It's opening night, and it's intermission at the QC Theatre Workshop. I wander out into the warm evening for some fresh air, wondering what, exactly, I'm witnessing. I mean, it doesn't really fit into any genre or theatrical category I can recall previously seeing. And yet, it's not only entertaining; it's exciting. At times, I feel as if I'm watching a silent movie in a nickelodeon. No, it's more like a sketch comedy. Wait: It's really a fable or children's story. A-ha!

The 2006 musical love story I Love You Because, its music by Joshua Salzman and its book and lyrics by Ryan Cunningham, is a modern spin on Jane Austen's Pride & Prejudice, exploring the age-old notion that opposites attract. And in its current presentation at the Black Box Theatre, the show provides a light and entertaining theatre experience.

Sometimes a play is written to highlight societal troubles at the time it was written. And sometimes that play gets performed nearly 65 years later, and its message and themes are just as powerful and meaningful now as they were then.

The concept of taking songs from an artist’s catalog and piecing them together to create a narrative doesn’t always work. But I must say that the Circa '21 Dinner Playhouse's current Snapshots: A Musical Scrapbook is one of the genre's best, culling the music of Broadway composer/lyricist Stephen Schwartz to tell the tale of a couple whose relationship is at a turning point. Its 26 numbers are from albums and familiar musicals such as Wicked, Godspell, and Pippin, and although some of the lyrics have been altered to match new characters and situations, this wasn't a distraction for me, and I was able to enjoy them as fresh and fitting for the storyline.

A mobile Army surgical hospital (MASH) is a nomadic troop of doctors, nurses, and equipment. And while nomads the world over have packed up all of their belongings and disappeared quickly and stealthily into the night, playwright Tim Kelly’s M*A*S*H, currently in production at the Playcrafters Barn Theatre, is not a vehicle that travels well.

People pursue careers in comedy for all sorts of reasons: to make others laugh, to express opinions, to get back at their parents. (That last one is just speculation, Mom and Dad.) But as stand-up comedian Kyle Kinane tells it, his motivation was simpler: to do as little as possible.

“As a kid, comedy was something I watched on TV,” says Kinane during our recent interview. “And I couldn’t really understand how it worked, because somebody would just talk, and that was it. You didn’t have to act, you didn’t have to do stunts – you just talked, by yourself, and people would laugh, and that was a job. I was pretty fascinated with that, and, when I first started, I think I knew I was gonna do it forever.”

Yet for someone who attended college because he thought “if you didn’t go, you had to get a real job, and I didn’t want one of those,” Kinane’s job has found him doing far more than he initially expected.

Considering its real-life tale of the 1916 lynching of a circus elephant and the event’s effects on those who either demanded or protested the execution, playwright George Brant’s Elephant’s Graveyard could rightly be labeled a drama. But it’s more accurately a horror story, and as evidenced by New Ground Theatre’s and director Debo Balogun’s electrifying presentation, that horror doesn’t come from a momentarily out-of-control pachyderm; it comes from human beings, from us, and our own worst impulses.

Spoiler Alert: The ship sinks.

But what didn't sink was April 28's opening-night production of Augustana College's musical Titanic. Beginning with its opening number that wowed me in terms of sound quality and the power of its ensemble cast, I had to occasionally remind myself that I was at a college production.

Having been a librarian at elementary and middle schools, one might think my most challenging students were the middle-schoolers. Not so! My fears arose before visits from the littler kids, as I, alone, would have to keep them quiet and attentive for 40 minutes. (Ever herded kittens?) So when I attended April 20's Big Nate: The Musical at the Circa '21 Dinner Playhouse and saw school buses unloading first- and second-graders, kindergarteners, and preschoolers, I thought, “This will be interesting!” – especially since the Big Nate books are for readers 8 to 12 years old. I wondered if the story would hold the attention of this young an audience … and happily, the answer was “Yes!”
Some spiritual teachings hold the heart as the organ of transformation, arguing that it's through the heart that we connect with the source of life that speaks to us, that guides us, and through which we're opened to the richness of being. When we give our hearts to others through acts of love, we are transformed. But what of the act of literally giving one’s heart to another through a heart transplant? Are there consequences for those involved? How does this generous act of giving play out in a story of grieving and loss? Does it add more meaning to the life of the one who has passed?

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