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    New Center of Dance opens next spring

    Even in tough times, Houston Ballet thinks big

    Cecil C. Conner
    Aug 22, 2010 | 11:00 am
    The sleek glass and black granite six-story building, located downtown with an overhead walkway to the Wortham Theater Center, will be the largest of its kind in the country, with nine studios and a black box dance lab.

    Now in the summer of 2010, in the sputtering recovery of the Great Recession 2008 with the stock market struggling to reach the level at which it was at in 2004, we are asked to reflect on the state of the arts in Houston. No one would be surprised to hear that the last three years have not been easy, nor do we expect the current and future years to be a breeze either.

    At Houston Ballet, we have seen that the income over the last three fiscal years (ending June 30, 2008, 2009 and 2010) has remained relatively constant, while costs of doing business continue to rise. This means we have had to find ways to provide the same quality of performances and services without increasing overall expenses.

    One unfortunate result has been a pay freeze for non-union employees for two years in a row. This has been a real burden on our employees. We have also found less expensive ways to produce the same high level of production and performance.

    Houston Ballet is building a new state of the art facility in downtown Houston, across the street from the Wortham Theater Center, to house the ballet’s rehearsal facilities, production and administrative offices, wardrobe shop, physical therapy department and a dormitory for upper level out-of-town students.

    In 2005 we began the strategic planning for a new facility to replace our current building on West Gray where we have been since 1984. This strategic plan was developed long before there was any hint of the looming economic crisis. We committed to buy the land in downtown early in 2007 and commenced a combined building and endowment fundraising campaign. In May of 2007 Houston Ballet sold its facility on West Gray and completed the purchase of the land for the new building.

    Fortunately, a number of the major commitments for the construction of the new building were made before the onslaught of the economic crisis, but fundraising became much more difficult in the fall of 2008 and 2009. However, the board commitment to move forward with this project was firm, and there was a deadline to move out of the facilities on West Gray. Houston has a tradition of moving forward in tough times, and the building of the Wortham Theater Center and the Menil Collection in the midst of the oil bust are prime examples of this attitude. Therefore construction of our new Center for Dance commenced on July 15, 2009. It is scheduled to open next spring.

    There have been benefits in moving forward with construction, especially in cost savings in steel and concrete prices which have been $3 million less than originally estimated. Also, this project has provided jobs to scores of construction personnel in the Houston area, with over 350,000 hours of employment being provided.

    Interestingly, two other ballet companies in the United States were faced with the issue of whether to move forward with new buildings. Kansas City Ballet began renovations in the fall of 2009 of the 1914 Union Station Power House to become their new home, the Todd Bolender Center. Pennsylvania Ballet in Philadelphia closed on a piece of property in the summer of 2007 to house their company and school but have postponed plans for their building because of the recession’s impact.

    Our view is that the arts scene in Houston will continue to be vibrant and vital to the economy of the city and to the quality of life.

    Cecil C. Conner is managing director of Houston Ballet

    The new Houston Ballet Center for Dance is expected to be completed in early spring.

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    Movie Review

    Masters of the Universe reboot mistakes nostalgia for good filmmaking

    Alex Bentley
    Jun 5, 2026 | 4:30 pm
    Nicholas Galitzine in Masters of the Universe
    Photo courtesy of Amazon MGM Studios
    Nicholas Galitzine in Masters of the Universe.

    Most children who grew up in the '80s were either a fan of or knew about Masters of the Universe. The property, based on a line of toys from Mattel, spawned a popular-if-short-lived animated TV series, comic books, a comic strip, magazines, and a 1987 live action film starring Dolph Lundgren. It is now the latest IP to get a nostalgic reboot in the form of a new blockbuster film.

    Nicholas Galitzine stars as Prince Adam of the planet Eternia, who as a child is exiled to Earth to protect the Sword of Power from invaders led by the evil Skeletor (voiced by Jared Leto). Years later, Adam is now working in the human resources department of a generic company, well-versed in corporate speak but disconnected from his heritage other than a never-ending desire to find the sword he lost when he crash-landed on Earth.

    Spoiler alert, he recovers the sword and is soon thereafter rescued from Earth by childhood friend Teela (Camila Mendes). Adam’s return to Eternia is less-than-stellar, as the citizens have difficulty believing he’s the long-lost prince, especially because he initially can’t harness the power of the sword. Naturally, he figures it out eventually, leading to a number of face-offs between him and Skeletor’s minions.

    Directed by Travis Knight (Bumblebee) and written by a four-person writing team, the film is yet another cynical attempt at exploiting a certain group’s nostalgia without putting any effort into actually making a good movie. The very first scene of the film is a CGI-filled battle between characters that have barely been introduced, much less explained to the audience. For longtime fans, this will be no issue. For everyone else, though, it immediately signals that the filmmakers don’t care about making them care about anyone or anything in the story.

    Instead, they substitute actual character development with a campy and self-deprecating vibe that’s in line with the original series. That’s all well and good if the intended audience was solely 50-year-olds, but for a movie that presumably wants to bring in younger audiences, it’s a choice that never fully comes through. Some characters try to be funnier than others, and most of the “jokes” land with a thud since the tone hasn’t been properly established.

    Worst of all, there are never any meaningful stakes in the film. Adam is impervious to damage, something that would have been truly funny if commented upon, but instead is just treated as fact for no good reason. Skeletor is not intended to be a fearsome villain, as he often bumbles through scenes or line deliveries, but the lack of a truly terrible enemy keeps the story stuck in neutral. Combined with bloodless PG-13 fight scenes with no sense of realness to them, there is rarely anything about which to get excited.

    Galitzine has turned heads as both a gay (Red, White & Royal Blue) and straight (The Idea of You) romantic interest, but he can never find his footing as the leading man here. The film never allows him to develop into a true action hero, so instead he comes across as a pretender most of the time. Mendes is okay, but she, too, isn’t given the opportunity to become much more than a sidekick. Idris Elba is entirely wasted as Teela’s father Duncan. Leto lets loose, which works because he’s the only character without a recognizable face.

    There may be a world in which rebooting Masters of the Universe makes sense, but it does not exist when the film that is offered doesn’t even try to appeal to anyone who doesn’t have a deeply ingrained knowledge of the decades-old property. By relying on nostalgia instead of good filmmaking, the film may get good box office returns on opening weekend, but it’s difficult to imagine that it will endure.

    ---

    Masters of the Universe opens in theaters on June 5.

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