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    Forecast: flurries

    Let it snow! How TUTS creates a White Christmas for its audience every night

    Tarra Gaines
    Dec 9, 2011 | 9:41 am
    • The cast of White Christmas dodges snow flakes.
      Photo by Bruce Bennett
    • It's a winter wonderland at the Hobby Center every night.
      Photo by Tarra Gaines
    • Stage crew members making sure everything is working just right...and enjoyingthe magical indoor blizzard
      Photo by Tarra Gaines
    • Richard Winkler, lighting designer, shows his approval of the snowfall.
      Photo by Tarra Gaines
    • Photo by Bruce Bennett
    • Testing, testing...snow, snow
      Photo by Tarra Gaines
    • The ceiling at Sarofim Hall
      Photo by Tarra Gaines

    Dreaming of a white Christmas? For Houstonians enduring Decembers when it can be 70 degrees one day and 35 the next, even our most trusted local meteorologist can never guarantee snow for the season. Theatre goers, at least, know they can count on an artful blizzard onstage in many holiday shows, and this year, Theatre Under the Stars is going to take its wintery special effects to the next level.

    TUTS is using the title of their holiday musical, White Christmas, as a special promise to the audience that snow will not only fall onstage but everywhere and on everyone in the Sarofim Hall theater.

    I recently got a sneak peek of the show’s indoor snow storm during a tech rehearsal when I spoke with the man in charge of illuminating the winter wonderland. Richard Winkler, the production’s lighting designer, has been working with TUTS for over a decade. Along with his lighting design work on many of their most popular shows, he is also an awarding winning Broadway producer.

    TUTS is so committed to its snow that in addition to the 10 snow machines, “We have augmented those with other snow machines because our theatre is so large."

    Winkler calls White Christmas “an absolutely delightfully charming version of the wonderful Irving Berlin musical from my youth.”

    White Christmas is the theatrical version of the classic Bing Crosby, Danny Kaye film of the same name, not to be confused with the classic Bing Crosby, Fred Astaire film Holiday Inn where the Irving Berlin song “White Christmas” originated. White Christmas, the stage musical, tells the story of two World War II army buddies, turned famous entertainers, Bob Wallace and Phil Davis. The song and dance duo fall for the singing Haynes sisters while attempting to save the failing Vermont inn owned by their former commanding officer. The inn is close to bankruptcy because an unseasonal heat wave has chased away all the guests.

    Will our heroes win the sisters? Will Davis and Wallace’s new musical revue be successful? Will they save the inn? Will snow fall in Vermont? For a holiday show that Winkler describes with words like “old fashioned” and “charming,” the chances are good for a happy ending the keeps the promise of the title.

    The play harkens back to its golden age of movie musical beginnings with a story of love, loyalty, and tap dancing. This traditional type of story call for a traditional way of telling it. Winkler explains,

    It’s not a very complicated show technically. It’s an old fashioned musical which requires old fashioned scenery. . .as a designer you are responsible for rendering the author’s work and if the author has written an old fashioned musical, no matter what, if you’re going to do a traditional production of it, you need to render it in an old fashioned way.”

    TUTS last produced the show in 2008 and while the set and costumes will be the same the new director, Bruce Lumpkin, and choreographer, Mary Jane Houdina, have made some changes, so audiences who fondly remember the 2008 production can look forward to a familiar show with a few surprises. They can also look forward to a special, special effect at the end.

    Two types of snow

    The show is owned by TUTS and two other theatre companies, and snow is such an intrinsic part of the production that, along with the sets and costumes, 10 snow machines are included in the whole White Christmas package. There are actually two different types of snow in the production, the stage snow which is a solid material that is used and recycled after each performance, and the snow the audience will experience.

    TUTS is so committed to its snow that in addition to the snow machines, “We have augmented those with other snow machines because our theatre is so large and because we wanted to include not only the ground floor but the mezzanine and the balcony. So we have to have snow machines all over,” says Winkler.

    “It’s really interesting because I designed this three years ago as well and I remember, I got to tell you, when the snow comes on the entire audience just goes wild."

    And what exactly is this snow made of? Well, the production would like to keep some of its secrets, so I’ll only reveal that one of ingredients in the snow that falls in Hobby Center is the same as real snow and another might help the audience leave the theatre a little cleaner than when they arrive.

    After taking part in this mini-course on theatrical snow making and learning some of the tricks these stage crew magicians use to create their wintery illusion, I found my new knowledge didn’t lessen the experience at all. Once Richard Winkler called forth the snow, I turned into a wonder-eyed eight-year-old. For a few moments, my brain could only manage the following observation: Awww, snow. Pretty.

    And I wasn’t the only one rendered into a child-like state by the indoor snowstorm. Even the experienced stage crew paused in their work for a few minutes to quietly watch it fall or take photos.

    Winkler has noted a similar reaction from audiences, observing: “It’s really interesting because I designed this three years ago as well and I remember, I got to tell you, when the snow comes on the entire audience just goes wild. It’s wonderful to be part of the creative staff that affects an audience as much as this does. And the show is delightful, but the addition of the snow, because it’s so unusual, somehow just sweeps everybody up. It just grabs everyone and makes them become a part of the whole emotional experience.”

    The TUTS production of White Christmas is at the Hobby Center through Dec. 18. For more information, click here.

