Jeremy Mahr may be our area's most effortlessly relaxed performer. There isn't even a trace of actor's phoniness in his line readings or physicality; there's so little artifice in Mahr's portrayals that he can easily fool you into thinking he's not acting at all. Mahr has a beautiful hangdog expression - he looks as if he's endured continual disappointment, and is prepared to endure more - and his focus is concentrated and imploring. Yet when he smiles, the warmth that exudes from him is a little overpowering; he acts like a man embarrassed to be receiving the happiness he deserves. Mahr is a supremely empathetic performer - I've now seen him in three productions since August, and for the life of me, I can't figure out how he manages to do so much while appearing to do so little.
From the Quad Cities, a trip to the Timber Lake Playhouse will take roughly 80 minutes. But I was so happy to be returning to Mt. Carroll, Illinois, for its 2006 season opener, Thoroughly Modern Millie, that I don't think I stopped smiling once during the entire trek. The theatre's 2005 presentations of The Full Monty and The Hunchback of Notre Dame were, for me, two of last summer's absolute high points - both shows beautifully staged and refreshingly risky - and the venue itself, nestled in the woods, is large and inviting, with its productions boasting terrific design and costumes and a game, go-for-broke ensemble. It was a thrill to be returning after 10 months.
The Quad Cities' first summer festival - Gumbo Ya Ya: Mardi Gras in the District - has a moniker that's pretty self-explanatory.
X-MEN: THE LAST STAND
Degree of difficulty counts for a lot, so director Sean Leary and his estimable cast would earn points merely for the area existence of Martin McDonagh's horrific fairy tale 
THE DA VINCI CODE
ART SCHOOL CONFIDENTIAL
