Disney Musicals in School / Courtesy of Theatre Under The Stars
Theatre Under The Stars (TUTS) has announced that it will bring the Disney Musicals in Schools program to the Greater Houston area with funding from a $150,000 grant from Disney. The program will allow local public elementary schools to participate in and produce a Disney musical, with support from TUTS, at no cost.
The Disney grant will cover two years of the Houston program, which is now accepting applications. TUTS will select two schools to participate in the 2025–26 school year, with an additional five to be chosen for the 2026-27 school year. More information, including eligibility, requirements, and application, can be found at www.tuts.org/disney. The deadline to apply is October 6.
“This new partnership expands our relationship with Disney in the best way—through one of their incredible programs that increases access to musical theatre for the youngest students in our public school system,” said Dan Knechtges, TUTS Artistic Director, in a statement.
Disney Musicals in Schools / Courtesy of Theatre Under The Stars
According to a press release, selected schools will participate in a free 17-week musical theater residency and will receive complimentary “performance rights, educational support materials, and professional development as teachers collaborate with TUTS artists to learn how to direct, choreograph, and music direct a 30-minute Disney KIDS musical.” Each school will also perform a number from their production at the Hobby Center in a culminating Student Share Celebration. Schools will be responsible for their individual production budgets.
Launched in 2009 to address equitable arts access in public elementary schools, Disney Musicals in Schools partners with organizations nationwide. Its goals, according to its website, include creating sustainable musical theater programs; developing a strong community of students, parents, faculty, staff, and neighbors; and exposing students and faculty to the wide spectrum of skills that are developed when producing a piece of musical theater, such as critical thinking, problem solving, ensemble building, communication, self-confidence, and interpersonal skills.
“This program creates an opportunity for students to learn, create, and grow through the art of musical theatre,” said Hillary Hart, TUTS Executive Director, in a statement. “It aligns perfectly with our mission to cultivate the art form and provide access to the community.”
Houston Grand Opera has elected Astley Blair, a veteran board member, community leader, and arts advocate, as the new Chairperson of its Board of Directors, effective this month.
Blair will serve a two-year term through August 1, 2027, at a time when HGO “continues to strategically expand both its world-class artistic offerings and its global presence under the leadership of General Director and CEO Khori Dastoor,” as stated in a press release.
“With Astley Blair assuming leadership of the HGO Board, I see no limit to what we can achieve,” said Dastoor.
“Astley brings with him a wealth of global business expertise gained during a dynamic career in the financial and energy sectors, and an entrepreneurial spirit that makes him the perfect choice to help lead HGO through a time of thrilling possibility,” she said.
Blair is the Chief Financial Officer of Marine Well Containment Company. Previously, he held senior management positions at Chevron, serving as the company’s Vice President and General Manager of Finance and Business Services, as well as at Texaco.
An HGO board member since 2004, Blair chaired its Audit Committee and has served on the Audiences, Philanthropy, and Management Evaluation and Development committees. In 2021, he co-chaired the committee that selected and recruited Dastoor to lead HGO. Since last year, he has also been part of the Strategic Advisory Group, founded in partnership with the Boston Consulting Group to advance HGO’s strategic planning efforts over the next decade.
“For decades, HGO has pushed the boundaries of what is possible, and now, with a clear vision of what the future of American opera can be, this is our time,” said Blair. “It’s an honor to serve this board and help lead this storied institution into the future.”
“I plan to continue my work in service of this fantastic organization, and I look forward to watching the company advance its mission with Astley Blair, one of its most devoted champions, as its next Chairperson of the Board,” said Liu.
Blair’s additional work in the community includes currently serving on the boards of the Houston Airport System Development Corporation and the American Leadership Forum. He was the former Chairman of the Center for Houston’s Future and a former Board Member of the Greater Houston Partnership, and has been involved with the Houston Food Bank, the United Way, and initiatives to support STEM education.
Houston Theater Week 2025 will offer BOBO ticket deals to nearly 400 live performances / Image courtesy of Houston First
For the fourth year in a row, Houston Theater Week will aim to support and bolster the city’s performing arts community at the start of a brand-new season with a seven-day online promotional event.