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    Creed concert review

    Creed serve up millennial nostalgia at pyro-packed RodeoHouston concert

    Craig Hlavaty
    Mar 11, 2026 | 11:54 pm
    Creed concert RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Singer Scott Stapp serenades the RodeoHouston crowd.

    Hello, my friend, we meet again.

    I’ve had a torrid relationship with Creed. As a circa-2000s punk rocker, it was implied that I was supposed to hate them. Nevertheless, I enjoyed those hook-laden Mark Tremonti riffs and Scott Stapp’s burly, Bono-grasping vocals, with just a hint of irony deep in the mix. I had “One Last Breath” on a burned mix CD, bunched in with Fugazi, Rancid, and Sham 69. I would skip it as quickly as I could, depending on who was in the car. Driving home from a long day slinging milk in the Kroger dairy cooler? Windows down, Stapp up.

    When I began my music journalism career 20 years ago (!!!), I began sticking up for them, much to the consternation of a lot of my fellow writers who were hung up on stuff that was supposed to be cooler and hipper. Creed’s pop-culture zenith came right as The Strokes and The White Stripes were thrust on us by the music press as a counter to post-grunge, which other music writers were categorically allergic to. Remember when our biggest problems in America were bands that were overtly influenced by Pearl Jam and Alice In Chains?

    In 2012, I interviewed lead singer Scott Stapp along the way for the Houston Press, and I distinctly recall Stapp being confused on our call that a guy from a smug alt-weekly wasn’t asking him stupid questions or making fun of his leather pants. The band was heading to Houston for a two-night stand at the Bayou Music Center in 2012 when they played 1997’s “My Own Prison” and 1999’s “Human Clay” in their entirety.

    Fun fact: “Human Clay” has sold over 20 million albums alone, besting Nirvana’s “Nevermind” and Pearl Jam’s “Ten” by only a relatively small margin. Creed moved more physical CDs when people actually bought music.

    Somehow, along the way, people stopped hating Creed and Nickelback, and the hate gave way to pre-social media, millennial high school, and pre-9/11 nostalgia. The similarly maligned Nickelback sold out the rodeo in 2024.

    On Wednesday, March 11, I saw junior high school kids wearing crispy new Creed shirts with their parents. Gen Alpha is beginning to get curious about what mom and dad were up to during spring break 2001, and Zoomers are rediscovering Y2K fashions. Haven’t you seen those “Mom, What Were You Like In The ‘90s?” memes?

    Creed has been sold out for weeks, drawing 70,007 attendees. If you had told someone 10 years ago that Creed would sell out RodeoHouston, they would have been skeptical. And yet here we are, staring down at a sold-out Creed show. These things run in cycles. Emotions fade. Annoyance turns into wistfulness for the days of Nokia brick phones and 99-cent gas. You can even go on a Creed Cruise now.

    Creed hit the stage just before 9:30 pm, an enviable bedtime for most elderly millennials, kicking off with the TOOL-chugalug of “Bullets,” with Stapp and Tremonti making the best use of their stage platforms, crucial devices for any major rock band in the 2000s. Unrelenting pyro shot from the dirt surrounding the stage every time Stapp lifted or flailed his arms like Elvis if he discovered cardio.

    The dirge of “Torn” — the second single from My Own Prison — was pyro-less, likely giving the cannons a few minutes to cool off. The sweaty Stapp, at just 52, looks to be in better shape than he did 20 years ago, now sporting a conservative haircut like he stepped out of his company’s stadium suite or finished a twilight run at Memorial Park.

    Stapp introduced “My Own Prison” with a preachery pep talk that wouldn’t sound out of place at an altar call at Sturgis. The crowd hung on every emphatic word. Maybe seeing two middle-aged dudes wearing Stryper shirts down on the concourse made more sense than I realized. Is Creed actually just TOOL that accepted Christ? The graphics behind the band could’ve fooled me.

    Stapp introduced “One” with a speech on commonalities and love. Looking back, Creed’s lyrics were much too earnest, hitting at a time when critics were still hungover from grunge.

    During “With Arms Wide Open,” the rodeo cameras would routinely cut to tattooed dads and rocker chicks in the crowd playing air guitar along with Tremonti and singing their guts out like they did the first time they heard it on 94.5 The Buzz. For a large segment of the crowd, they might have had a Gen-X parent jamming this stuff on the way to school in the morning.

    “Are you ready to get higher in here, Houston?” Stapp yells. The place erupts as “Higher” starts. Stapp was in his element, pyro shooting off, his silver jewelry dangling, taking in the crowd, like he didn’t expect such a response.

    Possibly the last true rock power ballad ever recorded, “One Last Breath,” got the biggest screams of the night; it might also be the Gen-Z “Don’t Stop Believing” as long as we’re making wildly controversial statements. [Editor’s note: Isn’t that Mr. Brightside? -ES]

    Welcome back, Creed, from pop-culture purgatory, and props for what might have been the loudest RodeoHouston show in years.

    SETLIST

    Bullets
    Torn
    Are You Ready?
    My Own Prison
    What If
    One
    With Arms Wide Open
    Higher
    One Last Breath
    My Sacrifice

    Creed concert RodeoHouston

    Courtesy of Houston Livestock Show and Rodeo

    Singer Scott Stapp serenades the RodeoHouston crowd.

    rodeohoustonhouston livestock show and rodeoconcert review
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