The professor of the one Neuroscience class I took in college is also an argument for that presumption.

I suppose I should challenge you to a duel for insulting my honor by slapping you in the face with…something…

"…but that's just because you've never seen that many dicks before. Just trust me."

Oh, you're right—I definitely misread "graphia" as "phagia".

"A compulsion to interject phallic imagery that borders on coprographia"

H-E-L-P.
Help. Me.
With Table Three.

Nerdy note: While THE PRODUCERS was the first musical that Brooks wrote music and lyrics for, he actually wrote sketches for a (successful) revue in 1953 and two (flop) musicals in 1957 and 1962: http://www.ibdb.com/person….

The fact that his career sort of sputtered out after that has always struck me as a terrible shame.

Seriously, guys. The most-discussed musical since THE BOOK OF MORMON (and probably the most influential since…RENT?) comes out with an absolutely brilliant album and not even a review? Get with it, people!

Yeah, we really have been losing them at an alarming rate. I re-listened to the cast album tonight—it remains remarkable. Three random facts about Dean Jones/COMPANY:

If the title's not a reference to "The Ladies Who Lunch", I'm completely uninterested.

I'm the weirdo who thinks that THE CARETAKER is actually pretty flabby writing—I think it's a terrific 1:50 play that takes 2:30 to get there.

I have yet to encounter ONE FOR THE ROAD. It's one of the one-acts, yes? I think that, as a general rule, Pinter is more potent when he's briefer, so I look forward to checking it out.

While THE HOMECOMING is still my favorite Pinter play, the best Pinter production I've ever seen was a production of OLD TIMES. The way that play invests the tiniest gestures and word choices with the greatest significance is nothing short of stunning. I hope this production lives up to it.

Non-ironic response: I agree wholeheartedly.

I'm still surprised to be reminded that Pinter wrote screenplays. His genius always struck me as so very theatrical—it's all about being in the actual room with the actual people. I think it's even risky to do Pinter in a large theatre—the menace is at risk of leaking out. I don't see how that would translate to film.…

Wendy Robie is mostly a stage actress, and works a lot in Chicago. She is always a fascinating presence, and has a highly eclectic resume—in the course of a few years, I saw her play the older woman in Caryl Churchill's FAR AWAY, the French maid in Noel Coward's PRIVATE LIVES, and one of the aunts in an adaptation of…

I should point out that neither of those ideas is original to me, but I am doing what I can to get them into the culture.

Janelle Monae as Dorothy and Tituss Burgess as the Lion.

This movie totally delights me. It also makes me sad for the disappearance of the stage mystery/thriller. Plenty of shows still thrive on plot-based tension, but they generally probe the darker recesses of the human heart. Which is a necessary and satisfying thing, but I do miss old fashioned "OMG what next?" shows,…