This year’s Theater Week will take place August 18 – 24, during which participating arts groups, based downtown and throughout the community, will offer Buy One, Get One Free tickets for performances in the 2025-26 season, in a collaborative effort led by Houston First Corporation. Offers will be available at www.HoustonTheaterWeek.com, using the promo code HTW25.
Theatre Under The Stars will present Monty Python’s SPAMALOT (Broadway Cast pictured), April 15-26, 2026 at The Hobby Center / Photo by Matthew Murphy and Evan Zimmerman
Launched in 2022 as a way to support local theaters, performers, and behind-the-scenes professionals following the COVID-19 pandemic, Houston Theater Week has grown from offering ticket deals to approximately 100 shows in its first year to, this year, offering BOGO tickets to nearly 400 performances of theater; opera; dance; Broadway-touring musicals; wide-ranging music genres, including classical, jazz, and mariachi; celebrity and expert lectures; film with live music; and more.
“The power and popularity of Houston Theater Week is evident in the record number of offers and deals available to consumers this year. We are pleased to once again partner with our world-class performing arts organizations to bring exclusive deals to audiences and generate revenue that helps strengthen our performing arts community,” said Michael Heckman, President and CEO of Houston First, in a statement.
In 2024, Houston Theater Week yielded a “combined revenue of nearly $1.4 million with more than 32,000 tickets sold,” according to Houston First.
The 2025 Theater Week expands to include a new digital tool called Ask V. A press release described Ask V as an “AI-powered personal assistant,” which can curate a customized list of performances, plus hotels, restaurants, and pre- and post-show activities, based on the user’s personal interests and past experiences—potentially bringing increased revenue to other local businesses.
The Hobby Center, in collaboration with Jazz Houston, will present the JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS on November 16, 2025 / Photo courtesy of Houston First
At its inception, Theater Week temporarily replaced the longtime Theater District Open House—a one-day event that combined free family activities at downtown performing arts venues and discounted season ticket offers—which was interrupted by the pandemic in 2020.
Theater District Open House resumed last spring and is set to return on Monday, March 9, 2026.
With Theater Week centered on exclusive BOGO offers in the fall, the Open House will be “fully focused on families and having an open invitation to the community into the district, in alignment with many spring breaks around the region,” said Craig Hauschildt, Executive Director of Houston Theater District.
Both Theater Week and Theater District Open House will now continue to serve Houstonians as separate, annual events, Hauschildt said.
Clockwise, L-R: Gregory D. McDaniel, Brittany Webb, Jennifer Bielstein, Alex Soares, and Betsy Cook Weber / Courtesy of Houston Ebony Opera Guild; Museum of Fine Arts, Houston; Alley Theatre; Houston Symphony; and Houston Chamber Choir
Gregory D. McDaniel took the helm of Houston Ebony Opera Guild as its new Artistic Director, effective July 1, 2025, following an announcement of his appointment in May.
A Houston native, McDaniel returns to the Bayou City from the New Jersey Symphony, where he served as the Colton Conducting Fellow for the 2024-25 season. Previously, he has worked with numerous symphony orchestras and opera companies in the US and Canada, including the Orchestre Métropolitain in Québec, Orchestre Symphonique de Québec, Opera Ithaca, Boise Baroque Orchestra, Prizm Ensemble, and Opera in the Heights. He received his bachelor’s degree in Choral Music Education from the University of Houston and his master’s degree in Orchestral Conducting from the University of North Texas.
Gregory D. McDaniel
Houston Ebony Opera Guild stated in a press release that McDaniel’s appointment marks “a new chapter in the organization’s storied legacy of celebrating and advancing the contributions of Black classical musicians and composers.”
McDaniel succeeds Dr. Jason Oby, who stepped down after nearly three decades with the organization, serving as soloist, conductor, curator of repertoire and content, and Artistic Director.
“A great choice!” wrote Oby in a social media post regarding McDaniel’s appointment.
