, telling us their favorite piece, we just get intoxicated from their reactions," Stokes says.

    Anthony Brandt is super proud of Around the World with Musiqa, an interactive program for elementary school children, now in its sixth year. Brandt isn't the only one who's impressed, the program is a three-time National Endowment for the Arts Award winner. "If I have one abiding conviction, it's that music is not elitist," Brandt, Musiqa's artistic director, says. "The people who wrote the music came from every possible background."

    Around the World hones in on folk songs, but here's the catch, the children have already learned the songs ahead of time because Karol Bennett traveled to each participating school to teach them. "They count on being part of the show," Brandt says. Today, Musiqa is busy coming up with a middle school program..

    InterActive Theater Company's name says it all. If you want kids to love theater, they need to be onstage helping the story get told. "With InterActive you don't just see the story, you are part of it," boasts Angela Foster, InterActive's director. InterActive has adapted everything from Texas history to poetry. Hallmarks of their method include improvisation, original scripts and actors playing multiple roles.

    Check out Peter Pan going on right now. InterActive just wrapped up Peter & the Wolf, their first partnership with River Oaks Chamber Orchestra (ROCO) at the Children's Museum. ROCO deserves kudos for ROCOrooters, where kids get to learn and listen, and the parents get to go out to dinner after the show. Smart move ROCO.

    Finally, I can't tell you how much the MFAH has been the Wozny clan's home away from home. The programs for families, students and educators are a lifeline.

    No discussion about young people and art would be complete without a shout out to Ray Carrington III and his students at Jack Yates High School. Carrington puts a camera into the hands of high school students, often for the very first time, to document Houston's historic Third Ward. Eye on the Third Ward is now a major archive of this evolving neighborhood. How amazing is that?

    So get those kids out of the house and into some art. It worked for me. Plus, I got out of baking cookies. I will never forget the time someone asked, "Who is Jackson Pollock?" within earshot of my then 12-year-old.

    He launched into a spontaneous lecture on Jackson's athletic mark making. I thought to myself, "That's my boy."

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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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