Melanie Hanson in Baby with the BathwaterChristopher Durang’s irreverent Baby with the Bathwater is the current production at Scott Community College, and upon my arrival about 25 minutes prior to showtime, I enjoyed a few moments of the sweet music-box soundtrack, thinking it a clever juxtaposition to the darkly comedic farce that was to follow. However, a few minutes of it were enough for me to get the idea, and because those sounds were all that was in the offing regarding pre-show music, the next 22 minutes of waiting seemed, well, a bit long. Perhaps the music box also ignited my inner grump, because, with only a few exceptions, I did not find much comedic respite in the words and actions that followed.

L-R  Bryan Lopez, Molly McLaughlin, Drew Pastorek, Teri Nelson, Tom Naab, and Stephanie Naab in The Game's Afoot"Life is infinitely stranger than anything which the mind of a man can invent." This Sherlock Holmes quote is a perfect description for the mystery play at the Playcrafters Barn Theatre - at least in terms of the lives of those on-stage. Just when you think things cannot get any crazier and the coincidences cannot get more coincidental, Ken Ludwig's script shows you otherwise. The Game's Afoot is a comedy with a mix of nutty characters and a whodunit theme, and while it was clear that the cast was still getting comfortable with each other and the script during Thursday's dress rehearsal, there were improvements in energy and confidence by the second act.

Autumn Loose, Liv Lyman, Lauren VanSpeybroeck, and Becca Meumann Johnson in Legally Blonde: The MusicalLegally Blonde: The Musical is, of course, based on the 2001 hit starring Reese Witherspoon, a movie that led to a rather woebegone sequel in 2003's Legally Blonde: Red, White, & Blonde. Yet while watching the original film's stage version on Thursday, I felt that Red, White, & Blonde also would've been a fitting title for Quad City Music Guild's terrifically peppy new presentation, considering that this solo-star-driven show came off, instead, as pretty wonderfully democratic.

John VanDeWoestyne, Christopher Tracy, Mark Ruebling, Bryan Tank, Brian Nelson, and Paul Workman in CompanyAt the start of the intermission to Friday night's District Theatre performance of Company, my partner turned to me and said, "I don't remember this show being that funny." He was right, because director David Turley accentuates the funny parts in this musical by composer Stephen Sondheim and writer George Furth. He does so, however, with subtle nudges and winks that almost cross over into silliness but don't, and that keep the production from sinking into sappy sentimentality.

(clockwise from left) Mike Millar, Valeree Pieper, Erin Lounsberry, James Turilli, and Mark McGinn in The Drowsy ChaperoneI had an utterly fantastic time at Quad City Music Guild's preview performance of The Drowsy Chaperone, director Bob Williams' high-spirited and hysterical presentation of the long-running Broadway hit. Yet I'm embarrassed to say that I may have inadvertently missed 10 of its most entertaining minutes, because I made what was, in retrospect, a terrible mistake: I left the auditorium during intermission.

Kelly Lohrenz and Tristan Tapscott in The Gift of the MagiThe Gift of the Magi is my favorite holiday tale. While the surprise is lost whenever I read it again, I still remember the goosebumps I felt when I first discovered O. Henry's story of a man and woman making significant personal sacrifices in order to buy each other Christmas gifts. And while New Ground Theatre's production of the musical version of this classic narrative did not give me the same delightful chills, it did leave me with a warm feeling of holiday joy.

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.

Curtains is potentially the only whodunit show I actually like. It certainly doesn't hurt that it's a Fred Ebb & John Kander musical, with catchy, singable songs. And it certainly helps that Quad City Music Guild's production is well-sung, well-acted, and maintains the show's oddball quality without taking it over the top.

Thursday's opening night performance of Sunday in the Park with George was far more of an emotional experience than I had anticipated. Prior to opening night, cast members posted Facebook messages saying rehearsals were moving them to tears, and chalking it up to their emotions being heightened by the experience of doing the show - as can often happen with a cast and crew - I didn't expected to be equally moved. I was wrong, with tears streaming down my face multiple times during the performance.

Eddie Staver III and Denise Yoder in Oedipus RexSure, it's the Greek tragedy to end all Greek tragedies. But is any stage tragedy, Greek or otherwise, as unashamedly, wickedly enjoyable as that of the fall of Oedipus?

Pages