BABY MAMA

Despite its sunny, friendly veneer, there's a rather scrappy little war being waged within writer/director Michael McCullers' Baby Mama - one between a lighthearted, pleasant sitcom and a sharper, smarter, more cynical sitcom. (Two and a Half Men versus 30 Rock, as it were.) The former wins, and we could have predicted as much, but the best parts of this engaging buddy flick suggest the truly sparkling comedy it might have been, if only it weren't so eager to be ... well, lighthearted and pleasant.

For St. Ambrose University's forthcoming production of Crème de Coco - being performed at the Galvin Fine Arts Center from April 20 through 22 - the school recruited guest director Philip William McKinley to helm what will be the world premiere of William Luce's one-act play. During his area tenure, McKinley is also teaching an advanced acting course at St. Ambrose, and in a recent interview, the director explained why honesty is essential in eliciting the best work from performers:

"I think a lot of times, people tell them what they think they want to hear, rather than tell them what they really do need to hear. And if they know that you're telling them something to make them better, or for their own good, they're totally receptive to it."

That seems like a perfectly logical method for directing student actors. But, at this point in our conversation, McKinley wasn't referring to student actors. He was referring to Hugh Jackman.

About halfway through the overture for the Quad City Music Guild's preview performance of The Wizard of Oz, my friend, sporting a huge grin, turned to me and whispered, "I feel like I'm watching the movie." With the thrillingly familiar strains emanating from music director Valeree Pieper's splendid orchestra, I agreed completely, and it's fair to say that over the next two-and-three-quarters hours, that feeling almost never waned.

How wonderful and humbling the last eight months have been.