Genesius Guild’s current production of Antigone, directed by Michael Callahan, is the Guild’s annual high school show and features a cast of almost all teenagers – appropriate, considering that so many of the key characters, including the titular Antigone, are teenagers themselves.

There's no point in burying the lede on this: The Timber Lake Playhouse's Les Misérables is the most visually powerful, thunderously well-performed area production I've seen since my first published stage review debuted in 2005, and even since I first arrived in the Quad Cities for college in 1986.

Because The Shark Is Broken is an insider look at the making of Jaws, it seems both fitting and somewhat ironic that the play and movie share the same villain.

Fiddler on the Roof is often considered one of the final entries in the Golden Age of Broadway era, a period defined by sweeping scores, big ensembles, and stories rooted deeply in character and community. Director Georgette Kleier’s production checks nearly every one of those boxes handily.

Reviews by Rochelle Arnold, Jeff Ashcraft, Patricia Baugh-Riechers, Audra Beals, Pamela Briggs, Dee Canfield, Madeline Dudziak, Kim Eastland, Emily Heninger, Heather Herkelman, Kitty (née Israel) Hooker, Mischa Hooker, Paula Jolly, Victoria Navarro, Roger Pavey Jr., Alexander Richardson, Mark Ruebling, Mike Schulz, Joy Thompson, Oz Torres, Brent Tubbs, Jill Pearson Walsh, and Thom White.

Magic is on display in Quad City Music Guild's and director Kathryn Weber's current, spirited presentation of 1776, its music direction by Claire Schaecher and choreography by Beth Marsoun. (And I hear the intermission hot dogs are terrific.)

John Glore’s theatrical adaptation preserves the witty, slightly dark sensibility that made the book so beloved by youth and adults alike, and as directed by Jennifer Hoeper, the Playcrafters Barn Theatre's presentation combines adults and children to bring these fractured fairy tales to life.

Adam Sanders' production has some of the most intricate, varied, prolonged, high-density, high-energy choreography I’ve yet seen.

This past Thursday, after a full week of unseasonably hot, muggy weather, we were finally treated to an evening that was cool and breezy. I'm prone to credit the Clinton Area Showboat Theatre's Guys & Dolls for the atmospheric shift, because as season-opening presentations go, this one was as cool and breezy as they come.

The perfectly suited look and demeanor of each person, and their consistent Southern lilts throughout, made this experience particularly magical.

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