the Center for Dance also boasts an in-house costume shop, shoe room, music library, the Houston Ballet Academy Studios, the Professional Company's Studios and Dressing Rooms as well as a covered walkway that connects the Center for Dance to the backstage of the Wortham Theater Center. Jesse H. Jones II and Anita Stude chaired the capital campaign for the Center for Dance. It was a two-pronged campaign that raised money to construct the building as well as increase Houston Ballet's endowment. Excavation of the building site began in July 2009. On March 10, 2010, Houston Ballet hosted a party with dancers, staff members, donors, and friends to sign the last construction beam. In the end, the new building cost $46.6 million. Staff moved into the building in February 2011, and then-Mayor Annise Parker presided over the ribbon-cutting on April 9. Displacement by Hurricane Harvey On August 26, 2017, Hurricane Harvey hit the city of Houston. Both the Houston Ballet Center for Dance and the Wortham Theater Center took on water, leaving the company and Academy without rehearsal and performance space just as the 2017–18 season was set to open. Nevertheless, the long-anticipated Houston premiere of Sir Kenneth MacMillan’s Mayerling took place on schedule thanks to The Hobby Center for the Performing Arts, which opened its doors without hesitation. While Hurricane Harvey affected operations at Houston Ballet only temporarily, the damage incurred within its theatre home, the Wortham Theater Center, was extensive. The Wortham received 15 feet of water and remained closed for the rest of the season. The Wortham serves as an important storage location for Houston Ballet costumes. Forty years of Houston Ballet history was lost to floodwaters. Wigs, tights, leotards, and speciality items to more than 50 productions were completely destroyed. Among the costumes lost were those for Mark Morris' The Letter V, Aszure Barton's Angular Momentum, and Christopher Bruce's Hush. In order to preserve the 2017–18 season, Houston Ballet launched its Hometown Tour and presented its planned season at alternate venues, including The Hobby Center for Performing Arts, Smart Financial Centre at Sugar Land, Houston Grand Opera's Resilience Theater at the George R. Brown Convention Center, the General Assembly Hall at the George R. Brown Convention Center, and Jones Hall. Being displaced from the Wortham Theater Center is the greatest financial threat Houston Ballet has ever faced, and the total impact will be unknown for the next