Davenport's Chordbuster Barbershop Chorus - the local chapter of the national Barbershop Harmony Society - has been performing concerts and benefit shows in the area for more than a half-century now, but chapter President Leo Schubert acknowledges that his organization is still flying under the radar.

Charlize Theron in Aeon FluxAEON FLUX

By all rights, Aeon Flux should be godawful. (Certainly, Paramount is treating it like it is, as the studio opted against pre-release screenings for fear of lousy advance notices.) Set some 400 years in the future, director Karyn Kusama's film - a big-screen vehicle for MTV's Liquid Television character - takes place after 99% of the earth has been eliminated by a virus, the most humorless 1%, apparently, having been left to roam the earth. Charlize Theron's Aeon leads a Spandex-clad revolt against the government, and the movie is, for the most part, a joke; the effects are particularly shoddy, and as they recite their clunky dialogue, you feel badly for several performers - when they were being feted as Oscar nominees, did Theron, Frances McDormand (in a red fright wig), Sophie Okenedo and Pete Postlethwaite ever think it would come to this? (The film's one impressive performance comes from Marton Csokas, who's like a more rugged version of Kevin Spacey.)

When you hear director Kevin Pieper describe the Quad City Music Guild's production of A Christmas Carol as "a new show to the area," it's easy to be skeptical. Haven't we already seen this holiday chestnut - and in this area, no less - more times than we can count? (Hell, I've been in it twice since 1994.)
Stuart Little, the family musical currently being produced at the Circa '21 Dinner Playhouse, is a near-perfect melding of actors and material, a musical comedy so creative and ebullient that you are instructed to secure tickets even if you don't have any kids on hand to chaperone you. The show has the sweetness of spirit that E.B. White's beloved tale requires, but it's better enjoyed as an ingenious vaudeville entertainment; with little overt plotting to get in the way, Stuart Little gives audiences a bevy of delightful musical and comedy sketches, and even though some of the songs are humdrum, the presentation never is. Circa '21's production isn't just a topnotch family entertainment; it's a topnotch entertainment, period.

RentRENT

During its first 10 minutes or so, the film version of Jonathan Larson's Tony- and Pulitzer Prize-winning musical Rent is so thrilling you might want to applaud. As the opening credits unfurl, the movie's cast - all but two of whom reprise their original stage roles - sings Rent's signature number, "Seasons of Love," on a bare stage in dramatic downlight, and performs with fervent, passionate joy.

Wicked Good

Among the special features on the Wicked Liz & the Bellyswirls - Live at Circa '21 DVD - the release of which is being celebrated at Rookie's on Saturday, November 26 - is an early promotional video in which the band members describe their group's sound to an off-screen interviewer.
Adapted from David Sedaris' famed audio presentation and subsequent short story, The Santaland Diaries - the latest endeavor from My Verona Productions, currently playing at Rock Island's ComedySportz venue - is an acting triumph for its star, Adam Lewis. Playing an unmotivated 33-year-old who finds himself - to his abject shame - employed at Macy's as one of Santa's elves, Lewis is spectacular; as he enacts his character's grueling ordeals in a one-man show that's part monologue, part stand-up routine, and part performance-art piece, the actor is thrilling to watch, so brilliantly focused and ceaselessly inventive that he leaves you a bit in awe.

Lisa Kudrow and Bobby Cannavale in Happy EndingsHAPPY ENDINGS

This summer, I was fortunate enough to catch a special screening of writer/director Don Roos' Happy Endings at the University of Iowa, but decided to hold off on a review until the film made it to our area.

For many stage actors, the chance to perform a one-person show would be a dream come true. For Adam Michael Lewis, this dream has come true, but not, it turns out, for the first time. Or the second. Or even the third.
Christmas from the Heart, which opens the Circa '21 Dinner Playhouse's 29th season, is a holiday-themed musical revue, and as such, it has a built-in advantage that many stage works don't: Audiences don't make many demands of it. When presented with a piece of this sort - in which the production is essentially an excuse for linking together a diverse group of carols and holiday hits - no one really cares what the story is about or whether the characters have any depth; all we ask is that the numbers are well-sung and that the show maintains a lively pace, and if it's funny or touching or particularly well-designed, those are just added bonuses.

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