Ever since archaeologists found the remains of the Rose Theater in 1989 — where Christopher Marlowe's dramas were once enacted — there's been an explosion of research into the Elizabethan playhouses. Scholars still haven't answered many puzzles — they're not even certain how many sides the Globe had. But they've found some of the first concrete clues to what the theaters were like, what stage life was like. London archaeologist Julian Bowsher gave a lecture Thursday at the Dallas Museum of Art — and spoke to Think.

Big noisy fun but that's all: DTC artistic director Kevin Moriarty opens the company's new home with A Midsummer Night's Dream that pumps up the volume and the dancefloor energy. It's got balloons, graffiti art and squirt guns. Forget about anything heartfelt, though.

Last in our series of one-on-one interviews with the architects behind the AT&T PAC. After their press conference, Norman Foster and Spencer de Grey talked with us about loving opera, traditions vs. popularity and the AT&T logo on the Winspear's roof.

Did you attend the live performance of Philip Glass' Dracula score on Saturday at the Winspear Opera House? KERA's (and soon to be KXT's) Paul Slavens did, and he sends along this review.

KERA's Bill Zeeble talks with Winspear Opera House acoustician Bob Essert about his sound design for the hall.

Innovative architect Rem Koolhaas met with the media last week — and then sat down with us to answer questions about the Wyly Theatre, Dallas architecture ("very bland"), the courage of Dallas donors and the horizontal vs. the vertical in the Arts District.

It's a twofer. The Winspear had back-to-back openings this weekend — did you hear? — with the Dallas Opera and TITAS. Bill Zeeble reports on the response to Otello and Jerome Weeks reviews Philip Glass' Dracula.

We've heard a lot about the Winspear's red glass, its solar canopy, its chandelier. But none of that matters quite as much as something that's really going to get tested tonight — the hall's acoustics. Bill Zeeble reports on what we might hear at tonight's opening of the Dallas Opera's Otello.

Architect Joshua Prince-Ramus met with the media and the public last week — and then answered our questions about why the Wyly Theatre's interior has only one bright color, how "low-tech" the Wyly actually is and what happened to his relationship with his mentor, Rem Koolhaas.

You didn't manage to get to the Arts District Sunday? Still stuck on the Green Line? Feeling left out of the whole sunshine-y, people-happy, arts-splendid, crowded-parking experience? Well, we've got a video for you. Two of 'em, in fact.