Prior to the Circa '21 Dinner Playhouse's opening-night performance of Smokey Joe's Café, and immediately following the Bootleggers' "birth of rock 'n' roll"-themed pre-show, my partner's daughter, Hannah, tried to argue that the doo-wop style of music heard in the wait staff's entertainment was not rock n' roll because ... well, because she's 13 and knows everything, the history of the genre be damned. Yet despite also proclaiming that she hated this sort of "it's not really rock 'n' roll" music that I warned her would populate the entire evening's entertainment, Hannah was all smiles at intermission, excitedly talking about how much she loved the songs, and even citing a few favorites by name. I hope Hannah's changes of opinion and attitude are testaments to the quality of Circa '21's endeavor. It's truly fantastic.
Judging by Friday's performance of The 39 Steps at the Playcrafters Barn Theatre, it's apparent that director Tom Morrow likes sight gags and British humor. He handles playwright Patrick Barlow's comically melodramatic take on the 1915 spy thriller - and Alfred Hitchcock's 1935 film - with care, avoiding over-the-top staging but highlighting the humor in ways that elicit a lot of laughs. (Whereas overselling the gags would likely elicit groans.)
The District Theatre's production of Next to Normal may feature the best performance I've ever seen from Sara King, one that even tops her notably angst-ridden, humorous Van's Sister in the former Harrison Hilltop Theatre's Dog Sees God two years ago, and her subtle, hurt, hopeful Lucille in the District Theatre's Parade earlier this year.
The fleet, funny noir opening to the Circa '21 Dinner Playhouse's Bootlegger revue The World Goes 'Round is actually quite misleading, as it bears almost no resemblance to the show that follows. Yet rarely have I been so happy to be misled, because the show that follows is a real beauty - thoughtful and nuanced and serious, and oftentimes boasting a gravity and sadness that, coming from the Circa '21 stage, feels legitimately shocking.
I went into Red, playwright John Logan's drama about abstract expressionist Mark Rothko and his young assistant Ken, with uncertainty about how to appreciate visual art beyond just liking pretty things I see. I left Friday's QC Theatre Workshop production with a better understanding of meaning and intent in art, while also feeling a disdain for abstract expressionism, particularly Mark Rothko's "color fields." And while I'm not certain that Logan's intent is for viewers to dislike Rothko or his paintings, I do think he wants audiences to walk away with emotion and opinions about the artist's creations - making my distaste for Rothko evidence that Logan's work is effective.
The Curious Savage is the best production I've seen at the Richmond Hill Barn Theatre so far this season. With its sharply funny script, interesting and endearing characters, and director Don Hazen's gentle touch rendering the piece heartfelt and sincere, I was captivated from beginning to end during Thursday's performance, curious as to how the story would unfold, and caring what would happen to the show's cast of sanatorium residents.
Given its "sorority" sort of feel, the Circa '21 Dinner Playhouse's The Dixie Swim Club - which concerns the annual, beach-cabin gatherings of five former members of a college swim team - will likely appeal to the women in the audience. However, not being a woman myself, I can also say that I quite enjoyed Friday's performance of the show for the chemistry between the actors, the stunning set, and the humor that playwrights Jessie Jones, Nicholas Hope, and Jamie Wooten put into their comedy.
Quad City Music Guild's Hello, Dolly! seems something of a self-parody, as director Erin Lounsberry amps up the silliness of the piece, reveling in the fun of it rather than taking this story of the matchless matchmaker too seriously. It's Lounsberry's almost campy approach that makes the production worth seeing, with Tristan Layne Tapscott and Bryan Tank carrying much of its wacky weight.
Since first experiencing one of Genesius Guild's end-of-season comedies two summers ago, I've eagerly anticipated playwright/director Don Wooten's witty work each subsequent year. His sharp, humorous, sometimes biting rewrites of Aristophanes comedies abound with political, pop-culture, and theatre references at the local and national levels. And while I've not had the honor of being personally referenced in one of his jokes - at least not while I was present - this year's The Frogs features hilariously pointed jabs at almost every theatre company in the Quad Cities area, with Saturday's performance the funniest of the three annual Guild spoofs I've yet seen.
Even if you entered the Timber Lake Playhouse's Boeing-Boeing unaware that author Marc Camoletti's play was a farcical comedy - its elbow-in-the-ribs title somehow not divulging that information - all it would take is one look at Nathan Dahlkemper's scenic design to know that some serious slapstick was bound to be in store.
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