Many Ambrosian theatre students’ stories have been guided by Cory Johnson and Kris Eitrheim, which makes it almost fitting that a literary classic marks the duo’s final on-stage chapter at St. Ambrose University (SAU). Little Women: The Musical, Louisa May Alcott’s story as adapted for the stage with a book by Allan Knee, music by Jason Howland, and lyrics by Mindi Dickstein, is not some big and splashy farewell. Rather, this is an extremely well-thought-out presentation showcasing the formidable Johnson/Eitrheim talents one last time before their retirements.

Circa 21’s Grace for President delivered an adorable and lively performance that no doubt engaged and inspired hopeful young politicians.

You've got playwright Ira Levin, and you've got the Black Box Theatre's talented staff and crew, so with Veronica's Room, you're already pretty much guaranteed a satisfying experience. But with the gifted cast Lora Adams has assembled, it's actually an outstanding one.

Overall, Murder at Mistwell Manor offered gorgeous production design that, paired with the period costumes, perfectly fit the intimate Mockingbird venue.

Holy. Moly. That’s about all I can say about the Richmond Hill Barn Theatre's latest production Drinking Habits, directed by Mike Skiles. But alas, likely you’re wanting more details than a simple exclamation, so let me spell it out for you: This was the most ridiculous piece of theatre I believe I’ve ever seen. Which isn’t to say that Skiles’ production isn’t good.

The Spotlight Theatre's Peter & the Starcatcher, directed by Whitney Fahner with music direction by Katie Griswold, is yet another of the venue's slick and stylish productions of a lively libretto, this one loaded with big on- and off-stage talent and clever staging.

While Rabbit Hole did have some moments that were quite tense and sad, these weren't the constant moods, and the playwright’s script and the Playcrafters company built a narrative that was human – not overdoing the tragedy, not overdoing the comedy, but existing in a way that was approachable, simple, and touching.

I won’t lie to you: I consider myself a bit of an expert when it comes to televised baking shows. If you’ve ever opted into watching one yourself, you can rightly assume that you’re in for a treat with the Circa '21 Dinner Playhouse's latest offering Just Desserts, its book and lyrics by Barbara Campbell and its music by Brad Ross.

What a treat it was to enjoy this fresh story, with rousing music, performed by some of the most passionate, committed actors I've recently seen – and to know that it was powered by local minds and hearts. So much work went into this treasure.

Each time I've attended a show at Augustana College's Brunner Theatre Center, I'm astonished by both the acting and technical brilliance. We had some great performers and techies during my St. Ambrose days, to be sure – but our theatre certainly wasn't equipped like this one. However, my justifiable envy doesn't lessen my enjoyment while at Augustana, including at Tuesday's dress rehearsal for The 39 Steps, directed by theatre professor Jeff Coussens.

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