NO LONGER ‘ACTING,’ HE’S THE REAL DEAL. Greg Curtis (correction: DOUG Curtis – see comments below), acting president and CEO of the AT&T PAC, is the full-fledged, accredited, rosy-cheeked president and CEO of the place, starting August 1. Curtis has been with AT&T PAC since its design phase, but stepped in to the big office when Mark Weinstein unexpectedly vacated it in March 2012.

WAIT, THAT’S RAIN OR SHINE? Shakespeare Dallas had to cancel two performances this week because of all the rain we’ve had (and BTW, Midsummer and Pericles close this weekend). But previously, the SD shows had gone on even when the temperature had hit more than 100 degrees. Meanwhile, in New York, the NY Philharmonic cut short an outdoor performance in the Bronx when it got hotter than 90 degrees. In NY’s defense — having lived there during a couple summers — I can say 90 degrees in that city feels like Houston piled on Hades.

WHAT NEON LIGHT THROUGH YONDER WINDOW BREAKS? Former Dallas Theater Center company member Nance Williamson (last seen there in Dividing the Estate) has been cast in the Broadway staging of Romeo and Juliet set to open Sept. 19. The first Broadway revival of the play in 26 years, it features Orlando Bloom making his Broadway debut. No word yet on what role Williamson plays.

ART IS ART? Kevin Jacobs, the curatorial mind behind the unconventional Oliver Frances Gallery, has been spending his summer up in New York, taking part in a cycle of art shows for Interstate Projects called “6<<<>>>6” (pronounced, I think, “Brooklyn”). Jacobs’ contribution is SKIM MILK (with several Dallas-based artists) and Lucia Simek asks him about the whole Dallas vs. NYC thing, which hasbeen the sub-text of my last three items this morning:

For me, as a “Dallas-based curator,” gaining experience in NY is one of the most important things that I can do right now. I love being in a position to show artists that I really care about in a city that seems to give a lot more attention to art. It’s not the be-all-end-all, but it’s a really great start. I am hoping for more opportunities in the future. … With the amount of effort that I put into showing the artists that I work with, I don’t really care about Dallas for Dallas and all of that talk. Dallas does not owe anyone anything. That’s the wrong approach and mindset. I like thinking about doing things for artists that deserve to be recognized, no matter where they are from. Yes, for SKIM MILK at Interstate, the artists I chose to work with are mostly Dallas-based, but that’s because of my situation. I have grown up in the “Dallas art world” and have learned about these Dallas-based artists more intimately than artists in other geographical locations.