Called “a lively jukebox revue” by the Chicago Tribune and “a warm, straightforward pleasure” by the Denver Post, Broadway's musical celebration of Johnny Cash returns to the area for the first time since its engagement at Circa '21 in early 2009.

Agatha Christie’s And Then There Were None – the story of murder on a remote island – was published in 1939 and adapted into a play in 1943, and is one of the top-10 bestsellers of all time. If you like the game Clue, or just a good whodunnit, you will likely enjoy this mystery, as the audience is taken on a suspenseful ride that's filled with twists and turns until its last scene. And while the Playcrafters Barn Theatre's current presentation of the piece, under the direction of Cynthia Safford, has a straightforward approach and is less scary than some productions I’ve seen, it's still effective.

On the night of August 25, this one spoken line stuck in my head like newly poured concrete – clammy and heavy while slowly thickening in my mind. I can only imagine that most of us have been stuck at some point, but this didn't refer to the everyday kind of stuck. It wasn't about something normal such as being trapped in traffic, or having writer's block, or doing the same workout over and over. No, this question asked in a play referred to an endless hamster wheel of shame and humiliation stigmatized by one poor life choice.

A 1998 off-Broadway smash for author Diana Son, the big-city romance Stop Kiss was described by the New York Times as a “delicately balanced comedy-drama,” and a “gentle, affectionate work with a sense of blithe comedy that brings to mind early episodes of The Mary Tyler Moore Show.”