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Practice Peek

Behind closed doors: Ballet and Bubbles gives young professionals a rare insidelook at Houston Ballet

Joel Luks
Oct 5, 2011 | 1:15 pm
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com
  • Photo by © Michelle Watson/CatchLightGroup.com

A slim extension of a dancer's port de bras refashions the movement's narrative quality distinctly. A slight hesitation leading up to a fouetté en tournant affixes a touch of yearning, one that makes audiences sigh with emotional relief. And an imperceptible bend of the cavalier's elbow changes a lift from impressive to magical.

In ballet — classical and modern — it is the minute, almost inconspicuous details that morphs the beautiful into the sublime.

At Ballet Barre's "Ballet and Bubbles" Tuesday night, the young professionals who love and support all things cultural gathered at the Houston Ballet Center for Dance to experience what happens behind closed doors during a customary rehearsal. In this rare occasion, Stanton Welch, Houston Ballet's artistic director, welcomed a throng of balletomanes to the Margaret Alkek Williams Dance Lab for a first hand study of how works are refined.

While perfecting Pyotr Ilyich Tchaikovsky's Swan Lake Act II Pas de deux — scheduled to be performed at Jubilee of Dance on Dec. 2 — Welch added insightful commentary and engaged a house of 120 en vogue and curious guests.

Ballerina and cavalier couples, Australian-born first soloist Danielle Rowe with Linnar Looris from Estonia and soloist Katharine Precourt with principal Jun Shuang Huang from Shanghai — donning a mixture of casual workout gear and tutus — shared their personal stories, struggles and triumphs.

The inquisitive audience — which included newlyweds Derith and Dr. Darrell Cass, whose 11-year-old daughter Hannah is enrolled in the Academy — wasn't shy to ask meaty questions.

When a patron inquired how to best support the arts in Houston, Welch simply suggested coming to and talking about the ballet.

It is informative events such as "Ballet and Bubbles" that have raised the profile of Ballet Barre into one of the most successful young professionals groups in the Bayou City thanks to co-chairs Lindsey Brown and Kristy J. Bradshaw. It's not just about the social affairs but more appropriately finding connections to develop close ties with the people and dancers of the art form.

Though we didn't mind the champagne courtesy of Roederer Estate and the Vietnamese shrimp balls on lemongrass sticks, pickled daikon-wrapped Korean-style beef stuffed with Kimchi and local pork pink peppercorn terrine via chef Chris Shepherd's latest venture, Underbelly, which hasn't even opened yet. Shepherd was also present to enjoy it all.

And no ballet affair is complete without the dapper and soon-to-retire C.C. Conner and his signature whimsical bow tie and suspenders. Conner was joined by the newly appointed executive director James Nelson.

In the corps were Estefannie de la Garza, sisters Ivette and Julia Mekdessi, Martha Rosas, Tausheli McClure, Josie Morgan, Melissa Lent, Patrick Raney, Karina and Carlos Barbieri, future Ballet Barre chair Christine Transier with her hubby Chris, Peter Franc, Chris Bradshaw, Mary Nichols, principal dancer Amy Fote, Naji Ghorayeb and soloist Jaquel Andrews, who became a part of Ballet Barre's steering committee while recovering from a broken tibia.

That same day marked Andrews' first dance steps towards returning to the stage. That was another reason to celebrate.

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Movie Review

Despicable Me sequel Minions & Monsters keeps franchise's goofy vibe

Alex Bentley
Jun 30, 2026 | 4:00 pm
Henry and James in Minions & Monsters
Photo courtesy of Illumination & Universal Pictures
Henry and James in Minions & Monsters.

The Despicable Me franchise is one of the most enduring of the 21st century, now reaching its seventh film in the past 16 years with the release of Minions & Monsters. The Minions, which were originally mere sidekicks to the supervillain Gru, have now arguably become the face of the franchise, even more so when they get their own movie.

Minions & Monsters purports to give even more history for the little yellow pill-shaped beings who want nothing more than to serve bad guys. Instead of fan favorites like Kevin, Stuart, and Bob leading the way, this film features James, a Minion who can’t stop causing chaos, and his best friend, Henry (all Minions are voiced by series creator Pierre Coffin).

After a prologue showing the Minions teaming up with various baddies over centuries, the group shows up in early 20th century Hollywood, gaining attention from filmmakers like Max (Christoph Waltz) and producer brothers Frank and Edward (both voiced by Jeff Bridges). They quickly rise up the ranks, with adventures coming to involve actress Debbie (Zoey Deutch), robot Dort (Jesse Eisenberg), and a Cthulhu named Goomi (Trey Parker).

Co-directed by Coffin and Patrick Delage and co-written by Coffin and Brian Lynch, the film is the loosest one of the franchise to date, using a barely-there story as an excuse to have the Minions engage in as much mayhem as possible. The prologue is the most successful part of the film, as they meet a cyclops, wizard, bank robber, and more, with each sequence getting wilder and funnier.

The 90-minute film is just as interested in entertaining kids with its craziness as it is in giving adults references to early film history. Among the films and actors that get shout-outs are the first-ever movie, The Horse in Motion, Georges Méliès’ A Trip to the Moon, Charlie Chaplin, Buster Keaton, and more. Whether including those historical relics will have kids wanting to seek out the real deals is questionable, but at least it shows the filmmakers know they owe a debt to the greats of the past.

The second half of the film becomes less coherent as the Minions split into different factions. James, Henry, and a hard-of-hearing Minion named Ed go in one direction to make a monster movie, while a larger group led by their antagonist named Dick goes in another. There’s no real purpose to either side’s journey other than to serve up laughs through the Minionese language (which seems to lean toward Spanish, as one scene acknowledges) and their antics.

Anyone purposefully going to a Minions movie likely enjoys Coffin’s performance of each character, each of which is subtly different. The rest of the cast, while star-laden, never truly sounds like the actors portraying them, which is strange when you have distinctive voices like Waltz, Bridges, and Eisenberg. The only people who stand out are Allison Janney as the narrator, Bobby Moynihan, and a cameo by George Lucas.

While Minions & Monsters doesn’t offer up an overly compelling reason for existing, it’s also harmless fun that has the side benefit of exposing kids to bits of film history that they might not have known existed. It also tries something different from the tried-and-true format of previous films, and experimentation should be appreciated even if it’s not fully successful.

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Minions & Monsters opens in theaters on July 1.

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