Kieran McCabe and Melissa Weyn in Gaslight

It was a dark and stormy night … . No, seriously – it really was a dark and stormy night on August 11, which, fortunately, enhanced the eeriness and prolonged the tension of the opening night for the Timber Lake Playhouse's final production of its summer season.

Tyler Klingbiel, Tommy Bullington, and Kieran McCabe in A Funny Thing Happened on the Way to the Forum

When actor Tommy Bullington walked on-stage for the Timber Lake Playhouse’s opening-night presentation of A Funny Thing Happened on the Way to the Forum, his arrival as narrator Pseudolus was met with a smattering of applause. He acknowledged the greeting and smiled, and the moment the clapping ceased, his smile faded, and Bullington took a perfect micro-pause before saying, “No, I liked it.” Cue the laugh, a bigger ovation, and the star flashing a wide, open-mouthed grin, curtsy-bowing like Maria Callas after performing Tosca at the Met. That, folks, is how you make an entrance.

Kieran McCabe and the Rock of Ages cast

In an appropriate touch for the raucous stage party that is Rock of Ages, its opening-night performance came with cake – a large sheet cake celebrating Artistic Director Jim Beaudry’s 100th production at the Timber Lake Playhouse. It was presented, to his surprise, at the tail end of Beaudry’s pre-show announcements, and the touching tribute by Executive Director Dan Danielowski elicited for its recipient a deserved standing ovation. But there was an added fillip of comedy when Beaudry revealed, to much laughter, that the cake’s photo decoration of him performing in West Side Story was actually from a West Side Story Beaudry did in New York, not Mt. Carroll, making the evening’s prelude funny, thrilling, endearing, and just a little bit awkward – not unlike June 30’s Rock of Ages itself.

John B. Boss and Saundra Santiago in 'Gypsy'

There was much to love about the Timber Lake Playhouse’s opening-night presentation of Gypsy. But if pressed for a favorite moment in this dynamically entertaining musical, it might’ve been the one in Act II in which a third-rate burlesque show loses its featured stripper, and our protagonist Mama Rose, without apology or shame, volunteers her long-ignored, wallflower daughter Louise for the job. It wasn’t the narrative turn that got me; it was the response of Timber Lake’s audience, who released a collective “Oh no she didn’t!” gasp-and-laugh implying they were legitimately shocked – shocked! – at Rose’s readiness to pimp out her child. Was this crowd somehow under the impression that, despite all previous evidence, Mama was actually not a monster?