Sara Laufer, Stacy Herrick, Archie Williams, and Elizabeth Buzard in Murder on the RerunThere's an early point in the Richmond Hill Barn Theatre's Murder on the Run in which Sara Laufer's angel-to-be Kitty follows her explanation of the "rules" behind playwright Fred Carmichael's universe by saying to the audience, "I bet you're really confused, right?" Um, no. You just explained the story's rules very clearly and in great detail. And this exposes one of the flaws of Carmichael's writing: He makes sure absolutely nothing is left to the imagination. But at least the setup to this comedic murder mystery, though a bit convoluted, is kind of fascinating.

Ashley Hoskins, Lisa Kahn, and Sarah Ade Wallace in The Red Velvet Cake WarTwo of the things I miss most about reviewing theatre with greater frequency are raving about area artists whose talents I'm quite familiar with, and raving about area artists whose talents are brand-spanking-new to me. Happily, regarding the Playcrafters Barn Theatre's The Red Velvet Cake War, I get to do both. And that's especially gratifying because one of the things I absolutely do not miss is explaining why certain well-meaning, lighthearted endeavors designed solely to entertain simply don't work for me, and it looks like I have to do that, too.

Nate Karstens, Abbey Donohoe, and Ian Sodawasser in Young FrankensteinOn at least three occasions during Thursday's preview performance, Quad City Music Guild's Young Frankenstein achieved a transcendent silliness - the kind you get with stunning regularity in Mel Brooks' film-spoof inspiration. If you include everything said and done by Nate Karstens' hunchback Igor, it was more like 203 occasions, but in the spirit of this tasty musical confection, let's save the sweetest for dessert.

Bill Peiffer, Liz Paxton, Nick Waldbusser, and Carli Talbott in The Christmas ExpressThe last time I watched Nancy Teerlinck perform, earlier this year, she offered a moving portrayal of a matriarch making tough, emotional decisions in the Playcrafters Barn Theatre's Moving. Yet as much as I liked her in that role, I think she's even better when she's playing ... well, a bitch ... such as the one she portrays in Playcrafters' current offering, The Christmas Express. Teerlinck's Hilda, who runs the play's Holly Railway Station, is an acerbic, crotchety, sarcastic, bitchy delight, and I think I now love the performer, and want to see this side of her comicality a lot more often.

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.

Sydney Crumbleholme and Ben Klocke in Anne of AvonleaSydney Crumbleholme is maturing. Not only is she physically more mature than the impressive young acting prodigy I fondly recall from the Playcrafters Barn Theatre's Anne of Green Gables four years ago, she's also much more skilled as an actress - and that "much more" is particularly impressive considering that Crumbleholme's previous work was astounding, particularly for her age. In her return to the title role of Playcrafters' current production, Anne of Avonlea, Crumbleholme shows distinct growth as an actress, showcasing knacks for nuance and subtlety. She alone is worth the money and time spent seeing the show.

Christopher Tracy and John VanDeWoestyne in Lend Me a TenorSeveral minutes into the Playcrafters Barn Theatre's Lend Me a Tenor, I was concerned that I was in for two more hours of comedy that fell flat with forced funniness, rendering it unfunny, and jokes more worthy of groans than chuckles. But then John VanDeWoestyne's Tito, the titular tenor, and Diane Greenwood's Maria, Tito's wife, entered the stage, and brought with them the strong farcical performances that, until that point, were lacking in Saturday night's performance.

Wendy Czekalski and Paul Workman in Hard to BelieveI have little doubt that many patrons of the Playcrafters Barn Theatre will enjoy its current production of Hard to Believe, as there's consistently an audience appetite for shows on themes of faith and God. The opening-night premiere of this locally written musical, however, reminded me too much of church performances of which I've seen or been a part. I'm not sure Hard to Believe will find a place in community theatres alongside other musicals, but it could very well find its place within many a church's walls.

Anna Tunnicliff, Jamie Em Johnson, and Andrea Braddy in The Children's HourOriginally produced in 1934, Lillian Hellman's The Children's Hour - the current presentation at the Playcrafters Barn Theatre - concerns a monstrous little boarding-school brat who falsely accuses her headmistresses of engaging in a lesbian affair, a charge that leads to parental panic, financial ruin, and the destruction of several lives. In an era that finds the Iowa Supreme Court legalizing same-sex marriage, Hellman's melodrama now seems more like a museum piece than it would have even two months ago, and so it was wise of director Patti Flaherty to set her production firmly in the past - even though that past feels less like the 20th Century than 400 BC.