He served with three artistic directors at the Dallas Theater Center: Adrian Hall, Ken Bryant and Richard Hamburger. And for one year, he more or less ran the theater.

Who knew?

What can one say about a book review that concludes a great bonus in this particular novel is that the Bears beat the Cowboys? Well, so far, it’s in a tiny, minority. Ben Fountain’s novel, Billy Lynn’s Long Halftime Walk continues to rack up the accolades.

We knew Cedric Neal had gone to Broadway, and Abby Siegworth had only a 2-year appointment. But Matthew Gray leaving??! Well, there are two new appointments to offset that sting.

The Texas-born soprano is starring in Fort Worth Opera’s Lysistrata. She just finished Dallas Opera’s Magic Flute. Next stop: Europe.

Architecture critic Paul Goldberger on the Nasher’s slow-roasting by Museum Tower: “The Nasher was there first, it didn’t create the problem, and it is suffering from it.” Why, in heaven’s name, he asks, should it be asked to help remedy the problem?

Unlike Spring Awakening, American Idiot was built for big houses like the Winspear. The Broadway musical packs a visual wallop to match Green Day’s pop-punk thunder. Trouble is, wallop and thunder is mostly all we get.

We’ve come to accept so much of what Harold Pinter pioneered in The Birthday Party. From Monty Python to David Mamet, we’ve found his menace, his puzzles, his great, off-the-wall humor. It takes the Undermain and director Patrick Kelly to find the old-fashioned, theatrical delight.

Because Fort Worth Opera presents its shows in rotation, it has to scramble between Bass Hall and Scott Theatre. That’s going to change. What isn’t changing is its commitment to newer, more adventuresome operas.

The one that would permit you to perfect your vocals – live? Or harmonize with yourself as you sing? Well, it’s here.