Angela Elliott, Michael Carron, Abby Van Gerpen, Laila Haley, Joshua Pride, Erin Churchill, and Jordan McGinnis in The Big Meal, photo courtesy of Jessica Sheridan and Shared Light PhotographyBefore seeing Saturday's production of The Big Meal, my wife, youngest son, and I decided to grab supper. I wanted pizza, but my wife wanted to try something different, so we landed at a little restaurant just a few blocks east of the theatre. As we ate our hummus and falafel, we chatted about family, work, the future, and life in general. Little did we know that our simple meal together would be an almost mirrored precursor to what we were about to witness on stage.

Brody-Tucker Ford, Sam Jones, and Brooke Schelly in The PillowmanDuring Friday's performance, the QC Theatre Workshop's The Pillowman had me in stitches. While I didn't laugh loudly often, I did chuckle repeatedly throughout the performance, only subduing my laughs out of concern that the subject of my delight was too dark to be funny. But playwright Martin McDonagh's dark comedy is both unquestionably dark and outrageously funny. I mean, it has a young girl (Laila Haley) who considers herself Christ-like proclaiming, "I don't think I'm Jesus. I [effing] am Jesus!" That is some dark comedy.

Grace Moore, Laila Haley, John Payonk, Katie Casel, and Krianna Walljasper in Miracle on 34th StreetThe Circa '21 Dinner Playhouse opened its presentation of Miracle on 34th Street on Friday, and if you're familiar with the 1947 film classic this musical version is based on, you should know that Laila Haley, who portrays Susan Walker, isn't on a par with the movie's Natalie Wood. She's actually so much better than Wood that it's not even funny.

JJ Johnson, John Donald O'Shea, Jay Rakus, Leigh VanWinkle, Sue Somes, and Elisabeth Gonzales (back row); Lauren VanSpeybroeck, Katie Osborne, and Laila Haley (front row) in Meet Me in St. LouisQuad City Music Guild's Meet Me in St. Louis seems to me a beautifully gift-wrapped empty box. Designer Kevin Pieper's sets are grand and detailed with touches, such as light fixtures and curtains, that are appropriate for the piece's 1904 setting. Sara Laufer's choreography fits the feel of the songs, exuding high-energy fun without being overdone. Costume designer Cindy Monroe's period creations are gorgeous - particularly the women's feathered, wide-brimmed hats. And the actors are, for the most part, in fine voice, and offer cheerily spirited characterizations. I enjoyed the sights and sounds during Thursday's performance. The story, however, barely interested me.

Laila Haley, Andrew Hall, Sydney Crumbleholme, John Weigandt, Alyssa Castro, and Katie Moore in Papa's AngelsThe Playcrafters Barn Theatre's current, holiday-themed family presentation Papa's Angels begins on a note - or rather, a bunch of notes - of incredible sweetness.