In response, McDaniel posted in a public comment: “Thank you, Dr. Oby. Your recognition means a great deal to me, especially since you have dedicated the past 28 years to advancing this organization to new heights of artistic and creative prominence both here and abroad. I hope to build upon the strong foundation of excellence you have established and to continue your legacy of dedication.”
In a statement, McDaniel also said that he aims “to introduce innovative strategies to engage new audiences and enhance the relevance of our contributions to the art form.”
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When longtime founding Artistic Director Robert Simpson announced in early 2024 that he would retire from the Houston Chamber Choir after the 2024-25 season, Dr. Betsy Cook Weber was named the ensemble’s next leader.
Following Simpson’s 30th and final season and the announcement of a $1 million anonymous donation to the Choir in June, Dr. Weber will officially begin her tenure as Artistic Director of the Grammy Award-winning Houston Chamber Choir this fall.
Betsy Cook Weber
Dr. Weber is the Madison Endowed Professor of Music Emeritus and former Director of Choral Studies at the University of Houston Moores School of Music, as well as the Director Emeritus of the Houston Symphony Chorus. With degrees from the University of North Texas, Westminster Choir College (Princeton, NJ), and the University of Houston, she has an extensive background and award-winning reputation as a nationally and internationally active conductor, presenter, educator, and adjudicator.
“Betsy is a person I have worked with over the years. I admire her greatly. She’s been a part of the choral scene in Houston for many years. She’s extraordinarily well respected. … it gives me a great sense of comfort and excitement that the Houston Chamber Choir’s next chapter will be under the leadership of such an inspired musician,” Simpson told the Houston Press in an article by Sam Byrd.
The Houston Chamber Choir recently announced its 2025-26 season, Friends and Neighbors, which will open on September 6.
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Alex Soares was recently named Chief Marketing Officer of the Houston Symphony, having served as Interim CMO since 2024.
Soares’ marketing leadership is tied to the orchestra’s growth in ticketing revenue, rise in subscription sales, and expanded audience engagement this past season, according to a press release.
During its 2024-25 season, subscription sales grew 12% and single ticket revenue rose 28% year-over-year, said the Houston Symphony. Additionally, “innovative programming and community-centered campaigns” drew high levels of audience attendance—including the sold-out April performances of Cynthia Erivo with the Houston Symphony, which set a record for the first single program in the Symphony’s history to surpass $1 million in revenue.
Alex Soares
Soares’ appointment as CMO is the second development in Houston Symphony leadership this year, following the appointment of Gary Ginstling to Executive Director/CEO in January.
“It’s an honor to step into this role during such a transformational chapter for the Symphony under Gary Ginstling’s leadership,” said Soares in a statement. “With bold artistic vision, a newly renovated Jones Hall, and a team deeply committed to connecting people through music, we have a unique opportunity to reimagine the concertgoing experience.”
A graduate of the University of Houston and an accomplished, formally trained contemporary dancer, Soares was President of technology firm REI Network, L.P. and founder of Wheelhaus Consulting, prior to joining the Houston Symphony, where he also served as Senior Director of Marketing before becoming CMO.
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Last month, the Museum of Fine Arts, Houston announced the appointment of Dr. Brittany Webb as Curator in the Department of Modern and Contemporary Art.
Dr. Webb joins the MFAH from the Pennsylvania Academy of Fine Arts in Philadelphia (PAFA), where she has curated an extensive roster of exhibitions since 2018, most recently in her role as the inaugural Evelyn and Will Kaplan Curator of 20th-Century Art and the John Rhoden Collection. Previously, she served as a curatorial and research assistant at the African American Museum in Philadelphia (2014–18).
Her recent publications include her contributions for Toward Joy: New Frameworks for American Art, a major catalogue for the Brooklyn Museum of Art, and for the forthcoming Birmingham Museum of Art collection catalogue Roll Call: 200 Years of Black American Art, as well as Determined to Be: The Sculpture of John Rhoden (2023).
The MFAH’s social media announcement of Dr. Webb’s appointment received hundreds of positive reactions and scores of congratulations from the public, welcoming her to Houston.
