Archive for May, 2012

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A TRIBUTE TO PRESTON FRAZIER, RINGMASTER OF THE NUTCRACKER MARKET

May 25, 2012

By Andrew Edmonson, guest writer

Houston Ballet was saddened to learn that longtime Houston Ballet trustee Preston J. Frazier passed away on Sunday, May 20, 2012 at the age of 86 of natural causes in his home.

For over four decades, Preston was a passionately committed volunteer and trustee of Houston Ballet.  In 1981, he created the concept for Houston Ballet Guild’s phenomenally successful fundraiser, the Nutcracker Market.   Over the last 30 years, the Market has grown to be Houston’s third largest fundraising event and has generated over $36 million for  Houston Ballet Foundation, its academy and scholarship programs for young dancers.

A native Houstonian who graduated from Lamar High School and Rice University with a degree in engineering, Preston went on to serve as a lieutenant in the U.S. Navy, and to found Cargo Houston, an import company that presaged Pier 1.  Preston was a passionate balletomane, with a deep love of dance in general and Houston Ballet’s dancers specifically.  For many years, he managed Houston Ballet’s boutique in Wortham Theater Center on a volunteer basis, generating hundreds of thousands of dollars for Houston Ballet.  When he wasn’t working in the boutique, he could be found watching Houston Ballet performances intently, appreciating every nuance and detail.

Without his constant support in many ways from the 1970s to the 2000s, Houston Ballet would not be the same company it is today.  Preston truly set the bar for how a passionately committed volunteer who loves an organization can help take it to new heights.

Preston was many things:  an entrepreneur, a world traveler, a jokester, and the consummate volunteer.  In all those roles, he made an indelible impression on the lives of those he touched, be they Houston Ballet dancers, staff or other volunteers.  We share some of our memories of Preston below.

Kate Crady, Houston Ballet’s Director of Public Relations in the 1980s:

Preston was a ring leader, and a force of nature. In everything he did there was a sense of a circus where he gave everyone a part, and encouraged everyone with praise. The world was his playground, and he swept everyone up in it.

Once he took his god children to the circus. He arrived in the car that had been decorated in crepe paper and balloons, with a long sign along the side of the car saying, “The Mears are Going to the Zoo!”

He found humor where no one else found it. He loved other cultures and traveled worldwide to purchase unusual merchandise for his Galleria store, Cargo Houston, so he could introduce the things he gathered as a means to educate about different cultures. His travels took him to the far corners of the Far East to find unusual merchandise. Once the hotel desk clerk gave him a pistol to take with him to his room to shoot the rats!  He thought that was hilarious.

Preston had a sense of creativity about everything he did. He turned the Nutcracker Market from a few jars of jam into a $3 million operation.  It was Preston who was the guiding force, he was the one who got everyone involved.

The year after the market surpassed the $1 million mark, people from all over the U.S. and Canada traveled to Houston to meet with him to find out his secret.  The market has been copied often and benefitted the missions of so many nonprofit organizations. He was a natural marketing genius without intention, just Preston being creative and original. His tireless efforts and incredible enthusiasm made the market what it is today.

Preston did things one step at a time, and it always involved people, as he was constantly rewarding people who had contributed, always having fun along the way. He introduced people to each other, and people would shine because he had knack for seeing them at their best. He would envision something, get everyone involved, offer guidance, but always made people think they thought of it.

He never asked for accolades or credit. He was constantly giving credit to others. He was too busy thinking of the next thing.

Kate Kirkland, former Houston Ballet trustee and president of Houston Ballet Guild:

I was President of Houston Ballet Guild from January1981 until June 1982.  I will never forget the day Preston came to me with the idea for a Christmas market and a request for underwriting.  Already he was projecting $600,000 — but we only had $20,000 to lend.  His dreams came true and so much more.  Without Preston we would not have begun.

All of us will never forget his passion for ballet, his knowledge of Houston’s heritage, and his great gifts to the community as a worker, benefactor, mentor, and friend.  What a lovely man — one of my favorite Houston Ballet personalities.  I will truly miss him.

