Zachary Gray, Jenny Guse, Jeremy Day, and Kitty Karn in The Foreigner If you've ever had the desire to catch British comedian Rowan Atkinson on stage, especially as his famed Mr. Bean character, the Timber Lake Playhouse's presentation of The Foreigner may well satisfy your urge - the wizardly Jeremy Day is performing mime-clown routines that Atkinson himself would be happy to steal from.

Brandon Ford in All Shook Up No one in his or her right mind could possibly think that the Elvis Presley pastiche All Shook Up, the new presentation at the Timber Lake Playhouse, is a stronger piece of theatre than West Side Story or You Can't Take It with You, the first two presentations in the venue's 2008 season.

But whatever you do, do not, for the love of Pete, tell this to the performers in Timber Lake's latest, who are attacking this goofy lark with such impassioned zeal that you'd think they were enacting Shakespeare. (And, it turns out, they oftentimes are.)

West Side Story's Jets Certain theatrical works are so inherently satisfying that they're pretty great even when their productions are only pretty good, and some are so firmly entrenched as classics that nothing less than spectacular will do. West Side Story is the rare piece that's actually both - a thrilling entertainment that many of us have seen way too many times - and the Timber Lake Playhouse's West Side Story is both, as well; it starts out as pretty good passing for pretty great, and ends up spectacular. By its finale, director James Beaudry's offering had morphed into one of the smartest, most impassioned versions of this legendary Bernstein/Sondheim/Laurents collaboration I've yet seen. It just took a while to get there.

Cassandra Marie Nuss, Daniel Trump, and Zach Powell in Dracula The scariest thing about the Timber Lake Playhouse's world-premiere production of Dracula is the set, and I mean that as a compliment. Designed by Joseph C. Heitman, the industrial playing space includes a series of metallic walkways with perilous inclines, some 20 feet above the floor, and the walkways themselves are slightly askew. The best way I can describe Dracula's architecture is by saying that, if the set were an amusement-park attraction, you'd be both ecstatic and petrified about riding 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.