To my recollection, I haven't yet been formally introduced to frequent Richmond Hill Barn Theatre performer Jackie Skiles, who plays the lead in the venue's current mystery/comedy Busybody. But it's nice to know that we have something in common. In Skiles' program biography, she lists Lavinia Hubbard in 2005's Another Part of the Forest as her favorite Richmond Hill role to date. That was my favorite Skiles role, too. Until now.
Area performer and radio-show host Shellie Moore Guy is slender in frame, and not particularly tall. Yet in the Playcrafters Barn Theatre's presentation of Lorraine Hansberry's A Raisin in the Sun, the actress -- in her role as matriarch Lena Younger -- projects such expansive love, pride, and strength of character that she appears larger than life. Lena's adult children, Walter Lee (Curtis Lewis) and Beneatha (Alysha McElroy-Hodges), may tower over her, but there's never any doubt that Guy's selfless, resolutely devout mother is the one in charge; she guides both her family and Hansberry's drama with an impassioned righteousness that would be mythic if it weren't so complexly structured, and so wonderfully human.
Let's cut right to it: Yes. During the Clinton Area Showboat Theatre's presentation of Singin' in the Rain, it rained on-stage. And it rained well.
The Shakespeare-inspired Elvis Presley pastiche All Shook Up is too inconsequential and ridiculous - gloriously so - to feature anything resembling a moral. But if pressed, you could probably fashion one from the words of its motorcycle-riding hero, Chad: "It's like my daddy used to say: 'In the right light, with the right liquor, anyone can fall for anyone.'"
Director Lora Adams' Village Theatre production of The Boys Next Door opens and closes on the solitary figure of actor Jason Platt, and his portrayal here begs the question: Is there anything the man can't do?
On Thursday night, the Timber Lake Playhouse opened The Wedding Singer, the musical-comedy version of 1998's love-in-the-'80s movie hit starring Adam Sandler and Drew Barrymore. Imaginatively and exuberantly directed by Brad Lyons, it's a joyful take on stage material that (in a wonderful surprise) is pretty damned terrific to start with, and Thursday's production was so big-hearted, so funny, so brilliantly costumed, and so smashingly well-performed that I might as well get it out of the way and say that its technical presentation was so routinely clunky that it bordered on the infuriating.
The Circa '21 Dinner Playhouse's current family musical, Pinkalicious, is as lightweight and sweet as cotton candy, and about as nourishing; it gives you a friendly sugar rush and all but evaporates on contact. Yet hidden within the show's pleasant, amiable presentation are moments of delightfully loopy comic invention, and throwaway bits so surprising and bubbly and odd that the production lingers in your head far longer than you'd expect it to. It's cotton candy, all right, but it's cotton candy filled with Pop Rocks.
Theatergoers, be forewarned: Richard III is not for the faint of heart. Riverside Theatre's production of the Shakespearian play is not only packed with violence, death, and one of the freakiest kings in English history; it's also three hours long. But for those who choose to stick it out, this Iowa City show is well worth the time. Directed by Kristin Horton, Richard III packs a punch that may just leave you breathless.
South Pacific comes to us with an intimidating load of pedigreed baggage: Pulitzer Prizes, Tony Awards, Rodgers & Hammerstein. And if you add its dramatic World War II setting, its themes of interracial romance and prejudice, its enormous scenic drops and set pieces, and its cast of two dozen plus, it'd be enough for Countryside Community Theatre's current production of the piece to be impressive, and it most certainly is that.
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