Caroline Murrah, Melissa Weyn, Daryn Harrell, Lexie Plath, and Allison Hunt in Shout! The Mod MusicalShout! The Mod Musical is not only the most tolerable musical revue I've seen to date, but also the most enjoyable. With more substance than The Taffetas and less forced plot than The Marvelous Wonderettes, this girl-group celebration of 1960s songs is both cohesive and a whole lot of fun, especially given the Timber Lake Playhouse's current staging of it.

members of the Best Little Whorehouse in Texas ensemble Watching the cast perform in the Timber Lake Playhouse's production of The Best Little Whorehouse in Texas is like witnessing a mass exodus on the last day of the school year; the actors appear so excited about their newfound freedom that they can barely contain themselves.

tomdickharry_thumb Most theatregoers have at least one genre that they simply can't get on board with. Some can't abide tragic plays - "I get enough drama in life" is their common refrain - and some don't like musicals, and there's an untitled genre that many people, sadly, seem to be petrified of: Shows I've Never Heard of Before.

The latest presentation at the Timber Lake Playhouse is entitled Tom, Dick, & Harry, which is a play that I'd never heard of before, but which also falls under the category of my least favorite genre: the slapstick farce. More often than not, shows of this ilk all seem the same to me: 20 minutes of protracted exposition and character introduction, an hour-plus of forced wackiness resulting from a series of misunderstandings, a few moments of maudlin sentimentality - to make us care about these people? - and a tidy wrap-up, with "naughty" double entendres and obvious, ba-dum-ching! punchlines sprinkled throughout. Many audiences love this stuff; I generally find the relentless bonhomie of it all depressing.

So it's no small praise to say that I really enjoyed Timber Lake's Tom, Dick, & Harry, even though my reasons for enjoying it don't have much to do with Tom, Dick, & Harry.

"Urinetown" ensemble In the second act of the magnificent musical parody Urinetown, the character of Bobby Strong - a novice revolutionary, and the show's ostensible leading man - sings "Run, Freedom, Run," a rousing call-to-arms to his fellow oppressed. The number, a sort of "Sit Down, You're Rockin' the Boat" from Guys & Dolls as seen through a Les Miserables filter, is one of those guaranteed show-stoppers designed to leave audiences cheering. At the Timber Lake Playhouse's Saturday-night performance of the show, however, this production number led to something even more thrilling.