27
Jun
2006
As the lights dimmed for the Clinton Area Showboat Theatre's production of The Mousetrap - based on Agatha Christie's mystery novel - I already knew whodunnit. But don't be fooled into thinking that I possess superhuman powers of deduction or anything. I was in a high-school production of the play some 20 years ago. (Fine. Twenty-three years ago. Happy, Mom?)
So I'm not exactly fit to comment on how successfully Christie's murderous plot plays itself out here. Yet my familiarity with the story didn't lessen my enjoyment of CAST's endeavor in the slightest. Quite the contrary: I loved this production, because the vigor with which the Mousetrap ensemble played their comically shady characters was positively exhilarating.
The morning after attending the Timber Lake Playhouse's production of the romantic comedy The Philadelphia Story, I drove to my local video store and rented the DVD of the beloved 1940 film, which I had never seen. I would love to report that Timber Lake's production put me in such a happy state that I was simply eager to re-live the stage experience. But unfortunately, the rental was more of a necessity than an indulgence; I had to see what about Philip Barry's play made the movie such a treasure, because its reputed charms, sadly, weren't at all apparent on the Mt. Carroll stage.
It's hot. It's muggy. Bugs are everywhere. And in Iowa City, that means it's time for Shakespeare.
This past weekend, it was rainy, gloomy, and downright cold for this time of year. Let's face it: The weather sucked.
When you visit the Clinton Area Showboat Theatre, you know you won't get much in the way of spectacle - the intimate stage space is charming, but limited - so, instead, you look for inventiveness, especially when the production in question generally thrives on spectacle.
More often than not, our area's musicals are graced by terrific voices. But every once in a while, a performer will come along whose vocal gifts and interpretive skills positively knock you out, causing you to silently mouth one word at your theatergoing companion: "Damn." The Quad City Music Guild's current production of the Disney musical Aida, directed by Bill Marsoun, doesn't have one of those performers. It has two.
Jeremy Mahr may be our area's most effortlessly relaxed performer. There isn't even a trace of actor's phoniness in his line readings or physicality; there's so little artifice in Mahr's portrayals that he can easily fool you into thinking he's not acting at all. Mahr has a beautiful hangdog expression - he looks as if he's endured continual disappointment, and is prepared to endure more - and his focus is concentrated and imploring. Yet when he smiles, the warmth that exudes from him is a little overpowering; he acts like a man embarrassed to be receiving the happiness he deserves. Mahr is a supremely empathetic performer - I've now seen him in three productions since August, and for the life of me, I can't figure out how he manages to do so much while appearing to do so little.
From the Quad Cities, a trip to the Timber Lake Playhouse will take roughly 80 minutes. But I was so happy to be returning to Mt. Carroll, Illinois, for its 2006 season opener, Thoroughly Modern Millie, that I don't think I stopped smiling once during the entire trek. The theatre's 2005 presentations of The Full Monty and The Hunchback of Notre Dame were, for me, two of last summer's absolute high points - both shows beautifully staged and refreshingly risky - and the venue itself, nestled in the woods, is large and inviting, with its productions boasting terrific design and costumes and a game, go-for-broke ensemble. It was a thrill to be returning after 10 months.
Degree of difficulty counts for a lot, so director Sean Leary and his estimable cast would earn points merely for the area existence of Martin McDonagh's horrific fairy tale 
