Harmony France as Patsy Cline

As I watched the opening-night production of the Timber Lake Playhouse’s Always … Patsy Cline, I kept thinking of the word “harmony.” Thinking about musical harmony certainly was appropriate, as this was, after all, a stage musical. Then I reflected on how harmonies can be calming and tranquil or dissonant and disparate. Yet I still hadn’t been able to place why “harmony” kept going through my mind until it hit me that what I was seeing, hearing, and experiencing was true balance – an interweaving of two very different stories that were connected in the nearly perfect parallel of two actresses' performances. “Yes!”, I thought. “Harmony!”

As a child of the '60s and '70s, I favored rock groups such as Kansas. My older sister Shari loved pop music. For many kids, music was a way to escape the turmoil of those decades, and for Shari, it meant listening to Bobby Sherman or folk singer John Denver. Being the youngest, I sometimes teased her about the lameness of her music – and still do, for that matter. However, even for a precocious little brother, the music of Denver always struck a chord of enlightenment in my heart, and that's exactly what happened again at the Timber Lake Playhouse's opening-night performance of Almost Heaven: Songs of John Denver.

Grant Alexander Brown and Charles Benson in Big RiverIt struck me, during Saturday's matinée performance of Big River at the Timber Lake Playhouse, that theatre is my church, considering I repeatedly wanted to raise my hands in praise and shout "Amen!" at various points, and in ways I used to while attending Sunday services in my younger years. Theatre, for me, is a spiritual experience, and this Big River served as a big-tent revival that reminded me of that truth.

Laura Miller, Courtney Crouse, and Andrea Moore (center), and Laurie Sutton, Liz J. Millea, and Maeve Martin in Happy Days: A New MusicalIf the goal of Happy Days: A New Musical - making its Midwestern debut at the Circa '21 Dinner Playhouse - is to have the feel of the 1970s TV series, then playwright (and series creator) Garry Marshall and songwriter Paul Williams are working against each other. The book is reminiscent of the sitcom, with similar character dynamics and situations, but it comes across as a caricature of the TV show - purely wholesome, without the slight edge and hints of rebellion present in its televised incarnation. Williams' songs, meanwhile, don't suggest the series at all; it's as if the tunes were taken from some other 1950s-themed musical, and plopped into an episode of Happy Days without consideration for whether they fit the characters.

Chris Froseth in Buddy: The Buddy Holly StoryAs the title character in the Timber Lake Playhouse's Buddy: The Buddy Holly Story, Chris Froseth is a spectacularly confident dork. With his slender frame, curly mop of brown hair, and iconic horn-rimmed glasses, he nails the physicality to perfection, and his cascading drawl and thrilling rock vocals are oftentimes uncannily similar to Holly's. Yet what's even more impressive is how completely the actor seems to capture the singer/songwriter's gawky yet fantastically determined spirit.

"Cabaret" In the 11-week period between June 1 and August 12, I saw 28 area productions. And how did you spend your summer vacation?

Considering the overall great time I had last summer, though, I was hardly dreading this relentless schedule. I'd spent 10 whole months eagerly anticipating my return to the Clinton Area Showboat Theatre (CAST), Mt. Carroll's Timber Lake Playhouse, and - for Genesius Guild productions - Rock Island's Lincoln Park; the summer-theatre triad would be responsible for 17 of those 28 offerings. (Summer 2006 would also provide my introduction to Eldridge's Countryside Community Players, whose Cinderella I missed last year.)

I am prepared to ignore and/or forgive the technical glitches that accompanied the opening-night performance of The Wizard of Oz at the Timber Lake Playhouse, and this is no small task, as the glitches in question caused the production, at times, to be borderline embarrassing.

Yes, the monkeys flew, as did the Wicked Witch of the West and a bizarre creature called the Jitterbug, and when the flying effects worked, they were magical. Our first airborne sight, in fact - that of Miss Gulch pedaling her bicycle across the stage - earned a rousing ovation from the audience and deserved it, and the twirling, chirping winged monkeys were sensational; at sporadic moments, this Wizard of Oz was as fanciful and enchanting as you wanted it to be.