Ava Jean Mears, Houston Grand Opera Public Relations Director during the 1980s and a close personal friend of Preston Frazier since 1944:

One of his Preston’s first jobs was as an usher at the River Oaks Theater, and he always loved the theater from then on.  He worked his way up to assistant manager. He lived just a few blocks away and walked to work every day, and carried his money home in a paper sack.

I remember a 1960s themed party he organized in 1980.  Everyone dressed up in costume wearing bobby socks and loafers with poodle skirts. He dressed up as a DJ with a painted-on black toupee. It was so fabulous. People danced for hours and hours on the dance floor.

Patsy Chapman, Houston Ballet’s director of individual giving and events who manages the Nutcracker Market:

Preston taught me much of what I know today about retail sales, the wholesale markets and the Nutcracker Market and I will forever be grateful to him for passing along this mighty torch.  I have the fondest memories of this hard-working man, jokester and friend.

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When Genius Collaborates

May 17, 2012

Houston Ballet’s exciting mixed spring performance, Made in America, is almost upon us. The program will include George Balanchine’s Theme and Variations, Houston Ballet’s premiere of Mark Morris’s Drink to Me Only With Thine Eyes and the world premiere of Nicolo Fonte’s See(k).

See(k) is particularly exciting since Mr. Fonte created the ballet specifically for Houston Ballet and enlisted in some outside help in doing so. The ballet is set to an original score that was commissioned from Anna Clyne. London-born Anna Clyne is a composer of acoustic and electro-acoustic music, combining resonant soundscapes with propelling textures that weave, morph, and collide in dramatic explosions. Her work, described as “dazzlingly inventive” by Time Out New York, often includes collaborations with cutting edge choreographers, visual artists, film-makers, and musicians worldwide. She is currently the Chicago Symphony’s Mead Composer-in-Residence through the 2011-12 season.

Anna Clyne, photo by Rodd Rosenberg

In 2010 Mr. Fonte created Made Man for Royal Ballet of Flanders using the music of Anna Clyne, David Lang and Julia Wolfe. Following Made Man’s success, Mr. Fonte decided to contact Ms. Clyne about a possible meeting. In a coincidental twist, she was living in a Brooklyn neighborhood adjacent to Mr. Fonte’s. They met for coffee, and the rest, as they say, was history. Mr. Fonte mentioned he had a world premiere in the works with Houston Ballet and asked if she would be interested in writing a new score for it. Ms. Clyne readily agreed, making See(k) her first original score for ballet.

Niccolo Fonte; Photo by Mark Goleviowski

Mr. Fonte admits he was nervous at first about commissioning an original score for See(k). “I didn’t know what would happen if I didn’t like it and it turned out to be a disaster. But that wasn’t the case. Anna is fantastic and she created something really wonderful.” That’s not to say that the piece was perfect right off the bat. Ms. Clyne would send Mr. Fonte sections of music and adjustments would be made as needed. Some adjustments included removing instruments to make the beat the driving force or asking for more space in the music for the dancers to slow and pause.

Ms. Clyne did not work on the score from beginning to end, but would compose different sections at a time. The process for composing a score varies but according to Mr. Fonte, Ms. Clyne managed to put together the majority of the score in about three days in her studio in New York.

Right now the company is rehearsing to the recording Ms. Clyne created in the studio which is completely synthesized and while it gives a good approximation of what the music sounds like, it is not exact. Walking by rehearsal one day, a staff member stopped and stuck his head in. “What is that? Is that an organ? We don’t have one of those!”

He’s right, but an organ is not in the score. Audiences will get to hear a live, full orchestra performing the original score. Ms. Clyne is scheduled to arrive in Houston opening week to work with Houston Ballet Orchestra.

To see the world premiere of See(k) May 24- June 7, get tickets here!

