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    Houston Friends of Chamber Music

    From head usher to headliner: A violinist's amazing journey from the back of the house to center stage

    Joel Luks
    Sep 16, 2013 | 3:24 pm

    While Miró Quartet violinist William Fedkenheuer prepares for his upcoming concert with Houston Friends of Chamber Music that opens the presenter's 2013-14 season Tuesday night at Rice University's Stude Concert Hall, memories of his time studying at the Shepherd School of Music whirl about his tuneful mind.

    As an incoming freshman, Fedkenheuer had been offered a healthy scholarship to study with Kathleen Winkler, but, as such is the case with most undergraduate degrees, the emerging classical musician needed to supplement his income. He sought to do so primarily with industry related work that included gigs, private teaching and serving as a recording engineer for the school's concert office.

    It wasn't long before Fedkenheuer seized an opportunity to become an usher for Houston Friends of Chamber Music. An older colleague whose responsibilities included hiring part-time staff to man events at Shepherd recruited Fedkenheuer to be one of the happy faces that greeted audiences as they entered the reverberant hall. The job turned into a three-year stint as the head usher for Houston Friends of Chamber Music. Moreover, under the supervision of volunteer board members, Fedkenheuer developed a step-by-step manual to help future stage managers execute a consistent protocol.

    "Inevitably, every concert has latecomers," he says. "From the middle of the lobby, you have a clear view of every entrance into the hall. We would watch as they would try each doorway — up and down the stairs — to see if they could find one of us to be a softy. To those seasoned ticket holders that you got to knew well, it was particularly difficult to say no. But we had to."

    With no cellphones, beepers and social media to distract listeners, Fedkenheuer didn't have to remove anyone from the concert hall, but he did have to request, on more than a few occasions, for passionate classical music buffs to pipe down and keep discussions about the performance to a more appropriate time.

    "When you are sharing your music with the world, you only hope for that kind of intense interaction."

    Fedkenheuer confesses that he did break concert etiquette from time to time — for good reason.

    "One subscriber had obviously been emotionally touched by the Emerson String Quartet's interpretation of Beethoven's Opus 131 (String Quartet No. 14) — she had tears in her eyes," he recalls. "I was able to facilitate a meeting with the artists backstage. I knew she had experienced something meaningful.

    "As an artist, isn't this what you want? When you are sharing your music with the world, you only hope for that kind of intense interaction. I will always remember her."

    Fedkenheuer met his wife, Yi Ching, also a violinist, at Shepherd.

    After graduate studies at Indiana University, Fedkenheuer's career as a chamber musician launched successfully, first as a member of the Borromeo String Quartet and then as a violinist with the Fry Street Quartet. He joined the Austin-based Miró Quartet in 2011, an appointment that also included a faculty post at the University of Texas at Austin's Butler School of Music, where the quartet has held residency since 2003.

    The Miró Quartet's Houston Friends of Chamber Music performance is a homecoming of sorts for Fedkenheuer, who in essence has journeyed from head usher to headliner. Officials at Houston Friends of Chamber Music are looking to the Miró Quartet as the potential replacement for the recently retired Tokyo String Quartet, which for many seasons served as the ensemble that debuted or closed a lineup of notable chamber groups hosted by this art presenter.

    "It's such a great honor for our quartet, but especially for myself as I have a more intimate history with the series," Fedkenheuer says. "Everyone in the Miró, as students and as professionals, has admired Houston Friends of Chamber Music.

    "To be considered for a spot that's so meaningful for Houston audiences is humbling."

    ___

    Houston Friends of Chamber Music presents the Miró Quartet on Tuesday, 7:30 p.m., at Rice University's Shepherd School of Music. Tickets start at $20 and can be purchased online or by calling 713-348-5400.

    William Fedkenheuer, violinist of the Miró Quartet.

    William Fedkenheuer Miro Quartet
    Courtesy photo
    William Fedkenheuer, violinist of the Miró Quartet.
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    news/entertainment

    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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