In The Complete Works of William Shakespeare (abridged) [revised], director Brent Tubbs has taken the dreary health precautions we've become inured to and turned them into comedic assets.

English people have a deserved reputation for rigid politeness, avoiding embarrassment, and keeping improprieties secret. These personality traits help drive much of the comedy of English farces. They drive this English story in an entirely different direction. Inside the proper tea kettle of this crowd, there's a bubbling mass of depravity and perversion threatening to boil, shriek, and spew forth secrets. Here, the unspeakable is spoken – for the most part … eventually … – with plenty of mystery yet to wonder over.

At Tuesday's preview performance of the Mississippi Bend Players' The Santaland Diaries at Augustana College, I had everything I needed for a respite from the relentless, forced holiday cheer outside. I had my seat in a cozy venue among a small passel of students revved up for their imminent academic break. I had a play by David Sedaris, one of my favorite writers. I had another lovely (and festively sparkly) Augustana set to gaze at, this one by technical director and scenic/lighting designer Mark Lohman. I had Keenan Odenkirk, one of my favorite actors. I had my cynical holiday exasperation dialed up to eight. It was the perfect storm.

I was fortunate to attend Tuesday's rehearsal of Augustana College's current offering She Kills Monsters by playwright Qui Nguyen. Director Jeff Coussens and assistant director James Wheeler did stunning work in creating this ambitious production. When we enter the theatre, the stark stone ledges and pre-show music tell us that the show takes place (mostly) in a magical fantasy world, and the set comes to vigorous life after video screens light up, employing film, photos, computer animation, and amusing eight-bit color graphics to establish and enhance settings. I've rarely seen, in local presentations, stagecraft this sophisticated.