Gary Tinterow, director and Margaret Alkek Williams chair of the MFAH, said in a statement that Dr. Webb “stood out for her strong sense of passion and purpose, deep connection to communities and constituents, and history of developing and producing thoughtful, illuminating exhibitions of American contemporary art and African American art within an international context.”
Dr. Webb received a Ph.D. in anthropology from Temple University and a B.A. in political science from the University of Southern California.
She begins her position at the MFAH this summer.
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Texas native, former Houstonian, and veteran of the theatre world, Jennifer Bielstein has been named Managing Director of the Tony Award-winning Alley Theatre.
Bielstein will begin her new role on October 20, 2025 at a significant moment in The Alley’s history, as the company approaches its 80th anniversary in 2026. She succeeds Dean Gladden, who retires after a 19-year tenure that encompassed “a comprehensive renovation of the theatre complex, which necessitated a 14-month off-site relocation, $26 million in damages from Hurricane Harvey, and the global COVID-19 shutdown,” according to a press release.
Jennifer Bielstein
“To return home and serve the city’s flagship nonprofit theatre is truly an honor,” said Bielstein in a statement. “I look forward to working alongside the Alley’s exceptional Board, staff, crew, and artists, and to engaging fully with the Houston community as we build an exciting future together.”
With more than two decades of leadership experience in regional theatre, Bielstein has served as Executive Director of the American Conservatory Theater (A.C.T.) in San Francisco, as well as top positions at Guthrie Theater, Actors Theater of Louisville, and Steppenwolf Theatre Company. She is currently on the board of Theatre Communications Group (TCG).
The Alley’s Artistic Director Rob Melrose described Bielstein as “a legend in her own right” with a successful track record at major theatre companies, and he added in a statement: “I also feel that Jennifer’s warmth, kindness, and collaborative spirit are just what we need as we chart our way to Alley Theatre’s next era of success.”
In an interview with Margaret Downing of the Houston Press, Bielstein said that, in her career thus far, she is most proud of “creating really positive inclusive organizational cultures that ensure staff and artists and audiences feel welcome.”
Soprano Janai Brugger in Houston Grand Opera’s Intelligence / Photo credit: Michael Bishop
Houston Grand Opera has announced plans to release recordings on its own, newly created label, in partnership with the London Symphony Orchestra’s label LSO Live.
According to a press release, “HGO sought out a partnership with the LSO to fulfill the company’s ambitious vision of sharing its work with audiences around the world.” HGO says that this collaboration, LSO Live’s first-ever with a U.S. opera company, represents a significant opportunity to advance operas by American composers on a broader international scene.
“For decades, HGO has led the way in building the American repertoire through new commissions from the country’s finest composers,” said Khori Dastoor, HGO General Director and CEO, in a statement.
“We founded the new Houston Grand Opera label because we want more people to experience these incredible artworks, performed by the brilliant artists and musicians who grace our stage each season. With its award-winning label and rich legacy of inspiring global audiences, the London Symphony Orchestra is the ideal partner to help bring Houston’s operatic innovation to the world,” Dastoor said.
Set for an August 2025 release, Intelligence, by composer Jake Heggie and librettist Gene Scheer, will be the first album in the new collaboration between Houston Grand Opera and LSO Live— featuring soprano Janai Brugger, mezzo-soprano J’Nai Bridges, mezzo-soprano Jamie Barton, baritone Michael Mayes, and the HGO Orchestra conducted by Kwamé Ryan.
Intelligence, which was commissioned by HGO and which made its World Premiere in 2023, is inspired by the true story of Mary Jane Bowser, an enslaved woman who became a spy for the Union during the American Civil War, and Elizabeth Van Lew, a member of the Confederate family who enslaved Bowser and who ran the spy ring.
