Erika Thomas, Susan Granet, Christopher Thomas, and Spencer Clark in The Music ManChristopher Thomas could sell me anything. On Thursday night, he was peddling the character of Harold Hill in a preview performance of Quad City Music Guild's The Music Man, and Thomas plays the part with such bombastic charm - and just a hint of smarm - that despite knowing of the character's swindling intentions, I was buying his Hill's shtick hook, line, and sinker, right along with the good people of River City.

Erika and Christopher Thomas in The Music ManQuad City Music Guild's new production of The Music Man - the Meredith Willson classic running August 5 through 14 - stars husband and wife Christopher and Erika Thomas as romantic leads Harold Hill and Marian Paroo. And just to be clear: Yes, the couple knows how close to nauseatingly adorable it is for them to be playing these roles opposite one another.

"I'm kind of calling this my nursing-home story," says Erika with a laugh. "Like when our grandchildren come to visit, it'll be, 'You know, your grandfather and I were in Music Man once ... !'"

"And they'll be, 'Uh oh ... here comes that Music Man story again ... !'" counters Christopher, also laughing.

Harold Truitt and Jennifer Sondgeroth in The King & IQuad City Music Guild's current presentation of The King & I is colorful and handsomely mounted, and in one scene, at least, it's even surprising, particularly if you don't peruse the program's cast list before the production starts. (Please skip the next two paragraphs if you don't want the surprise ruined here.)

Erika Thomas, Nathan Bates, and Bruce Carmen in The ProducersI'm sure there are those of you who don't think Mel Brooks' musical comedy The Producers is all that enjoyable, especially if your only acquaintance with the show is 2005's film version. But even if you felt burned by that woebegone adaptation, I urge you to check out Quad City Music Guild's current take on Brooks' modern classic, so you can see just how sublimely hysterical this material can actually be; I'm guessing that the only audiences who could possibly leave director Kevin Pieper's glorious show-biz satire in a bad mood are the easily offended and the abjectly humorless. (And you know who you are, because upon reading that, you instinctively presumed I was referring to you.)