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    Replacement already in place

    Changing of the art guard: C.C. Conner retires from Houston Ballet, continuing aBayou City shakeup

    Joel Luks
    Jul 21, 2011 | 2:11 pm
    • C.C. Conner is retiring effective Feb. 2012.
      Photo by © Michelle Watson/CatchLightGroup.com
    • Jim Nelson, general manager since 2000, will be promoted to the post ofexecutive director.
    • Conner successfully led a $46.6 million capital campaign that resulted inHouston newest Theater District addition: The Center for Dance.
      Photo by © Nic Lehoux/Gensler

    Cecil C. Conner, Jr. thinks it's time. After 17 years as the managing director of the Houston Ballet, Conner announced Thursday that he will be retiring in February.

    He will pass the reins to the dance company's general manager James Nelson, who will step in as the top dog with a new executive director title.

    The announcement wasn't unexpected. The 69-year-old Conner had been telling people that his "swan song" was overseeing the successful opening of the ballet's new $47-million downtown building — the Houston Ballet Center for Dance.

    "I'm going to continue to work with the ballet in an informal way, helping with fundraising," Conner told CultureMap. "We've built the new building but we still need to raise money for it. So I'll be helping with that. I'll be working on planned gifts in particular.

    "I plan to travel without having to look at my Blackberry every 30 seconds. I look forward to being able to take three-week vacations instead of nine days, without having to respond to email."

    His tenure is marked with many achievements, including helping the company transition artistic directors in 2003 (Ben Stevenson served from 1976 -2003 with Stanton Welch succeeding him) and upping the nonprofit's endowment three-fold to about $57.6 million.

    Conner came to Houston via The Joffrey Ballet in New York City. A lawyer by training turned arts administrator, his passion for supporting art endeavours extends beyond the Houston Ballet, with Conner serving on the board of the Cultural Arts Council of Houston and Harris County and as chairman of the Texas Institute for Arts in Education's board. He is currently on the board of the Houston Downtown Alliance.

    Inspired by Patricia Schultz 1,000 Places to See Before You Die, Conner plans to continue to check off items from his must-do, must-see list.

    On Dec. 2, Houston Ballet's "Jubilee of Dance" will honor Conner's accomplishments.

    "Every time the curtain goes up, I feel thrilled that I had something to do with what's happening on stage," he said. "I know that the company will continue to grow, and hope that Houston, the country and the world recognize the Houston Ballet as a major international ballet company."

    As a former dancer and the general manager since 2000, Nelson has a holistic view of the nonprofit's operations. He is in charge of 52 dancers, 61 musicians and 180 employees while managing a $19.2 million budget. Nelson has a BBA in finance from the University of Houston and participated in former Mayor Bill White’s Economic Development Mission to China.

    Conner says that selecting Jim as his successor was a logical choice as Jim had taken over a good bit of C.C.'s day-to-day operational duties as he focused on getting the Dance Center built.

    "Jim and Stanton have a great relationship," Conner added. "And it's really important in this kind of institution where you have a two-headed monster running the thing that you have two people that can work together well. You've got to have that relationship."

    The 47-year-old has tough ballet shoes to fill. Though his promotion is endorsed by many — including Glenn McCoy, executive director of the San Francisco Ballet, and Houston Ballet Foundation board chairman Joseph Hafner — it is uncharacteristic for an international arts group of Houston Ballet's size and scope to make such a move without a formal, national search.

    Conner's retirement is the latest in a wave of leadership changes at Houston's major art institutions.

    The Museum of Fine Arts, Houston is still mourning the loss of Peter Marzio and searching for his replacement. Houston Grand Opera had to quickly restructure its current leadership in response to Anthony Freud's move to Chicago's opera house, going to an insider (Patrick Summers) like the Ballet. And just last year, Mark Hanson took over as Houston Symphony's CEO.

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    Movie Review

    Timothée Chalamet cements star status in new movie Marty Supreme

    Alex Bentley
    Dec 23, 2025 | 4:30 pm
    Timothée Chalamet
    Courtesy
    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also earned an Oscar nomination for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

    ---

    Marty Supreme opens in theaters on December 25.

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