Other forthcoming albums include:
Breaking the Waves, by composer Missy Mazzoli and librettist Royce Vavrek, captured during HGO’s spring 2025 regional premiere
El Milagro del Recuerdo, the HGO-commissioned mariachi opera by composer Javier Martínez and librettist Leonard Foglia, recorded during its 2019 world premiere
Florencia en el Amazonas, by composer Daniel Catán and librettist Marcela Fuentes-Berain, commissioned by HGO in 1996 and inspired by the magical realism of Gabriel García Márquez, in a recording from the company’s 2019 revival starring soprano Ana María Martínez
Houston Grand Opera’s Florencia en el Amazonas, 2019 / Photo credit: Lynne Lane
“We are incredibly excited to partner with Houston Grand Opera on their new record label,” said Becky Lees, LSO Live Director, in a statement.
“LSO Live is committed to supporting arts organizations around the world in delivering high-quality content to music enthusiasts internationally, and this partnership aligns perfectly with our mission,” Lees said. “We look forward to working closely with HGO to preserve and celebrate the rich tradition of opera for future generations.”
Intelligence and Breaking the Waves will be released in both physical and digital formats. Florencia en el Amazonas and El Milagro del Recuerdo will be available via streaming and download platforms, including Apple Music Classical, Amazon, and Spotify.
L-R: The Hobby Center (home to Theatre Under The Stars) and the Alley Theatre / courtesy of the companies’ websites
Two of Houston’s leading producers of live theater have announced open calls for actors to audition for their 2025-26 seasons.
Theatre Under The Stars, Houston’s non-profit home of musical theater based at The Hobby Center, is seeking strong singers, dancers, and principals for four of its self-produced musicals of the upcoming season: The 25th Annual Putnam County Spelling Bee, Irving Berlin’s White Christmas, Million Dollar Quartet, and Beautiful: The Carole King Story.
“This season our casts, along with our audiences, are getting a lineup of productions that invite them to explore varying worlds—some fiction and some based on real events—and to be part of stories that shape all of us,” said Dan Knechtges, Artistic Director of Theatre Under The Stars, in a statement.
In-person auditions will take place at TUTS on Thursday, March 27; Friday, March 28; and Saturday, March 29. Virtual audition opportunities are available by submitting a self-tape to TUTS. Virtual auditions must be submitted no later than March 30.
Audition requirements—including character descriptions, song preparation, dance information, what to bring to auditions, as well appointment and virtual audition submission instructions—are available at TUTS.org/Auditions.
“TUTS is committed to diversity and encourages performers of all ethnicities, gender identities, ages, and abilities to audition. As a leader in Houston’s vibrant arts community, we welcome both local and national talent to be part of our high-caliber productions. Must be 18 years old by the first day of rehearsal,” said the company in a statement.
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Alley Theatre, one of the largest U.S. professional nonprofit theatres outside of New York City, has announced that it is “seeking a diverse cast of Houston talent of all genders, ethnicities, body types, and abilities” for next season.
Auditions will be held by appointment only on Sunday, March 16 and Monday, March 17 at The Alley. Starting February 27, appointments can be made by emailing contact information (name, phone number, and indicate whether you are a member of the Actors’ Equity Association) to auditions@alleytheatre.org.
The Alley will be casting for roles in its 2025-26 season productions, including: Agatha Christie’s The Mirror Crack’d, The Da Vinci Code (adapted by Rachel Wagstaff and Duncan Abel, based on the Novel by Dan Brown), The Body Snatcher by Katie Forgette, Real Women Have Curves by Josefina López, English by Sanaz Toossi, The Importance of Being Earnest by Oscar Wilde, August Wilson’s Fences, and Dear Alien by Liz Duffy Adams.
The company states that actors should prepare two contrasting monologues that are not to exceed three minutes in length total. All actors auditioning must be at least 18 years old, must live within a 50-mile radius of downtown Houston, and must be available for weekday and weekend rehearsals.
Urban Souls Dance Company / courtesy of the company’s Facebook page
Inspired by Prairie View A&M’s Classic Dance Ensemble, Dallas Black Dance Theatre, and New York’s Alvin Ailey School—where he studied for two years—dancer, choreographer, and activist Harrison Guy eventually came back to Houston to start his own company dedicated to Black stories and experiences.
“I was a founding member of two dance companies in Houston—Dorrell Martin’s Dance Fusion and Kenneth Epting’s Exclamation Dance Company. Yet I still felt called to create something of my own,” Guy wrote recently on Facebook.
