25
Jun
2008
In a theatre weekend that found me attending a Rodgers & Hammerstein musical, a Kaufman & Hart play, a Shakespeare, and a pseudo-Shakespeare, I have to admit that, with the Riverbend Theatre Collective's presentation of Kimberly Akimbo, I was so psyched to see actors in modern dress screaming obscenities at one another that I could barely contain myself.
Ryan Schabach is one of the cast members from the Clinton Area Showboat Theatre's three-man comedy The Compleat Wrks of Wllm Shakspr {abridged}, and I haven't yet determined if he's (a) an exceptionally good actor, (b) completely out of his mind, or (c) both. I'm going with (c), but if other commitments weren't keeping me away from Clinton for the rest of the show's run, I'd be happy to see it again just to be sure.
There are wonderfully fresh, unexpected grace notes all throughout the Timber Lake Playhouse's presentation of You Can't Take It with You, but you have to be quick to catch them. Then again, for much of the show's length, you have to be quick to catch just about anything.
Quad City Music Guild's current presentation of My Fair Lady runs just a few minutes shy of three hours, and there isn't a dull moment in it.
Just because Three Viewings - the area debut by the Curtainbox Theater Company, previously based in Los Angeles - is being staged at St. Ambrose University, and features St. Ambrose theatre professor Corinne Johnson among its cast, don't assume that this trio of Jeffrey Hatcher monologues will be any sort of academic exercise.
I was going to begin by saying that Snowderella is the strangest show I've ever seen at the Circa '21 Dinner Playhouse, but that seemed too limiting; it might be the strangest show I've ever seen. This kiddie comedy, which lasts just under half an hour (!), is so surreal that it's practically Dadaist - a cupcake topped with peyote buttons.
Design for Living, which Scott Community College is currently presenting at the Village Theatre, is a quick-witted Noël Coward comedy concerning an interior decorator (Bri Kenney's Gilda) who finds her romantic affections torn between a struggling artist (Randy Langtimm's Otto), and a struggling playwright (J.W. Hertner's Leo). It is also, by a considerable margin, the most engaging of the three Scott productions I've seen since November, and while I'm not usually the type to bestow awards, I want to begin by praising three facets of Saturday's presentation that might easily stand as theatrical "bests" of 2008.
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.
"Life's full of surprises."
It takes considerable skill - to say nothing of nerve - to steal a show from the likes of Brad Hauskins, Adam Michael Lewis, and Eddie Staver III. But in the Circa '21 Dinner Playhouse's Empty Nest, actress Ashley Catherine Schmitt arrives halfway through the production, introduces herself to her co-stars, tucks playwright Lawrence Roman's comedy into her leg warmers, and all but dashes off with it. The play itself is too featherweight (albeit agreeably so) for this to be considered grand larceny, but it's certainly grand; Schmitt is like the guest you don't remember inviting who winds up being the life of the party.
