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    Ticket to French Opulence

    Party like it's 1699: Ars Lyrica travels to baroque world of musical pleasures

    Naomi Galvez
    Naomi Galvez
    Sep 21, 2013 | 2:04 pm

    During the reign of Louis XIV, critics bashed the royal court's lavish lifestyle. The fine clothing, wine, jewels . . . the regent's penchant for the best of everything could understandably stir fits of jealous rage from the less-than-privileged class.

    In the French Baroque era, entertainment was a serious business that involved an entire retinue devoted to managing every detail of anything from somber religious occasions to fanciful feasts. Although the big top productions were exclusive, the king's patronage of French arts nurtured a cornucopia of music, literature and theater.

    Admittedly, without the nobles, we plebs would not get to enjoy some of the classics we hear today.

    During a reverie at work (shhh!), I wondered what would a day in the French royal court circa 1600s entail? Would I have the chance to live notoriously rich as Sophia Coppola's Marie Antoinette? A girl can dream, can't she?

    Perhaps a lavish lifestyle isn't in the cards for me, but my fate isn't stopping me from basking in French exquisiteness vicariously through the arts. Toss the corset aside, there is a modern-day invitation to experience old-world Versailles right here in Houston.

    "You can take a trip to Baroque France in one evening and never leave Houston. How's that for elite time-travel?"

    Ars Lyrica's Sunday performance at the Hobby Center for the Performing Arts, titled "Menus-Plaisirs," part of the discovery theme for the ensemble's new season, is my golden ticket to second-hand opulence.

    "You can take a trip to Baroque France in one evening and never leave Houston," artistic direct Matthew Dirst says. "It's all about a good tune and a good time! How's that for elite time-travel?"

    The noble evening, which translates to "Cabinet of Musical Pleasures," features a repertoire of delightful pieces that includes compositions by Handel and Lully. The settings are fairly simple: A playful singing contest and a theatrical Intermezzo by Charpentier that would have accompanied Molière's comedy Le mariage forcé.

    Also on the program are Jean-Féry Rebel's Les plaisirs champêtres; Handel's Tune Your Harps from Esther, Fato, tiranno from Flavio and Cara pianta from Apollo e Dafne; Chédeville's Concerto after Vivaldi, The Four Seasons; Charpentier's Petite Pastorale; and Lully's Symphonie in A minor (Trios de coucher le Roy).

    The vocal debuts of tenor Aaron Sheehan and baritone John Buffett also add to the evening's upscale renditions.

    Ars Lyrica's cabinet of musical pleasures promises to treat you like a French king. Or queen.

    I choose princess.

    ___

    Ars Lyrica presents "Menus-Plaisirs" on Sunday, 6 p.m., at the Hobby Center for the Performing Arts. Tickets start at $35 and can be purchased online or by calling 713-315-2525.

    Ars Lyrica presents "Menus-Plaisirs," a musical evening that travels to the world of the French royal court.

    2 Ars Lyrica presents Menus-Plaisirs September 2013 logo
    Photo by © Anthony Rathbun
    Ars Lyrica presents "Menus-Plaisirs," a musical evening that travels to the world of the French royal court.
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    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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