“Urban Souls was founded as a safe space for Black dancers and a platform dedicated to telling Black stories—especially those rooted in the local Houston community,” he shared. “It’s a place where our narratives are celebrated, and where dancers have the freedom to explore and express their unique identities.”
With Guy as Artistic Director and Walter J. Hull, II as Executive Director, Urban Souls has been working for two decades to bridge the gap between life and dance theater—with a mission to foster connection and build community through dance, education, and advocacy while working towards racial equity, healing, and justice.
The company’s 20th anniversary celebration culminates with The Black Agenda, a program featuring two world premieres on February 27 and 28 at The Hobby Center—with the opening night performance designated as Black Organization Night to honor historic, community, and Black Greek-letter organizations.
Urban Souls Dance Company presents its 20th anniversary show, The Black Agenda, February 27-28, 8pm, at The Hobby Center / Courtesy of Urban Souls
Guy will debut Eulogy for America’s Promise (2025), his new dance work that pays tribute to the pioneering Houston-born and Fifth Ward-raised Congresswoman Barbara Jordan.
According to a press release, the piece “will blend classical, modern, and African American dance styles to represent the complexity of Jordan’s legacy. The work will use movement to reflect key moments in Jordan’s life, including her iconic speech at the 1976 Democratic National Convention, her leadership during the Watergate hearings, and her tireless advocacy for civil rights.”
A preview of Harrison Guy’s Eulogy for America’s Promise / courtesy of Urban Souls
The program’s second premiere and title piece, The Black Agenda, by Walter J. Hull, II, “reflects the ongoing journey of the Black community—one marked by resilience, unity, and a continual drive for progress,” said Guy.
Intertwined with the voices and music of contemporary artists like Kanye West and Kendrick Lamar, the piece aims to use the lyrics and beats of the soundtrack to amplify the emotions and energy of the dancers’ movements.
“This work speaks to the collective power of Black people, grounded in the understanding that we are strongest when we unite, when we confront the challenges of today, and when we forge a future built on both vision and action,” Guy said of Hull’s piece. “Through movement, we assert the necessity of this journey, reminding ourselves that hope is only meaningful when it is paired with intentional, deliberate steps toward a better tomorrow.”
Completing the program will be Hull’s Sugar Shack (2024), inspired by the paintings of Ernie Barnes; Shadow Work (2023), an exploration of our hidden identities, by Urban Souls’ dancer and choreographer Aniya Wingate; and D.N.A. (2024), a tribute to Reverend Jack Yates and Houston’s first documented Juneteenth celebration, performed by guest artist YUNGCHRIS of SonKiss’d Dance Concepts.
Beyond his company’s 20th anniversary celebration, Guy has even bigger, long-term plans that are about to come into fruition.
“About 10 years ago, after the success of Urban Souls, I began to dream a bigger vision for Houston. I wanted to create a space that wasn’t just about dance, but about Blackness—where creativity could be celebrated as an integral part of our journey and the way we build community,” said Guy on Facebook. “This led to the creation of the Black Arts Movement Houston (BAM).”
With support from a 2019 Idea Fund grant and a 2025 Cultural Treasure Accelerator grant from the Houston BIPOC Arts Network and Fund (BANF), Guy was able to develop his concept into a new umbrella organization that will serve as “a cultural catalyst and a sanctuary for Black artists in Houston,” according to the BANF website.
“We envision a future where BAM serves as the parent organization for Urban Souls and other key arts organizations and groups,” said Guy. “It will also serve as a catalyst for the development of a dynamic, state-of-the-art Black cultural center. This space will drive a comprehensive Black arts directory, highlighting all aspects of Black arts and culture in the city.”
In an email to Houston Arts Journal, Guy stated that BAM’s key initiatives for 2025 include:
Conducting a Black Artists Survey and Census to collect valuable data and insights.
Organizing Convenings for Black Artists to foster connection, collaboration, and growth.
Finalizing the Advisory Group, selecting dedicated members to guide the movement.
Completing a Strategic Plan to lay the foundation for future initiatives and impact.
