Prolific theatre pioneer Charles Ludlum wrote some 30 plays; taught; founded an acclaimed theatre company; and acted on stage, film, and TV. His most popular work was 1984's penny dreadful The Mystery of Irma Vep, in which he and his partner Everett Quinton played all the characters, with full costume changes for each entrance. Ludlum's life was cut short by AIDS in 1987. Quinton, who revived the show off-Broadway in 1998, died this past January. And the Black Box Theatre's current production may be seen as a fond tribute to these inspired men.

With its brisk pace, lean hour-and-10-minute duration, lack of intermission, and lively, accomplished cast, this show is so tasty you won't even think about food.

I’ll be honest: The crazy, early-spring, heavy snowstorm that knocked out power to my house earlier in my Saturday soured my mood, and I was not really looking forward to going out to see playwright Bradley Robert Jensen's Anywhere But Here. This, though, made it all the better that this workshop production turned out to be such a gem – Jensen's slice-of-life piece is heartfelt and laugh-out-loud funny while still broaching some heady topics.

The performers at Sunday's performance of director Curt Wollan's production shined, as they most always do at this theatre, and the jokes – most of them innuendos and phallic allusions – were actually pretty funny, and delivered well.

It’s been almost a decade since I attended a show at Augustana College. Since I was there last, Augie has built the gorgeous Brunner Theatre Center, where a dear friend and I were fortunate enough to attend Tuesday night’s dress rehearsal of playwright Bess Wohl’s Small Mouth Sounds.

Snow in March?! More likely than you’d think, and Haus of Ruckus’ newest comedy offering has bouts of snow, cryptids, and Colorado mountaineers.

A sparse set is on the Village Theatre stage for the New Athens Players' debut of Spotlight on Susan Glaspell, and this minimalistic choice is to be lauded, as letting the words and stories take the forefront was an excellent decision; there’s a lot of meat that doesn’t require extensive visual splendor to make a point.

Driving Miss Daisy is one of the staples of American theatre. Originally written as a stage play in 1987, (and winning the Pulitzer Prize the following year), it was adapted to film in 1989, and then re-staged all over the nation and the world. Talents such as Morgan Freeman, Jessica Tandy, James Earl Jones, and Angela Lansbury have all lent their voices to Alfred Uhry’s script, but while I’ve heard the play referenced countless times, I have to confess that attending its new production at the Mockingbird on Main was my first true exposure to the material. I finally see what all the hubbub is about.

This All Shook Up mixes Elvis' two endeavors as part parody, part tribute, and director Max Moline, music director Trent Teske, choreographer Robyn Messerly, and all involved made it a 24-karat gold-record blast – the most, daddy-o!

Even though saying that the venerable, ubiquitous Barefoot in the Park really holds up today is cliché, I'm saying it. And this production as a whole is fresh in every aspect – thus, unlike me, staying far away from the formulaic.

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