22
Aug
2007
Watching Arcadia, the Tom Stoppard jigsaw puzzle currently playing at the Richmond Hill Barn Theatre, is like watching a really engrossing foreign-language film without subtitles. You may not understand what's going on, but the actors and director seem to, so you strive to make sense of the proceedings through the performers' inflections, reactions, and occasional lines of dialogue where the meaning is evident. You find yourself desperately wanting to get it.
The Clinton Area Showboat Theatre's production of Guys & Dolls is wonderfully entertaining and loaded with personality, but in the role of Miss Adelaide - the put upon showgirl with the psychosomatic head cold - Kay Ann Allmand is so sensationally enjoyable that her portrayal practically defies description.
The difficulty in reviewing Smokey's Joe's Café, the Timber Lake Playhouse's season-closing musical, doesn't lie in knowing how to start, but when to stop. A plotless assemblage of '50s and '60s rock & roll hits, bluesy love songs, and novelty tunes by composers Jerry Leiber and Mike Stoller, this jukebox revue finds its nine-person cast performing nearly three dozen numbers, and based on their presentation here, I could make a fair case for devoting 500 words to each of them.
Amidst the laughter that accompanied Saturday night's Lincoln Park presentation of The Frogs, I was especially aware of one particular audience member's vocal enjoyment. He was seated quite a bit away from me, but judging by the timbre, I'd say he was about five or six, and he'd routinely giggle with an involuntary, infectious happiness that made it sound as though he was being tickled. A bunch of us were, actually.
There are actors in the Quad City Music Guild's current production of Anything Goes that are behaving like total idiots.
Nothing about the Circa '21 Dinner Playhouse's production of Don't Dress for Dinner makes the slightest bit of sense. Including my liking it as much as I did.
Thursday's opening-night presentation of You Can't Take It with You at the Clinton Area Showboat Theatre was polished, snappily paced, and almost universally well-performed. But attendance was hardly what it should have been for this venerated Kaufman & Hart comedy - I'd venture that less than two-thirds of the seats were filled - and truth be told, it's not hard to figure out why.
You might think it odd that, for its penultimate summer production, the Timber Lake Playhouse is staging Irving Berlin's White Christmas, thereby celebrating the holiday season a good two or three months before the malls will. But the actual presentation turns out to be stranger still. Not only are you getting White Christmas here, you're getting three or four different White Christmases; the results aren't bad, necessarily, but the show winds up feeling a bit like the Bing Crosby classic as co-directed by Michael Curtiz, Tommy Tune, and Rip Taylor.
No childless adult should feel the least bit silly about attending the Countryside Community Theatre's madly enjoyable production of Seussical.
Saturday's Genesius Guild presentation of The Winter's Tale never quite found its tone, but it's hard to be too bothered by that, because I'm not convinced that Shakespeare's play ever finds its tone, either. The bard's work is an unusual, somewhat off-putting blend of high and low comedy, aching tragedy, and pastoral romance, and I can only assume that pulling it off in a way that makes sense requires an extraordinary amount of finesse. Director Patti Flaherty's production didn't display this sort of acumen, yet to its credit, the show was never less than pleasant. Whether The Winter's Tale is meant to be pleasant is another matter entirely.
