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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

    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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