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    Skeletons in the closet

    Tango-dancing Houston maestro prepares for a family reunion concert

    Joel Luks
    Aug 30, 2013 | 12:53 pm

    You may know Antoine Plante as the curly haired brunette who waves his arms in front of Mercury - The Orchestra Redefined. You may know him for his charming Québécois brogue that tickles his Texanisms. You may even know him as a party guy who isn't shy to impersonate movie characters to entertain his guests.

    But most likely you don't know the maestro as a tango bailarin.

    Tango was all the rage when classically trained Plante lived in Canada. In the late 1990s, he and his brother, Denis, would frequent an Argentinean bar in which the sassy dance was part of the daily charm. Musicians jammed, couples put on the moves and wine flowed. The Plante compadres were so infected by the lively rhythms that they both took up tango dancing, they traveled to Buenos Aires to purchase bandoneóns (accordions essential in tango music) and became part of the scene in Argentina and at home.

    In tango speak, you can call the siblings milongueros.

    "I'll come clean," Antoine Plante tells CultureMap. "We really started doing the tango because we wanted to meet girls."

    Dancing tango, Plante says, is how he wooed his wife, Lori Muratta.

    "I'll come clean. We really started doing the tango because we wanted to meet girls."

    Denis Plante went on to master the bandoneón, a switch from his earlier focus on jazz guitar. Today, the composer-cum-performer is recognized as an international virtuoso. He performs regularly with symphony orchestras and chamber groups, and has recorded albums with the Astorias, Quartango and Bataclan ensembles. Denis Plante's debut solo CD, Cantos de Bandoneón, is a collection of original compositions, some of which are narrative in nature. Take his three-movement work "Noche de Tango." It tells the story of a man who upon returning to his hometown encounters a much different world — and struggles to fit in.

    Antoine Plante, who studied at Conservatoire de Musique de Montréal and at Rice University, was content on the viola de gamba and as a conductor, later establishing one of the most successful period instrument chamber orchestras in Houston and in the country. Mercury - The Orchestra Redefined hits all the right notes with Houston audiences. But his bandoneón, sadly, lives silently somewhere in a dark closet.

    The brothers will reunite for a performance at Miller Outdoor Theatre, set for Saturday at 8 p.m. The program, titled "8 Seasons," includes Astor Piazzolla's Estaciones Porteñas (Four Seasons) and Antonio Vivaldi's Le quattro stagioni (The Four Seasons). Do the math.

    "It's unclear if Piazzolla meant for a musical connection to exist between his composition and Vivaldi's," Antoine Plante explains. "Piazzolla is more abstract than Vivaldi. Piazzolla describes a mood but doesn't paint a picture."

    Still, there's an undeniable link in the overarching theme, especially bearing in mind that Vivaldi's seasonal sketches rank high in popularity, perhaps even in the top five classical music compositions of all time. Vivaldi's Four Seasons has been used for commercial purposes extensively. It's over recorded. It's heard in elevators, hospitals, hotels, weddings, restaurants . . . brunch and mimosas, anyone?

    But, as Antoine Plante points out, the concerti aren't often performed live in their entirety.

    "When listeners experience the piece as a whole, they are surprised," he says. "They are even amazed to learn that the music is accompanied by poetry, which we plan to project above the orchestra so everyone can follow along."

    Although audiences may be familiar with the lovely birds, flowing streams and bucolic dances evoked by the colorful oeuvre, there are other allusions that are, shall we say, less well-mannered. Like a barking dog and a bunch of drunks that pass out because of their indulgence.

    As for the concert, Antoine Plante confides that he's thinking about dusting off his concertina to perform alongside his brother in an impromptu encore selection, taking a nostalgic trip down memory lane to when the single dudes were on prowl for the ladies. He'll be forgiven if he isn't up to the task, but here's something else to ponder.

    What if he were to delight us with a dance demonstration? Wouldn't that be lovely.

    ___

    Mercury - The Orchestra Redefined presents "8 Seasons" Saturday, 8 p.m., at Miller Outdoor Theatre. Admission is free; tickets are available for covered seating.

    Antoine Plante dances the tango with his wife, Lori Muratta.

    unspecified
    news/entertainment

    Movie Review

    Rose Byrne and star-laden cast try to beat the system in new movie Tow

    Alex Bentley
    Mar 23, 2026 | 3:00 pm
    Rose Byrne in Tow
    Photo courtesy of Roadside Attractions
    Rose Byrne in Tow.

    Actor Rose Byrne had a banner year in 2025, getting her first Oscar nomination for her starring role in If I Had Legs, I’d Kick You. Although she came up short in that race, she’s getting another chance to prove her acting bona fides in the new film, Tow.

    In the “inspired by a true story” movie, Byrne plays Amanda, a down-on-her-luck woman who lives in her car and can’t find a job. Living in Seattle, she tries to stay in touch with her daughter, Avery (Elsie Fisher), who lives with her dad in another city, but circumstances sometimes limit their communications, especially when her car is stolen.

    The good news is that her car is found relatively quickly. The bad news is that the tow company is charging her to get her car back, money she can’t afford. Now truly homeless, she does everything in her power to right the wrong, even taking the company to court. Without much luck, she has to start staying in a women’s shelter run by Barbara (Octavia Spencer), where she makes friends with Nova (Demi Lovato) and Denise (Ariana DeBose), among others.

    Directed by Stephanie Laing and written by Jonathan Keasey and Brent Boivin, the film has relatively low stakes going for it and never really tries to make the story feel deeper than it is. The situation Amanda finds herself in is clearly a tough one, and any empathetic person would feel for her and want her to overcome her plight. But the filmmakers keep things light and never try to up the drama in any significant way.

    The issue Amanda is dealing with, being price gouged by a predatory towing company, is one with which many people can relate. But aside from helpfully underscoring Amanda’s frustration by showing the increasing number of days she is without a car, they never establish why they felt this particular story was one worth telling. Her personal issues, including a growing estrangement with her daughter, fail to conjure any big emotions.

    The filmmakers are very loose with their storytelling, especially when it comes to side characters. The presence of the women she meets at the shelter, and Kevin (Dominic Sessa), the young lawyer who offers to help her, never makes full sense other than a need for her to have other people with whom to interact. A tighter focus on what Amanda was going through would’ve helped both her and people around her feel more important.

    Byrne is a dynamic performer who’s shown great skill at both drama and comedy, but there’s nothing special about her performance here. Hampered a bit by a blonde wig and false teeth, she feels out of sorts for much of the film. The unusually high-powered supporting cast — both Spencer and DeBose are Oscar winners — makes things interesting on first blush, but none of them outside of Sessa is given much to do, so they’re mostly wasted.

    Tow will be a disappointment for anyone hoping to see more great stuff from Byrne. While she remains a fine actor, her performance and the story as a whole are nowhere near the level shown in her previous film. The real life predicament shown in the film also never rises to the level of being of something worth showing to the masses.

    ---

    Tow is now showing in theaters.

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