Augustana ensemble members in "Nickel and Dimed" Most people - whether they've had theatrical experience or not - understand the concept of the Actor's Nightmare. You don't know your lines, you're not in costume, you don't even know what play you're in ... yet you somehow find yourself on stage, in front of an audience, and expected to perform. Now.

Nickel & Dimed, currently playing at Augustana College's Potter Hall, opens with the Server's Nightmare. In the span of five minutes, our protagonist, the newly employed Barbara (Christine Barnes), is briefly introduced to the eatery's wait staff, gets a quick tutorial on procedure, takes breakfast orders from her first (uncooperative) table, brings out their meals, and is immediately ordered to return them - the toast is wrong, the oatmeal is cold, and could I change my side dish to prunes?

At which point Barbara turns to the audience and says, with a frozen grin indicating barely concealed rage, "This is not my real life."

Tom Stoppard's The Real Inspector Hound concerns theatre critics who wind up personally involved in the thriller they're reviewing, which puts me in the position of being a theatre critic critiquing a play about theatre critics critiquing a play. Stoppard must love this.

In the realm of educational theatre, the rehearsal process for a main-stage show generally lasts several weeks, if not months. It can

be hard work. Yet if the selected material gives actors and directors enough to work with, what could be a laborious process is, for its participants, more often a joy.

If you're a Simpsons fan and have always wondered what the hateful C. Montgomery Burns would look like in the flesh, you are advised to immediately secure tickets to Augustana College's production of The Miser, in which Brian Bengtson is giving a flawless approximation of Homer's hysterically hateful nemesis.
I love attending local college and university stage productions, partly because it's such a wonderful reminder of my days as a theatre major - ah, the reassuring familiarity of Augustana College's Potter Hall! - but also because the shows' participants are generally involved with theatre because they truly want to be; with the possible exception of staff members, no one's doing it just for the paycheck. (No one should ever be doing theatre for the paycheck, but that's another issue entirely.)
Augustana College's production of Oscar Wilde's classic comedy of manners The Importance of Being Earnest is perfectly acceptable entertainment, rarely inspired but always watchable. Yet it has the enormous good fortune to feature one performance that shoots way past the acceptable and enters the realm of the extraordinary - David Cocks' portrayal of the delectably devious John Worthing is the sort of riotously funny and brilliantly executed stunt that makes you more than eager for his next appearance; he's so elemental to the show's success that it's nearly distracting when he's not on stage. And here's the kicker: This is freshman Cocks' first appearance on the Potter Hall stage. The mind boggles at what may be in store for audiences over the next four years.

Since 1990, I've attended more than 25 plays at Augustana College, yet I've never seen one that made better use of the Potter Hall stage than The Laramie Project.

They said it would be short, and they meant it. Clocking in at just under 45 minutes, last weekend's production of Augustana College's annual Short Play Festival was a collaboration of four student producers and featured Tony Kushner's script East Coast Ode to Howard Jarvis.