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    Interpretive power

    Principal dancer Amy Fote plans final bow after eight seasons with HoustonBallet

    Nancy Wozny
    Aug 2, 2012 | 5:22 pm
    • Amy Fote will perform the lead in Madame Butterfly, choreographed by StantonWelch, Sept. 6-16.
      Photo by Maarten Holl
    • Amy Fote
      Photo by © Michelle Watson/CatchLightGroup.com
    • Amy Fote and Ian Casady in Little Dancer, choreographed by James Kudelka
      Photo by Amtiava Sarkar
    • Amy Fote and Andrew Murphy in Onegin, choreographed by John Cranko
      Photo by Amtiava Sarkar
    • Amy Fote and artists of Houston Ballet in Clear, choreographed by Stanton Welch
      Photo by Amtiava Sarkar

    This fall, Houston Ballet principal dancer Amy Fote will break your heart as the innocent heroine, Cho-Cho-San in Stanton Welch's signature story ballet Madame Butterfly for the last time. Fote takes her final bow this December following eight seasons with Houston Ballet.

    Fote joined Houston Ballet in 2005 and was quickly promoted to principal dancer in 2006. She will finish out the fall season dancing in Butterfly, the Jubilee of Dance, and wrapping up her career in The Nutcracker.

    "I think of the whole next few months as my swan song, and it will be so special to dance Madame Butterfly again," says Fote, who will be partnered by James Gotesky. "I know it will stay with me for a very long time."

    " I've been so lucky and blessed to be part of a company like Houston Ballet. I was really able to find my niche here," says Fote.

    Fote has dazzled Houston's dance audiences with her flawless technique, her exquisite line and her radiant acting. She excelled in dramatic roles such as Titiana in John Cranko's Onegin and Giselle, yet also was stunning in Welch's more minimalist ballet, Clear, where she was the lone woman on a stage full of men.

    The full depth of her interpretive power could be felt in the final pas de deux in James Kudelka's Little Dancer, and her poignant solo in Christopher Wheeldon's Carnival of Animals. Her comedic flare showed up in Jerome Robbins' The Concert and The Merry Widow.

    "I've been so lucky and blessed to be part of a company like Houston Ballet. I was really able to find my niche here," says Fote. "It's been exciting and inspiring. There are exciting times ahead for this company; it's a great place to be."

    A native of Manitowoc, Wisc., Fote trained at the Jean Wolfmeyer School of Dance, National Academy of Arts, Interlochen Arts Academy and the Harid Conservatory in Boca Raton, Fla. She danced for 14 seasons at Milwaukee Ballet, where she achieved the rank of principal dancer.

    Fote's vast classical repertoire includes Odette/Odile in Swan Lake, Juliet in Romeo and Juliet, Kitri in Don Quixote, Tatiana in Onegin, Hanna in The Merry Widow, Swanhilda in Coppelia, Giselle (and Myrtha) in Giselle, Sugar Plum Fairy (and Snow Queen) in The Nutcracker, Aurora in Sleeping Beauty, Marie in Stanton Welch's Marie.

    Fote quickly assumed the role of one of Welch's favorite muses, and she was able to dance in many of his athletic ballets.

    “Amy is a complete artist,” Welch told me during an interview for a profile on Fote for Dance Magazine. “She exudes a kind of extreme sensuality, a rare mix of steeliness and fragility. It’s a powerful and odd combination.”

    As she turns 40 soon, Fote, who has remarkably never had a major injury in her long and demanding career, is leaving her post-dancing options wide open. She loves cooking, fashion, decorating, and theater. She may explore teaching and coaching, and has not ruled out acting.

    "Stanton has been terrific with my transition," says Fote. "I have so many interests. I know that whatever I decide to do next will be something creative."

    Meet the Artist: Amy Fote

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    news/entertainment
    series/state-of-the-arts-2012

    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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