At Thursday's preview performance of Quad City Music Guild's Thoroughly Modern Millie, I seated myself in the third-to-last row of the Prospect Park theatre, yet even at that distance, I found myself distracted by an intense, nearly blinding illumination shining from center stage. It turns out, though, that this wasn't any kind of technical glitch; it was just Melissa Anderson Clark grinning at us.
Genesius Guild opened its 51st season on Saturday with Gilbert & Sullivan's comic operetta Patience - co-produced by Opera @ Augustana - and the signs were good right from the beginning.
Let me preface by saying that the Clinton Area Showboat Theatre's Friday performance of Always ... Patsy Cline received a hearty standing ovation, which, based on the happy audience murmurs that circulated whenever the band began one of the country singer's signature numbers, appeared largely composed of Cline admirers.
OCEAN'S THIRTEEN
I'm tempted to say that the high point of the Circa '21 Dinner Playhouse's Oklahoma! comes in the show's first minute, when Adam Clough's Curly enters singing "Oh, What a Beautiful Mornin'" in a thrillingly rich, powerful baritone. Such a statement, however, might indicate that the rest of the actor's performance is somehow less of a thrill. Put simply - and with no disrespect meant to director Jay Berkow or the show's other participants - this Oklahoma! works because of Clough.
Watching the cast perform in the Timber Lake Playhouse's production of The Best Little Whorehouse in Texas is like witnessing a mass exodus on the last day of the school year; the actors appear so excited about their newfound freedom that they can barely contain themselves.
KNOCKED UP
PIRATES OF THE CARIBBEAN: AT WORLD'S END






