I’ve seen two of Martin McDonagh’s plays when they were produced in New York in the mid-late 1990s, and they are simply brilliant pieces, in part because of the way they force you to re-examine your own morals. He sets up these outrageous scenes that are absolutely hilarious, then delivers the knock-out punch that makes you realize you’ve been laughing at something that is, in fact, incredibly tragic.

Today marks the 80th birthday of Paul Taylor, artistic director of the Paul Taylor Dance Company. Mr. Taylor has been dancing and choreographing for over 60 years, enjoying a career that has fundamentally shaped the development of modern dance in America. In honor of Mr. Taylor’s extensive contributions to both modern dance and dance education, and in celebration of such a landmark birthday, we’ve compiled a history of the previous appearances of the Paul Taylor Dance Company at UMS.

Anderson has an incredible talent for taking bits and pieces of our hyper-commercial, hyper-politicized society and spinning them into moments of hyper-realistic cyber-techno poetry that challenge authority, bend reality, and demand that we see the world differently. Audiences can expect to be surprised and challenged by the way Anderson transforms herself through what she’s called “audio drag”: sometimes she’s the cool, calm, collected self-help guru, sometimes she’s the evil robot of our worst sci-fi futuristic nightmares, and other times she’s a domineering patriarch.

SN: Grupo Corpo’s work has been described as “searing sensuality elegantly under control” (Le Monde, Paris)—what specific style(s) of dance can audience members expect to see at this performance?
RL: From the numerous video clips I have seen, …

Just came across this interesting article about what theatergoers ate in Elizabethan times, as determined by excavations under the Globe and Rose Theaters.
Oysters anyone?  Sturgeon?  How about an elderberry pie?
What’s the most unusual concessions fare …