Petra Kuppers describes Wayne McGregor’s intensive movement research which informs his choreography: “There is a long tradition of work fascinated by difference: last month’s Einstein on the Beach, is based on the writings of Christopher Knowles, an autistic poet, and collaborator of Robert Wilson. In AtaXia, disability and bodily difference emerge as formal movement principles, and create a new attention to different ways of being in space.”

Leslie Stainton on Sunday’s Saturday Morning Physics event featuring physicists Sean Carroll and Michael S. Turner, and composer Philip Glass.

Excitement is brewing this week in Ann Arbor and seems about ready to burst. Einstein on the Beach is officially beginning again, for the first time in twenty years, and after much anticipation….tomorrow. All of our preview performances this weekend are sold out, and we’ve been told that people are coming from 30 different states to see what we have created. The thought is thrilling, humbling, and sobering all at once.

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Mel Brooks’s “Producers” they’re not. “No way we’ll become get rich on this,” Linda Brumbach said yesterday at UM’s B-School in a 90-minute public conversation about the ins and outs of producing Einstein on the Beach. Brumbach is the head of Pomegranate Arts, the tiny production company that’s taken on the near-impossible task of bringing Einstein to the stage here in A2 and in 10 other venues around the world. The tour ends in Hong Kong in March 2013, and Brumbach says she’ll consider it an artistic success if “Bob, Phil, and Lucinda get the piece they want.” That’s Robert Wilson, Philip Glass, and Lucinda Childs, the artists who gave birth to the monumental opera in 1976 and have seen only two revivals since then.