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A SILVER ANNIVERSARY, AND A GREAT LEAP FORWARD

May 10, 2012

By Andrew Edmonson, Houston Ballet Director of Marketing & PR

May 2012  marks a very special moment in Houston Ballet’s history:  the 25th anniversary of the opening of Wortham Theater Center.  Houston Ballet’s first season in Wortham Theater Center was a transformative epoque in the life of the company, and it catapulted both Houston Ballet and Houston Grand Opera to an international level.   Over the next seven months, we will be sharing memories of this singular time in the company’s history with occasional entries on our blog from artists who lived through this dizzying moment.

Wortham Theater Center

Tonight (Thursday, May 10, 2012) the Pink Ribbons Project brings together the city’s leading performing arts organizations to celebrate the 25th anniversary of the opening of Wortham Theater Center as part of Pink at the Brown, a one-night only performance benefitting breast cancer education, research and treatment.

Pink at the Brown is a fitting way to celebrate this milestone in the company’s history.  Twenty-five years ago, a glittering gala celebration unfolded on the stage of the Wortham to inaugurate the new facility.  It was hosted by comedian and operaphile Tony Randall and produced by George Stevens. Houston Ballet Principal Dancers Janie Parker and Li Cunxin danced artistic director Ben Stevenson’s Esmeralda pas de deux, the full ballet company danced the finale from Harald Lander’s Etudes.  Houston Grand Opera presented act two of La bohème.  The U. S. Army Herald Trumpets saluted with fanfares, and a parade of luminaries danced, sang, played, spoke or joked: comedian Art Buchwald, singers Hildegard Behrens and Diahann Carroll, dancers Gloria Rodolfo Dinzel and Tommy Tune, and violinist Nadja Salerno-Sonnenberg.

David Glockley and Ben Stevenson at construction site.
Photo by Phyllis Hand

The opening of Wortham Theater Center was a key moment in the civic and cultural life of Houston in the 1980s. Built at the height of the 1980s oil bust, the $66 million facility was constructed entirely with private money, on two blocks of land donated by the City of Houston, and was completed four months ahead of schedule and under budget.  The project was championed by Houston’s first female mayor, Kathryn J. Whitmire,  as a way to position Houston as a cosmopolitan, sophisticated city of the world.  Psychologically, the completion of Wortham Theater Center was a signal moment for a city that had been battered by an economic recession and job losses.

Wortham Theater Center under construction

Having its own theater also allowed Houston Ballet to expand its subscription season performances from one weekend to two weekends, giving the dancers more performance opportunities.  (Prior to 1987, the company had danced in Jones Hall for the Performing Arts, and was limited in the number of performances it could give because of the venue’s exceedingly busy schedule and competition for open dates.)    At the end of the first of Romeo and Juliet performances in September 1987, a Houston Chronicle headline enthused, “Houston Ballet finishes best week of its history.” (September 7, 1987)

The grand opera house stage of Wortham Theater Center also provided Houston Ballet with a new platform on which to stage lavish new full-length productions of both traditional works of the classical repertoire (Ben Stevenson’s The Sleeping Beauty [1990] and Coppélia [1992] and Stanton Welch’s Swan Lake [2006] and La Bayadére [2010]) and to commission a series of new, original full-length works (including Ben Stevenson’s Dracula [1997], The Snow Maiden [1998]; and Cleopatra [2000]; Trey McIntyre’s Peter Pan [2002]; and Stanton Welch’s Tales of Texas [2004] and Marie [2009]).  These pieces have gone on to be performed across the country and around the world.

Moving into Wortham Theater Center also allowed Houston Ballet to greatly expand the number of performances of The Nutcracker that it gave each season, rising from 11 in 1986 to 29 in 1987 to 35 in 2012. The unveiling of Houston Ballet’s magical new production of The Nutcracker in 1987 launched a Texas holiday tradition that continues today. The Nutcracker also plays a key role in Houston Ballet’s financial picture, generating over $3.7 million in revenues (around 19 % of the organization’s annual budget) in 2011.

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