With San Francisco's SFGate.com calling it “two hours of high-class hilarity” and “a generous gag-fest packed with rib-tickling delights,” Geneseo's Richmond Hill Barn Theatre continues its 50th-aAnniversary season of audience favorites with the commedie del'arte slapstick Scapin, a work that the Washington Post labeled “buoyantly self-aware” and “a delightful contemporary farce.”

An unforgettable tale of a ruthless race to power and the love affair that threatened to upend it, the historical drama Henry VIII: All Is True will be staged by verse-theatre troupe the Prenzie Players at Davenport's QC Theatre Workshop October 5 through 13 – the first area staging of ths 17th Century play in decades, and a work believed to be either the final or penultimate play written by William Shakespeare.

For its first musical presentation in the venue's first year of operation, the operators of Moline's Spotlight Theatre will take advantage of their venue's locale – the former site of the Scottish Rite Cathedral – with an ideal production for the architecturally grand space: The Hunchback of Notre Dame, the lauded stage adaptation of Disney's Oscar-nominated hit running October 5 through 14.

On August 26, theatre, film, and television scribe Neil Simon, at age 91, passed away after a legendary career that found him the recipient of the Pulitzer Prize, four Tony Awards, the Mark Twain Prize for American Humor, and more combined Tony and Oscar nominations than any other writer in history. And from October 5 through 7, St. Ambrose University will celebrate the man's extraordinary career with its staging of Rumors, Simon's Tony-winning slapstick farce that the New York Post deemed “light, frothy, and fun.”

Nominated for the 1994 Tony Award for Best Musical and boasting a cast of nearly two dozen musical talents, the Rodgers and Hammerstein revue A Grand Night for Singing will be presented October 6 and 7 as a special fundraiser for Quad City Music Guild and the Prospect Park Pavilion, treating patrons to a song-and-dance showcase in which, according to the New York Times, “the songs flow together in a sequence that treats them as lighthearted extensions of one another.”

Theatre fans who actively seek out new and original works can, on October 6, find four of them at the Village of East Davenport's Village Theatre, where New Ground Theatre will house the venue's latest evening of Sudden Theatre – a 7 p.m. presentation of short plays that literally didn't exist one day prior.

One of the most eagerly anticipated exhibitions in the Figge Art Museum's history will be on display from October 9 through January 6, as the Davenport venue hosts the touring French Moderns: Monet to Matisse, 1850 – 1950, an exhibit featuring 59 works drawn from the collection of the Brooklyn Museum that chronicles one of the most dynamic and beloved eras in the history of art.

Presented in conjunction with the Figge Art Museum's eagerly awaited exhibition French Moderns: Monet to Matisse, 1850 – 1950, the Quad City Symphony Orchestra opens its 2018-19 season of Masterworks concerts with a program fittingly titled French Moderns – an evening of glorious compositions by Debussy, Mussorgsky, and Ravel boasting a challenging and gorgeous solo played by renowned flutist John McMurtery.

Lauded by the New York Times for her “hale and limber voice” and her “mining of emotional subtleties within a song,” Americana singer/songwriter Amy Helm plays Davenport's Redstone Room on October 7 in support of her September 21 release This Too Shall Light, an album American Songwriter praised for its “subtle, organic, but vibrant spirituality that aims straight at your heart” and for Helm's “restrained yet obvious passion.”

Performing in support of their latest album that Rolling Stone calls “a crisp display of precision” in which “everyone plays with fire and purpose,” the musicians of Sarah Shook & the Disarmers serve as Moeller Nights headliners on October 9, their rock-infused country stylings on Years described by NoDepression.com as “real, raw, mean-and-evil, bad-and-nasty bidness that makes an ass-kickin' sound mighty fine.”