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.

In which I recount a favorite personal anecdote and a bit of wisdom from the late architecture critic for The Dallas Morning News.

Pure originality is a romantic illusion. Innovators steal and borrow and sample their predecessors. “All art is a remix” goes the new mantra. And one great example is The Matrix.

Didn’t break the national record for a single live opera simulcast in a stadium. But Saturday’s crowd was double the Dallas Opera’s original expectation of 7500.

The Dallas Bach Society will perform Bach’s St. John Passion, while the Dallas Symphony will perform his St. Matthew for the first time in 50 years. The one concert is church-ensemble small, the other’s symphonic-big. The one’s aiming for early-music authentic … and so’s the other one?

One art museum, the Clark Institute, provided the works for both the new Kimbell and Amon Carter shows. It’s that remarkable a collection. And the two shows are very different, one lush, rich and pretty, the other short and stunning.

Think of this little video as combining music from 35 Denton with SXSW Interactive’s trendy gizmos: the cutting edge in techno-pop.

One reason Lysistrata Jones failed in New York, Maxwell Anderson brings in a colleague to join him at the DMA, the Kimbell is compared to the Getty — and more in this morning’s roundup.

The decades-long battle over the invention of television may get distorted in The Farnsworth Invention, but Theatre 3’s production makes it a sharp, snappy entertainment — one of the company’s best.

Dallas at night looks like the carnival has come here for good. Architectural skyrockets, that’s what we’re getting. So the Dallas Center for Architecture held a panel discussion. What’s up with all the new neon?