Hosting a Foundations Brunch to engage potential funders and build lasting support for the mission.
Black Arts Movement Houston, spearheaded by Guy and Urban Souls, is preparing for an official launch this April 2025.
While Thew joined Houston Ballet in the 2022-2023 season as the company’s first official Associate Conductor, he was first introduced to Artistic Director Stanton Welch in 2016 during the company’s Australian tour of Welch’s Romeo and Juliet. Thew, accompanied by Orchestra Victoria, joined Ermanno Florio as a guest conductor, marking the start of his working relationship with Houston Ballet.
“I’ve had the pleasure of working with Simon previously, and I know that his expertise and passion for music will undoubtedly elevate our artistic journey and deepen the connection between the dancers and the orchestra,” said Welch in a statement.
“Julie [Kent, co-Artistic Director] and I look forward to having the Houston Ballet Orchestra under his baton as we enter the next era,” Welch said.
Before working with Houston Ballet, Thew was a regular conductor with The Australian Ballet between 2013 and 2016. He also served as The Australian Ballet’s assistant conductor from 2017 to mid-2022. In addition, he has guest conducted the English National Ballet and Birmingham Royal Ballet.
Earning a Master of Music Performance, with a major in conducting, from the Sydney Conservatorium of Music, Thew worked with The Australian Opera and Ballet Orchestra (now Opera Australia Orchestra) shortly after graduation—an experience that was “instrumental in his falling in love with dance as an art form, and its relationship with music,” according to a press release. His early musical journey began as a tuba player.
“I appreciate being in [Houston] where the arts are such a valued fabric of life and where there is also so much connection internationally. I am excited and honored to be continuing to work with this amazing company and orchestra in this new position,” said Thew in a statement.
“Working with young or early career musicians is also especially important to me,” he said. “Alongside working with established instrumentalists, composers, and conductors, I hope to continue fostering in the next generation of artists that reflect the cross-culturalism of this multinational city.”
Houston Ballet will announce a search for a new Associate Conductor at a later date.
Lynn Wyatt Square / Courtesy of Houston First Corportation on X
The $26.5 million Lynn Wyatt Square for the Performing Arts, a reimagined green space and focal point of Houston’s downtown Theater District, officially opens to the public on Friday, September 22, 2023.
During opening weekend, the park will host free lawn games and live entertainment, including an interactive experience called “Bees” created by the Australia-based Polyglot Theatre.
Bordered by Jones Hall, Alley Theatre, and Bayou Place—and adjacent to the Wortham Theater Center and only a few blocks away from the Hobby Center for the Performing Arts—Lynn Wyatt Square will aim to enhance the experience of patrons and pedestrians in downtown Houston, as well as contribute to the cultural landscape. The new square features a performance lawn for free concerts and programs, a cascading fountain, gardens, trees, lighting and sound elements, a space for a future restaurant, and mini murals on traffic boxes created by Anat Ronen and Jessica Guerra (Guerra Girl).
Lynn Wyatt Square / Courtesy of Houston First Corporation on X
“This is a game changer for downtown Houston. I am so excited to see this square come to life as a public space that connects the arts and, more importantly, connects people to the arts,” said Mayor Sylvester Turner in a statement.
While owned by the city, Lynn Wyatt Square is managed by Houston First Corporation, which will maintain and operate the park, as well as oversee its year-round programming in collaboration with local arts partners and stakeholders, according to a press release.
Named after philanthropist Lynn Wyatt, who announced a donation of $10 million toward the project in 2019, the Square is a major renovation and renaming of the former Jones Plaza, which was constructed in 1966.
Lynn Wyatt Square under construction / Courtesy of Houston First Corporation
“I love Houston, I love the arts and I absolutely love this beautiful Square. I am thrilled to support the team bringing people and the arts together in the heart of downtown,” said Wyatt in a statement. “I look forward to all the good this Square will do now and in the future for the people of this dynamic city and our world-class performing arts community.”
