Kaci Scott and Thomas Stewart in GreaseI love TV's The Office for many reasons, but the most basic is that nowhere else on television will you find a weekly ensemble of 16 performers, each of whom is consistently in character, and each of whom is consistently funny. No matter where your eye lands in a group scene, you find yourself grinning - if not laughing out loud - at some priceless reading or reaction, and that's what routinely occurs throughout the Timber Lake Playhouse's current, knockout presentation of Grease, a production that, coincidentally, also boasts an ensemble of 16 stellar comedians. (Seventeen, if you count the hysterical, wordless, run-on cameo by Jake Bollman.) And Timber Lake's troupe even tops the sitcom's office drones in one regard, because damn, but this staff can sing.

Eddie Staver III and Denise Yoder in Oedipus RexSure, it's the Greek tragedy to end all Greek tragedies. But is any stage tragedy, Greek or otherwise, as unashamedly, wickedly enjoyable as that of the fall of Oedipus?

Samuel Javaherian and the Trojan WomenThe Prenzie Players' presentation of Euripides' The Trojan Women, adapted by Richard Lattimore, runs just over an hour, and I can't imagine who would want it to last longer than that. There's so much anguish and grief on display, and the material appears so deeply felt by director Jill Sullivan-Bennin's cast, that the production leaves you not just haunted, but shaken; it's questionable whether either the actors or the audience could endure two hours of such extreme emotional states.

Adam Peters, Jenni Boldt, Jason Platt, and Tracy Pelzer-Timm in Guys & DollsFor the past 15 years, Muscatine's New Era Lutheran Church has staged an annual musical fundraiser, and I was moved to catch this year's offering for two (or rather, three) reasons: the casting of Jason Platt and Tracy Pelzer-Timm - two of our area's most entertaining character actors - in leading roles, and New Era's decision to produce Guys & Dolls, my all-time favorite musical, and certainly the least intimidating Great Musical ever written. Even at its worst, I reasoned, it would likely be a night well spent.

James Bleecker and Erin Lounsberry in The GraduateThe Harrison Hilltop Theatre's The Graduate provides a respectable amount of fun, considering that almost nothing in it makes the least bit of sense. Adapted from Charles Webb's 1963 novel and/or Mike Nichols' seminal 1967 comedy, Terry Johnson's script frequently feels like the movie version on fast-forward - the playwright clumsily barrels through both the narrative and its complex emotional transitions - and the show's tone and performance styles are all over the map. Yet considering its frequently awkward and unconvincing elements, director Wayne Hess' comedy does at least offer one truly magical ingredient in Erin Lounsberry, whose performance here is insinuating, disturbing, sexy, and richly, deeply funny.

Anna Tunnicliff, Jamie Em Johnson, and Andrea Braddy in The Children's HourOriginally produced in 1934, Lillian Hellman's The Children's Hour - the current presentation at the Playcrafters Barn Theatre - concerns a monstrous little boarding-school brat who falsely accuses her headmistresses of engaging in a lesbian affair, a charge that leads to parental panic, financial ruin, and the destruction of several lives. In an era that finds the Iowa Supreme Court legalizing same-sex marriage, Hellman's melodrama now seems more like a museum piece than it would have even two months ago, and so it was wise of director Patti Flaherty to set her production firmly in the past - even though that past feels less like the 20th Century than 400 BC.

Maggie Woolley and Tracy Pelzer-Timm in Dream a Little Dream of MeIn the loveliest segment of the one-act monologue Going Back Naked - the first half of New Ground Theatre's Going Back Naked: Two Plays by Local Playwrights - author Melissa McBain, portraying herself, reads from her late mother's 70-year-old love letters, and lands on a passage wherein her Mom refers to the children she hopes to one day have with her young paramour. Marveling that she was being thought of a full decade before she was actually born, McBain takes a beat and smiles, and addresses her absent mother in tones of longing and wonder: "You imagined me."

In the science-fiction drama Omniscience - currently playing at Augustana College - playwright Tim Carlson imagines a not-too-distant U.S. future in which several Midwestern states are under Asian control, violent militia activity is commonplace, behavior is governmentally regulated through mood-leveling drugs, and surveillance systems monitor our every move.

Alex Klimkewicz, David Rash, and Bill Hudson in Laughing StockAs with a person, sometimes you can fall immediately, madly, irrationally in love with a play. And I think I fell in love with author Charles Morey's Laughing Stock within its first two minutes, when artistic director Gordon Page (Don Hazen) introduced visiting actor Jack Morris (Alex Klimkewicz) to his venerated theatre in New Hampshire, and the young man took a moment to assess his surroundings before saying, incredulously, "It's a barn."

Jessica Benson, Sarah Potts, Molly Todd, Kate Heiman, and Ryan Mosher-Ohr in Five Women Wearing the Same DressFive Women Wearing the Same Dress, the Alan Ball comedy that opens the Riverbend Theatre Collective's 2009 season, takes place during a wedding reception, and the production is kind of like a wedding reception - or at least, the reception for a bride and groom you don't know all that well. It might begin awkwardly, but after a few drinks, dances, and interesting encounters with people you otherwise wouldn't have met, you discover that you're having an unexpectedly fantastic time, and when it's over, you may realize that you're not quite ready to leave.

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