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.

Shrek the ThirdSHREK THE THIRD

Shrek the Third finds its computer-animated ogre undergoing something of a mid-life crisis, and based on the evidence here, so is the series itself. In contrast to the constant hyperactivity and relentlessly aggressive pop-culture references of the first two Shrek films, this latest offering is notable for its distinct lack of aggression; the film hasn't completely shucked off the qualities that made its forbears such (literal) monster hits, but on occasion, it actually takes the time to curtail its smart-alecky, type-A tendencies and just breathe. In doing so, it stands as my favorite Shrek movie to date. Unfortunately, that isn't high praise.

Love Letters isn't a typical stage production by the standards of contemporary acting. That's because it's not necessary for performers to act or even memorize A.R. Gurney's script; they just read it. The experience is a bit like listening to a book-on-tape, with the benefit of being able to watch the readers. Some audience members for Playcrafters Barn Theatre's current production - running weekends through January 26 - won't enjoy the lack of stage movement, but those who know what to expect beforehand will appreciate the well-written script.