In addition to Wyatt’s donation, the Downtown Redevelopment Authority committed $10 million; Houston First Corporation committed $5 million; and additional funding was contributed by The Elkins Foundation, The Cullen Foundation, The Fondren Foundation, The Wortham Foundation, The Herzstein Foundation, Robert and Janice McNair Foundation, Vivian L. Smith Foundation, and M.D. Anderson Foundation. The project’s funding is approximately 45% private and 55% public, according to Houston First.
Lynn Wyatt Square / Courtesy of Houston First Corporation
As Lynn Wyatt Square opens, the city’s 2023-2024 downtown performing arts season is underway—this weekend alone, Alley Theater offers its season-opening production, American Mariachi; Houston Ballet is in production with Tutu at the Wortham Center; Houston Symphony presents Broadway Blockbuster with Norm Lewis at Jones Hall; and at the Hobby Center, Ars Lyrica Houston performs the concert Fallen Angels and Performing Arts Houston presents an Evening with Isaac Mizrahi.
“Lynn Wyatt Square is such an important addition to the landscape of Houston. This project, many years in the making, shows what is possible when private philanthropy, municipal partners, and the arts join together in a shared vision,” said Hillary Hart, Chair of Theater District Houston and Executive Director of Theatre Under The Stars, in an email to Houston Arts Journal.
“Located in the heart of the Theater District it creates the perfect place for people who love the arts to connect, and those new to Houston’s thriving arts scene will be able to discover the work of the incredibly talented artists who are an integral part of this community,” said Hart.
2023 Cohort of the Black Theatre Coalition/Broadway Across America Fellowship program / Courtesy of www.broadwayfellows.com
The Black Theatre Coalition and Broadway Across America are now accepting applications for their 3rd annual Fellowship Program, which offers Black-identifying undergraduate college juniors and seniors, recent graduates, and early-career professionals an opportunity to learn about the commercial theater business and Broadway touring industry. The application deadline is September 29, 2023.
The paid fellowship is a 14-week program that takes place in the spring semester at one of the following Broadway Across America offices: New York City, Atlanta, Baltimore, Boston, Cincinnati, Fort Lauderdale, Houston, Louisville, Minneapolis, Ottawa, Salt Lake City, and Seattle.
Fellows will learn about administrative, management, and business topics, such as producing, presenting, ticketing, marketing, and operations. The program culminates in a four-day trip to New York City for networking, on-the-job learning, and Broadway shows.
The BTC•BAA Fellowship works to address and combat the lack of racial representation in the Broadway industry by introducing young, Black-identifying professionals to the commercial theater business and equipping them with the tools necessary to be successful in the industry. It also provides a foundation of mentors and colleagues to whom they can turn to for support as they pursue a career beyond the stage.
Broadway Across America, press release
While the opera and theater worlds have seen efforts to increase diversity both onstage and offstage in artistic positions, Black professionals “make up less than 1% of the theatrical workforce,” according to the Black Theatre Coalition.
“For us, it really is about not looking at those who are on the stages, but those who are behind the stages, those who are in the offices, in the companies that really support and make Broadway happen,” said Black Theatre Coalition Co-Founder and Artistic Director T. Oliver Reid, in a 2021 interview on The Broadway Show.
“For those who don’t sing, act, or dance, there’s still a space for you in the American theater. That may be in marketing or public relations, or that could be as a general manager or a facilities manager—all these things that we don’t hear about, those positions and those careers, as readily as those that are singing, acting, and dancing,” Reid said.
The Black Theatre Coalition/Broadway Across American Fellowship program will select 10 positions nationwide for its 2024 cohort.
Organizers said that one position will be available in Houston, where Broadway Across America houses its office in the Galleria area and presents its shows at The Hobby Center downtown.
Houston has engaged with the conversation about the lack of diversity in hiring in the theater industry, notably in 2020 when actress Candace d’Meza, with the support of fellow theater professionals, called for Houston theaters to reflect the community, asking for 40% of hires both on and off stage to be Black, Indigenous, People of Color.
The local theater scene has also seen other recent efforts to increase industry training opportunities for artists and arts administrators of color, including Main Street Theater’s BIPOC Fellowship Program, which was founded in 2022.
Houston Arts Journal 