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    The CultureMap Interview

    Xanadu star romps on roller skates, plays in "pageant closet" and channels Olivia Newton John

    Clifford Pugh
    Jun 25, 2014 | 11:41 am

    In a decade at Stages Repertory Theatre, Holland Vavra has portrayed a stripper, an agoraphobic housewife, a 1940s pinup girl, a Steel Magnolia and a Wonderette, among other roles. But nothing has compared to the attention she is getting for her current turn as the roller-skating star in Xanadu — a part made famous by Olivia Newton John in the '80s cult film.

    "It's just a big party — and it's on roller skates."

    The musical has become a big summer hit for Stages, which has extended performances through July 20. The production, a wild romp that improbably combines rollers skaters in legwarmers with muses in Greek togas and some of the decade's most iconic tunes, draws a cadre of excited Houston theatergoers who have already seen the production seven or eight times, mouthing the lyrics to such songs as "Suddenly" and "I'm Alive" along with the cast.

    "They're our super fans," says the show's star, who everyone calls Holland (in a one-name tribute kind of like Cher). "It's fabulous."

    CultureMap caught up with the 31-year-old actress to find out more.

    CultureMap: You've done a lot of different roles at Stages. How does this compare to the ones you've done in the past?

    Holland Vavra: Oh gosh, this is the first one I can say I am legitimately starring in. This is my 14th show at Stages and I've been very, very blessed by the people there. But this one is different. It's just a wonderful show to do. There's nothing sad or upsetting about it. It's just a big party — and it's on roller skates.

    CM: Did you have to learn to roller skate for this role?

    HV: Oh, no. I have been skating as long as I can remember actually. I am very comfortable on roller skates — it just so happens there is an entire musical on roller skates and thankfully I am able to do it.

    CM: Has it improved your roller skating skills?

    HV: It's made me more comfortable on them. My turning is really good now. I can turn really fast. It's a new element to be on roller skates in a small space.

    CM: Why is Xanadu so beloved?

    HV: The '80s was such a great time for people. I'm a child of the '80s. I was young (born in 1982), but I do remember this music. People can hear the first notes of a tune and remember where they were the first time they heard it.

    "You find your niche, your theater family and you just stay with them."

    CM: How hard is it to make a living as an actress in Houston?

    HV: I have been really blessed with the people at Stages. I started working there when I was 21. I've gone on to TUTS and done other things here and there, but I always come back to Stages. I am union and it's difficult to work constantly in Houston as union. But I think we have a wonderful theater community in Houston. You find your niche, your theater family and you just stay with them.

    CM: On Twitter, you once said, "I want to be Carol Burnett." Does that still stand?

    HV: I do love her. And Madeline Kahn. The humor those women could produce was way beyond what was happening at the time. Oddly enough, in the show, towards the end of the second act, there are four of us on stage and we crack each other up so hard that we have to figure something to say on the spot. We jokingly say it's The Carol Burnett Show.

    CM: Is Holland a family name?

    HV: No, it's not. Both of my parents were in theater and just wanted me to have an interesting name, maybe crossing their fingers that their little girl would be an actress. I guess they got what they wanted.

    CM: You were in the Miss Texas pageant. What do you feel about pageants now, looking back?

    HV: There is a great deal of humor and satire in pageants, but the best part is the women are real, they are funny and talented and smart. I enjoyed my three years (in competition). It's fun to play dress-up every day. And I won the talent (portion) when I was there so I got a lot of my tuition paid.

    I currently have what most of friends, particularly Mitchell Greco, the director, and Mark Ivy, who is also in the show, refer to it as my "pageant closet." It is fun to come play in the pageant closet when you come over.

    Xanadu continues Wednesdays through Sundays at Stages, 3201 Allen Parkway, through July 20. Tickets are $19 - $65.

    Holland Vavra, right, is on a roll in the Stages production of Xanadu, with co-star Cameron Bautsch.

    Cameron Bautsch and Holland Vavra in Stages production of Xanadu June 2104
    Photo by Bruce Bennett
    Holland Vavra, right, is on a roll in the Stages production of Xanadu, with co-star Cameron Bautsch.
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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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