Harmony France as Patsy Cline

As I watched the opening-night production of the Timber Lake Playhouse’s Always … Patsy Cline, I kept thinking of the word “harmony.” Thinking about musical harmony certainly was appropriate, as this was, after all, a stage musical. Then I reflected on how harmonies can be calming and tranquil or dissonant and disparate. Yet I still hadn’t been able to place why “harmony” kept going through my mind until it hit me that what I was seeing, hearing, and experiencing was true balance – an interweaving of two very different stories that were connected in the nearly perfect parallel of two actresses' performances. “Yes!”, I thought. “Harmony!”

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.

Ensemble members in Titanic

(SPOILER ALERT! The following may reveal details of the Timber Lake Playhouse's current production of the musical Titanic. Readers are advised to cease reading if they don't want to know how the story ends.)

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.

Shayla Brielle G. and Jenia Head in Having Our Say: The Delany Sisters' First 100 Years

Author Emily Mann’s Having Our Say: The Delany Sisters’ First 100 Years is a two-character series of reminiscences taking place entirely in one home, and in close to real time. Consequently, you might not expect the Timber Lake Playhouse’s latest to boast much in the way of technical showmanship. But the visual effect that occurs 30 minutes into director Chuck Smith’s irrepressibly jubilant production is a true stunner, and would no doubt stand as the show’s most magical element if the play were presented wholly free of actors.

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?

As a child of the '60s and '70s, I favored rock groups such as Kansas. My older sister Shari loved pop music. For many kids, music was a way to escape the turmoil of those decades, and for Shari, it meant listening to Bobby Sherman or folk singer John Denver. Being the youngest, I sometimes teased her about the lameness of her music – and still do, for that matter. However, even for a precocious little brother, the music of Denver always struck a chord of enlightenment in my heart, and that's exactly what happened again at the Timber Lake Playhouse's opening-night performance of Almost Heaven: Songs of John Denver.

Grant Alexander Brown and Charles Benson in Big RiverIt struck me, during Saturday's matinée performance of Big River at the Timber Lake Playhouse, that theatre is my church, considering I repeatedly wanted to raise my hands in praise and shout "Amen!" at various points, and in ways I used to while attending Sunday services in my younger years. Theatre, for me, is a spiritual experience, and this Big River served as a big-tent revival that reminded me of that truth.

Karl Hamilton, Paige ManWaring, and Matt W. Miles in Big FishThough I've watched the film version several times and viewed a staging of its musical earlier this summer, the Timber Lake Playhouse's production of Big Fish still had me choking back tears despite my (over-)familiarity with the material. That's in no small part due to the magic in director James Beaudry's staging, the cast's endearing rendering of the supporting characters, and Karl Hamilton's captivating charm as Edward Bloom, the father at the center of this tale of tall tales.

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