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    Redefining Classical Music

    Mercury rising: Entrepreurial spirit and ambitious plans draw new orchestra executive director

    Joel Luks
    Aug 6, 2013 | 2:00 pm

    It took only a handful of days for a Yankee to fall for Houston and one of its arts organizations — even in the middle of summer.

    Brian A. Ritter has been appointed the new executive director of Mercury - The Orchestra Redefined, a position he will officially assume beginning in September. He replaces departing executive director Deborah Lugo, who after 10 years with Mercury stepped down to pursue graduate level studies in public policy at Princeton University in New Jersey.

    A national search committee had first made contact with Ritter, a resident of Albany, N.Y., in June. During a short visit to the Bayou City for follow-up interviews in July, Ritter found beauty in the big Texas skies, streetscapes lined with mature oak trees and, as far as the artistic landscape is concerned, an adventurous environment that contributes to the city's thriving art and culture activities.

    The 37-year-old had previously served as executive director of the Albany Symphony and the Rockford Symphony Orchestra (where current Houston Symphony CEO Mark Hanson was Ritter's predecessor) and as development director for the Allentown Symphony Orchestra in Allentown, Pa., Ritter's hometown.

    "After driving around the city and talking to people one-on-one, I had one thought," Ritter says about his first impression of Houston. "This could be a good thing."

    Although he concedes that he had little connection to the South, Ritter connected readily to Mercury's entrepreneurial spirit.

    "Mercury really stands out as an arts group that grew quickly in a short amount of time," Ritter says in an interview. "How and where it performs, how it connects to the community . . . personally, I am very much attracted to Mercury's approach. And for an organization that's very young to be fiscally solid? That's a rarity."

    Having a solid financial history isn't something to be taken for granted in nonprofit entities, Ritter explains. While in the past he hasn't shied away from marshaling "search and rescue" missions that dig balance sheets out of black holes, Ritter wanted his next career move to be about implementing strategic plans that propelled forward at least from neutral ground.

    Mercury's vision is to grow its budget by 50 percent in three years and attract that many more listeners, a goal that's part of a larger scheme that included a rebranding campaign that saw baroque dropped from the troupe's original name. Mercury Baroque morphed into Mercury - The Orchestra Redefined to expand the scope of its raison d'être.

    "There's never a magic bullet when it comes to building audiences and nurturing a donor base," he adds. "Although every community is different, things like loyalty, retention and excellent customer service always go a long way in helping arts groups to become relevant in the eyes of residents."

    Ritter, who was honored with Rockford Chamber of Commerce's Forty Leaders Under 40 award, is a graduate of Gettysburg College, where he earned a degree in history and political science while participating in music ensembles as a conductor and as a saxophonist. In Houston, he joins artistic director and founder Antoine Plante in ushering Mercury into its second decade, which continues with a concert at University of Houston Clear Lake and at Miller Outdoor Theatre, set for Aug. 29 and 31 respectively.

    "After driving around the city and talking to people one-on-one, I had one thought," Ritter says about his first impression of Houston. "This could be a good thing."

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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