Don’t worry, Uptown Players is still in Uptown—at least part of the time.
McKay’s goal for each concert is to create a program that has an arc and trajectory to it, making an experience that feels organic in the way it unfolds.
It was a revelatory night at the Houston Grand Opera for the opening of Dame Ethel Smyth’s The Wreckers.
For a decade, The Dallas Opera has periodically invaded the Cowboys’ home turf—literally.
Booth hopes that the program will continue to prove Houston’s cultural excellence to go along with the city’s reputation as a home to global business innovators.
In Kinetic’s collaborative model, each of the 16 musicians in the conductorless string ensemble brings his or her creative voice to the table, to the rehearsal space, and to the concert stage.
The Houston Symphony’s new music director, Juraj Valčuha, acknowledged that opening the season with a requiem may strike some as “a strange idea.” But Giuseppe Verdi’s Requiem is no ordinary setting of the mass for the dead.
When the Apollo Chamber Players made its debut, grand visions of the future had nothing to do with it. The quartet, violinist Matthew Detrick recalls, had one simple goal: “to do that first concert.”
When one of Houston’s most acclaimed poets, Deborah D.E.E.P Mouton, set out to interview the city’s most legendary dancer, Lauren Anderson, she didn’t have a fully-formed creative objective.
After a performance season filled with joyful starts, heart-breaking cancellations and casting understudies for the understudies when positive COVID tests rolled in, Texas theater companies have endured much real life drama to make the leap back to live performances.