Jackie Patterson, Jackie Skiles, and Sarah Ade in The Curse of an Aching Heart: Or, Trapped in the Spider's WebSo far as melodramas go, The Curse of an Aching Heart: Or, Trapped in the Spider's Web is, for me, one of the more tolerable and entertaining works in its genre. Not being a fan of this brand of comedy, I still laughed quite a bit during Thursday's performance at the Richmond Hill Barn Theatre, as playwright Herbert Swayne's clever wit and director Tom Morrow's pleasingly on-the-verge-of-over-dramatic tone made for an amusing night of comedy.

Tom Walljasper, Sandra D Rivera, Tristan Layne Tapscott, and Erin Dickerson in Are We There Yet Five Extraordinary Ensembles

An actor friend of mine says he always wants to be the worst performer in everything he's in, because if the rest of the cast is doing stronger work than he is, that means the show is in really, really good shape. With that in mind, any actor worth his or her salt would be thrilled to be the worst performer among these five ensembles.

 

Al Whitmore, Dave Rash, and Dawn Rena Lang in Catch Me If You Can "Life's full of surprises."

These were among the first words spoken from stage during the opening-night presentation at the Richmond Hill Barn Theatre. Yet while this sentiment would've sounded perfectly appropriate coming from one of the characters in the comedic mystery Catch Me If You Can, it was actually a statement by the show's director, Kevin DeDecker, who preceded the performance with an announcement: Actor Mike Skiles had fallen ill, and his role as Inspector Levine would be assumed, that evening, by the production's stage manager, Drew Carter - a young man who would be carrying his script in hand, and would also be making his (accidental) stage debut.

Stan Weimer and Diane Greenwood in California Suite For my money, California Suite is the ideal Neil Simon play, as it's actually composed of four independent one-act plays, giving you far less chance to grow exhausted by his characters' persistent wisecracking.

Kevin DeDecker, Dan Faust, and Tom Morrow in When the Richmond Hill Barn Theatre's current production of Arsenic & Old Lace is really rolling, this venerated black comedy (well, dark-gray comedy) is absolutely delightful. The problem, though - or rather, the problem with last week's opening-night performance - is that Richmond Hill's production doesn't so much roll as lurch; despite their frequently endearing characterizations, the actors on Thursday evening had so much trouble getting their words out that the show never quite found a satisfying rhythm. The experience was like taking a vacation road trip in a vehicle that keeps threatening to stall: You've made it to your destination, and you've had a good time along the way, but you're still a little grateful when it's over.

Alexa Florence and Chris Zayner in You can tell that the Playcrafters Barn Theatre's production of Strangers on a Train is doing its job, and doing it quite well, because - at Friday's opening-night performance, at any rate - the show appears to be making a large segment of its audience really uncomfortable.