Mollie Schmelzer, Jackie Patterson, Renaud Haymon, Taylor McKean, and Jordan L. Smith in The Curious SavageThe Curious Savage is the best production I've seen at the Richmond Hill Barn Theatre so far this season. With its sharply funny script, interesting and endearing characters, and director Don Hazen's gentle touch rendering the piece heartfelt and sincere, I was captivated from beginning to end during Thursday's performance, curious as to how the story would unfold, and caring what would happen to the show's cast of sanatorium residents.

Alex Richardson and Stephanie Moeller in MovingThere's a lovely sincerity to the Playcrafters Barn Theatre's production of Bernard Slade's Moving, and Saturday's performance possessed such realism - with notable acting from every member of director Bryan Woods' cast - that I had to wonder how such an impressively produced piece could feel so mismatched with its script.

Molly McLaughlin, Wayne Hess, and Alex Klimkewicz in More Than Meets the EyeI quite like the tone of the Richmond Hill Barn Theatre's More Than Meets the Eye, as director Joseph R. DePauw's production brings a natural feel, and a welcome lack of affectation, to a play that kind of screams for affectation. Instead of overplaying the plot's cross-dressing humor, Friday night's performance offered a softer, more realistic approach to its comedy that rendered the jokes more subtle, but still laugh-out-loud funny. Unfortunately, the laughs in author Fred Carmichael's play are, if not few, fairly far between (though when the jokes do hit, they're good ones), and it doesn't help that DePauw's pacing is a bit on the slow side, lengthening the wait between punchlines.

Bruce Carmen and John VanDeWoestyne in Greater TunaBased on the reputation of the Tuna plays and remembering how heartily I laughed during a recent production of A Tuna Christmas, I expected the original piece in the series, Greater Tuna, to be, well, funnier. That's not to say that the Richmond Hill Barn Theatre's production of this comedy isn't without laughs - they're just not side-splitting ones. Still, thanks to the two actors who impressively handle 20 roles between them, director James Fairchild's staging of authors' Jaston Williams', Joe Sears', and Ed Howard's play is adequately diverting, and good for an evening's entertainment.

Justin Raver, Jordan L. Smith, and Nathan Johnson in The NerdBy the time the titular character entered the play, I'd resigned myself to having to endure two more hours of few-and-far-between laughs during Friday's performance of The Nerd, while also fighting off a sleepiness fostered by the unusually high temperature in the Richmond Hill Barn Theatre. However, appearing in only his third stage role, Jordan L. Smith woke me up and held my attention with his annoyingly nasally delivery of playwright Larry Shue's monologues. The best reason to see The Nerd, it turns out, is the nerd himself.

John Donald O'Shea and Susan Philhower in Sex Please, Weire 60As suggested by the title, the Richmond Hill Barn Theatre's current offering, Sex Please, We're 60, involves men and women of a certain age and their libidos, but thankfully it maintains a modicum of decency by placing the "action" off stage. The piece also features many clichéd jokes and absurd situations, but while I cringed at the images conjured by the title, it's when the work is at its (relatively) raunchiest that the play and the cast work best.

Katie Wesler, Marcia Sattelberg, and Erica Vlahinos in the Timber Lake Playhouse's The Spitfire GrillOn Thursday, I attended the Timber Lake Playhouse musical The Spitfire Grill, and caught another presentation of the piece - this time at the Richmond Hill Barn Theatre - the very next night. I'm actually somewhat disappointed that no additional area venues staged the show over the weekend, because even after two outstanding Spitfire Grills in a row, I would've happily made time for more.

Ray Rogers, Terri Nelson, and Jackie Patterson in The Importance of Being EarnestAbout two minutes into Thursday night's performance of The Importance of Being Earnest, I panicked, knowing there were still two more hours of what had so far been - and seemed likely to continue to be - a flat, humorless presentation of playwright Oscar Wilde's work. Fortunately, though, my fears were mostly unfounded, as the Richmond Hill Barn Theatre's production improved as it progressed, and greatly improved with the arrival of the play's female characters.

Pat Flaherty in King Lear"I think it came from going to church," says area actor Pat Flaherty of his childhood interest in theatre. "Because I'd go to church, and I'd see this guy who was holding everybody's interest through the whole service. It was very dramatic - they'd light the candles and ring the bells and everything - and for a while I thought I wanted to be a priest because of that.

"It turned out I just wanted to be on stage."

Kevin Maynard, Nicholas Waldbusser, Rosemary Ocar, Mollie A. Schmelzer, and Don Hazen in Don't Talk to the ActorsWhat strikes me most about the Richmond Hill Barn Theatre's production of Don't Talk to the Actors is the tone created by director Susan Simosky. While playwright Tom Dudzick's script calls for a couple of roles to perhaps be played bigger than they are, Simosky maintains a simple feel that's more natural than feigned. Watching Thursday's performance, it seemed as if I was looking in on real-life scenes rather than designed ones. There's a gentle, unforced flow to the effort that seems effortless.

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