A streamlined classic with touches of pre-Raphaelite dressing by the late Kristian Fredrikson, Stanton Welch's new $1.6 million Swan Lake was the high point of the dance season this year. Beautiful to look at and swift of foot, this version of one of ballet's most beloved tales of love and loss showcased the Houston Ballet corps at its finest. Who knew the gals of HB could perform in such fluid unison as the graceful swan flock? Artistic director Welch is known for his contemporary, plotless works, but with this bird, he's shown he's also capable of reinventing the classics with style and verve.
And once again the award goes to...Mireille Hassenboehler, Houston Ballet's rising star. This long-limbed creature -- who looks and dances like the best and brightest of the Balanchine glory days -- proved her classic chops again this year as Odette/Odille in the new Swan Lake. Not only has this muse triumphed in almost all of the great classical roles, she can also kick it up in contemporary reps by world masters from Christopher Bruce to William Forsythe. Sure, we still love Lauren Anderson, and we are so glad that Barbara Bears came out of retirement, but Hassenboehler is the star in Houston Ballet's future galaxy.
Dominic Walsh Dance Theater Studio
Dominic Walsh is a triple threat: He dances, he choreographs and he has better business acumen than Jeff Skilling. Who knew a former Houston Ballet dancer could put together a company that was not only artistically vibrant but also financially healthy? Walsh has done it. Last season he mounted the most expensive contemporary dance performance ever in Houston, and he added support staff members, office and studio space while continuing his collaboration with Mercury Baroque and his participation in the Illumination Project. And Dominic Walsh Dance Theater shows no signs of slowing down. Next season look for Mauro Bigonzetti's U.S. premiere of Pression as the highlight of DWDT's season.
Rudyard's
Rudyard's is the self-described "living room of Montrose," and considering that quesadillas, pizza and other tasty treats (the ones most likely to stain your sofa) are in no short supply here, this is a fair assessment. Many drinking establishments are really restaurants that also sell alcohol, but Rudyard's is a bar first, with its live music venue and restaurant vying for second. That doesn't mean the food is lacking, though. Their greasy delectables are made to order and include the famous Rudz burger, which became so popular that the bar is now open at lunchtime. But even if you're in no mood for a burger or the equally celebrated fish and chips, you'll find a great variety of salads, steaks, pasta and snacks on the extensive menu. Rudyard's secures the Best Bar Food title with this small detail: Ice-cold ketchup is brought to the table along with your order. It's the little things that matter, and in the beer selection, as well as the food, Rudyard's displays considerable showmanship.
Lead guitarist Erik Westfall, whose band was formerly known as the Slurpees, once said that he knew the band would make it big if they were ever sued by 7-Eleven. Well, they came close: After a write-up in the Chron, the group received a cease-and-desist letter from the home of the frozen treat. And so Westfall and Co. changed the band name to the Squishees and have kindly asked friends, fans and press to avoid associating them with the copyrighted beverage. (We promise that this is the last time, guys.) Of course, it's never a good idea for an up-and-coming act to change its name so early in the game, but the group had to look no further than The Simpsons for a familiar-sounding replacement. Let's just hope Matt Groening enjoys flattery more than litigation.
The people at Helios have always maintained that the joint is an art space, not a bar, but once you've kicked back a few well drinks and/or Lone Stars, it's hard to tell the difference. Owner Mariana Lemesoff and other local artists created most of the tables, chairs and decor from scrap metal. Molds of Lemesoff's arms, legs, face and breasts adorn the walls, and a wreath of stilettos and a loafer designate the men's and women's restrooms, respectively. You're guaranteed to notice something different at each new trip, although you can be sure it won't be one of those alligators wearing a cowboy hat -- unless Lemesoff's next project is taxidermy.
Catbirds
Catbirds doesn't have the town's best parking situation, especially on a busy night, but once you're inside and the vocals by greats such as Ella Fitzgerald and Nat "King" Cole kick in, you forget about the perilous journey you made to get there. The atmosphere is always laid-back, regardless of the head count, and the staff never seems too rushed or too frazzled. It's a great place for a round of beers, a nice martini, a mixed drink or all three. Grab a brew, some popcorn and an NTN console and find a seat out on the patio for a night of testing your wits against the cutie across the bar.
Witnes's skills on the ones and twos, plus his ability to keep a steady scene at The Proletariat's "Rockbox" every Thursday, are what make him worthy of Best DJ honors. (And his radio show, Late Nite Snax with The Grinch on KPFT/90.1 FM, brought Houston the latest in local, independent and vintage hip-hop until it was given the ax by the programming board earlier this year.) Witnes (a.k.a. Michael Zapata) first established his place on the Houston night scene as a regular DJ for events involving the urban art collective Aerosol Warfare, and he's always been willing to lend a hand to aspiring artists looking for a break. Along with resident DJs Stiletto and Dayta, "Rockbox" usually includes one or two newbies looking to test their skills, and an impressive selection of indie up-and-comers, proving that Wit, who chooses the performers, is keeping his ear to the streets.
Moody Gallery, which celebrated its 30th anniversary last year, is a well-respected fixture on the Houston art scene. Founder and director Betty Moody focuses on work that has what she feels is a personal vision; she doesn't care about courting art stars and avoids flash-in-the-pan trendiness. The gallery's focus on contemporary American art comes with a heavy emphasis on Texas, and although she has a solid selection of older artists (the gallery represents big names such as Terry Allen, the Lubbock-raised artist and singer-songwriter), she's open and encouraging to young ones. University of Houston MFA graduate Michael Bise and his quirky autobiographical pencil drawings are a recent addition to the gallery's stable of artists. The gallery's calendar of consistently strong shows is the product of Moody's thoughtful and personal approach toward art.
Italian-born Paola Morsiani brings a broad range of art to the Contemporary Arts Museum Houston. In the past year, she organized an exhibition of work by an international art star, an installation from a little-known Albanian artist and a group show of emerging Houston artists. She also co-curated a fascinating survey of works by Andrea Zittel, an artist whose pieces stray into design and architecture: compact and portable living spaces, all-purpose fashion and other products for better living. Morsiani's show of Adrian Paci's culturally derived video installations (read: professional mourners and disappearing icons) introduced the Albanian artist's work to Houston audiences in his first U.S. exhibition. Working locally, Morsiani put together the first museum show for four Houston artists making diverse work with a narrative bent, addressing everything from middle-class Iranians to chemical plants to darkest suburbia. Morsiani's attitude toward artists is egalitarian, with her primary focus being on interesting work.

Best Of Houston®

Best Of