ensemble members in Davenport Junior Theatre's 20,000 Leagues Under the SeaFans of Jules Verne's 20,000 Leagues Under the Sea - either the novel or 1954's live-action Disney movie - should be excited to attend Davenport Junior Theatre's debuting stage version of the adventure classic, running February 15 through 23. Just as long, says playwright Aaron Randolph III, as those 20,000 Leagues fans aren't also 20,000 Leagues purists.

Thomas Alan Taylor in A Green RiverPlaywright Aaron Randolph III has, so far as I know, effectively captured the mental workings of a soldier suffering from post-traumatic stress disorder in his new drama A Green River. A representation of the chaotic, haunting thoughts likely experienced by some soldiers with PTSD, his play takes us through the memories of a single soldier - from childhood to falling in love to combat to his return home - while the young man revisits his favorite quiet place along a river. And as if the proceedings in Randolph's story weren't enough, he also includes a stunningly moving finale that packs such an emotional punch that I'd be surprised if most, if not all, of Saturday's audience members for the QC Theatre Workshop production aren't still reeling from it.

Jessica Sheridan, Mike Schulz, and Thomas Alan Taylor in Private EyesWhat starts as a theatre audition quickly becomes something entirely different in the QC Theatre Workshop's second production, Private Eyes. And this change from what's real to what's ... well ... something else is something I don't want to fully describe, because such a shift happened several times - and at very unexpected moments - during Friday's performance, making the evening a bit of an intriguing thrill that repeatedly piqued my curiosity.

Thomas Alan Taylor and Mike Schulz in RedI went into Red, playwright John Logan's drama about abstract expressionist Mark Rothko and his young assistant Ken, with uncertainty about how to appreciate visual art beyond just liking pretty things I see. I left Friday's QC Theatre Workshop production with a better understanding of meaning and intent in art, while also feeling a disdain for abstract expressionism, particularly Mark Rothko's "color fields." And while I'm not certain that Logan's intent is for viewers to dislike Rothko or his paintings, I do think he wants audiences to walk away with emotion and opinions about the artist's creations - making my distaste for Rothko evidence that Logan's work is effective.

Author Eileen Boggess (third from top right), director Jessica Sheridan (bottom left), and Davenport Junior Theatre's Mia the Melodramatic teamThose familiar with Davenport Junior Theatre might find its forthcoming production of Mia the Melodramatic a bit ... well ... familiar. After all, the show concerns a children's theatre company that finds kids starring in and producing plays for other kids, and even comes complete with its own mascot in the form of an energetic, floppy-shoed clown.

Rest assured: Any similarities between the fictional children's theatre of Mia the Melodramatic and Davenport Junior Theatre itself are completely intentional.

Cody E. Johnson, Stacy Phipps, and Tim Stompanato in Dakota Jones & the Search for AtlantisEvery year, St. Ambrose University's theatre department produces four mainstage shows over the nine months that school is in session. It's somewhat surprising, then, that given the myriad authors to choose from, the university opted to reserve half of the slots in its 2011-12 season for works by a single playwright.

Yet what's more surprising is that the author in question isn't one of the usual theatrical suspects - Shakespeare or Williams or O'Neill. Rather, it's St. Ambrose student Aaron Randolph III, a 32-year-old pursuing additional degrees after graduating in 2002 from the school's music department. His family musical Dakota Jones & the Search for Atlantis will be staged in the university's Galvin Fine Arts Center December 3 and 4, and his comedy The Plagiarists runs February 24 through 26.

Kimberly Furness[Author's note: The following was written for TheCurtainbox.com, the Web site for our area's Curtainbox Theatre Company, of which I've been a proud member for nearly a year.]

 

Recently, Curtainbox Theatre Company founder Kim Furness and I sat down over a glass of wine - all right, maybe a couple of glasses - to celebrate her company's 10-year anniversary. She had recently taken over the directing position for the Curtainbox's latest production, Speed-the-Plow (in the wake of original helmer Philip W. McKinley's recruitment as new director of Broadway's Spider-Man: Turn Off the Dark), and during our conversation, was happy to share her thoughts on the company's history. (The David Mamet comedy Speed-the-Plow - featuring Erin Churchill, Dan Hernandez, and myself - runs at the Village of East Davenport's Village Theatre from April 10 through 23, with preview performances April 8 & 9.)

Don Denton, Bret Churchill, and Laura Miller in Jack Frost Saves ChristmasThe Circa '21 Dinner Playhouse's Jack Frost Saves Christmas is the most adorable children's play I've ever seen. Okay, it's also the only children's play I've seen since... well, since I was a child. Still, it brought out the kid in me as I danced and sang along - at the appropriate, invited times, of course - and I wasn't alone; the children in attendance at Saturday's performance, including the two I brought along with me, laughed and danced and shouted exclamations of delight at the play's proceedings.

Bill Ingersoll, Adam Overberg, Bill Peiffer, and Andrew Cole in The Tragedy of Sarah KleinThere's a charming naïveté at the core of the Internet Players' debut production of The Tragedy of Sarah Klein, as the playwright's perspective seems to be one often observed in college students and recent graduates - a belief that "I am one of the very few who sees certain injustices in the world, and I, alone, can wake the world up to them." Wake-up calls of this sort are often attempted with protests, targeted vandalism, or, in the case of Sarah Klein, the stroke of a pen, yet while the Internet Players' Thursday-night performance was poetic in word and impressive in scope - particularly in playwright/director Nathan Porteshawver's staging - it was also pretentious and, at times, dull.

Daniel DP Sheridan, Pat Flaherty, Eddie Staver III, Tristan Tapscott, David Furness, Louis Hare, and Aaron Randolph III in Glengarry Glen RossDavid Mamet's Glengarry Glen Ross is arguably, though not that arguably, the author's best-known, best-loved, and all-around best play. (Thanks to 1992's celebrated film version, I have friends - including friends who don't really like plays - who can quote entire scenes verbatim.) And it's no overstatement to say that the cast recruited for the Curtainbox Theatre Company's presentation of this exhilaratingly profane comedy is ridiculously gifted. At one point here, you'll find Michael Kennedy, Pat Flaherty, Eddie Staver III, Louis Hare, and Daniel D.P. Sheridan all sharing the Village Theatre stage, and that's before David Furness and Tristan Tapscott show up.

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