Thursday's preview performance of the District Theatre's High Fidelity was, during its first act, a painful experience ... because by intermission, my facial muscles actually hurt from smiling so much. While this musical - composed by Tom Kitt and Amanda Green, with a book by David Lindsay-Abaire - is, in itself, a lot of fun, director James Fairchild and his cast rocked the hell out of it, presenting its story of a record-store owner's most recent breakup (in a long line of them) with infectious energy.

Five months after its first staging of the bawdy Broadway musical Avenue Q, the District Theatre has brought back its prurient puppets for another round, and with the replacements of just two cast members and minor reworkings made by director Marc Ciemiewicz, this return performance is still enough improved (from an already laudable production) to make the show worth seeing again, if not for the first time.

Quad City Music Guild's Hello, Dolly! seems something of a self-parody, as director Erin Lounsberry amps up the silliness of the piece, reveling in the fun of it rather than taking this story of the matchless matchmaker too seriously. It's Lounsberry's almost campy approach that makes the production worth seeing, with Tristan Layne Tapscott and Bryan Tank carrying much of its wacky weight.

Judging by the children dancing in the aisles during Saturday's performance, Circa '21's current children's offering Diary of a Worm, a Spider, & a Fly is a hit with younger audience members. But the hour-long musical also has quite a few laughs for the adults.

When the kids weren't laughing at playwright Joan Cushing's fart jokes or Worm describing his sister as having a "face that looks like her butt," I was laughing at what I assume are director Kimberly Furness' additions of pop-culture references. My favorite was Worm and Fly singing along to "Carry on My Wayward Son" after being told to "Please enjoy this music while your party is reached" when they call Spider's cell phone.