Cayte McClanathan, Mollie Schmelzner, and Michael Carron in Twelfth NightLike a few dozen other optimistic souls, I attended Saturday's Genesius Guild production of Twelfth Night hoping that the threatened thunderstorms would bypass the Quad Cities, or at least Rock Island's Lincoln Park, for three hours or so. Alas, Shakespeare's game was called on account of rain (and some major lightning) at roughly 8:30 p.m., so those of us who were willing and able were invited to return to see the rest of the show, and its opening half-hour again, on Sunday.

Melissa Anderson Clark, Matthew McFate, and Brian Peterson in Shrek: The MusicalDirector/choreographer Christina Myatt nails the humor and heart of the story in Countryside Community Theatre's Shrek: The Musical, borrowing sparingly from the Broadway show's original directors, Jason Moore and Rob Ashford, without copying their achievement. Myatt's personal mark on the material is most clear in her choreography, especially in the rousing, showy "What's Up, Duloc?", with its Broadway-style kick-lines, and the subtly innocent "I Know It's Today," which involves Princess Fiona at three different ages (played, from youngest to oldest, by Ali Girsch, Emily Baker, and Melissa Anderson Clark). Yet while funny and full of energy, Myatt's Shrek also hits the right notes in its heartfelt moments, during which Myatt's pacing allows some welcome breathing room. And it also doesn't hurt that the musical, with its book by David Lindsay-Abaire and its memorably singable songs by Lindsay-Abaire and Jeanine Tesori, is a whole lot of fun.

Autumn Loose, Liv Lyman, Lauren VanSpeybroeck, and Becca Meumann Johnson in Legally Blonde: The MusicalLegally Blonde: The Musical is, of course, based on the 2001 hit starring Reese Witherspoon, a movie that led to a rather woebegone sequel in 2003's Legally Blonde: Red, White, & Blonde. Yet while watching the original film's stage version on Thursday, I felt that Red, White, & Blonde also would've been a fitting title for Quad City Music Guild's terrifically peppy new presentation, considering that this solo-star-driven show came off, instead, as pretty wonderfully democratic.

Andy Curtiss in Second SamuelThere are few things in today's desensitized society that I think will shock audiences. But the Playcrafters Barn Theatre's Second Samuel, by author Pamela Parker, manages to shock in its secret that's almost carried to the grave by Miss Gertrude, a deceased woman who is never seen on stage. That secret creates the play's tension, and ultimately leading to a lesson in tolerance that avoids being too preachy, and that applies to the acceptance of anyone's differences.

John VanDeWoestyne and Greg Cripple in The Odd CoupleJohn VanDeWoestyne proves a capable center for the Richmond Hill Barn Theatre's The Odd Couple. Portraying playwright Neil Simon's slovenly divorcée Oscar Madison, VanDeWoestyne's comedic timing shines as he adeptly pauses here or rushes there in ways that increase his punchlines' comical impact. The actor never quite overcomes his natural poise and intelligence to fully sell the character, but his Oscar is also a bit funnier for those qualities; it's fun seeing this normally classy man speaking and acting like a disorderly bachelor. While there's plenty that's worthy of praise in director Mike Skiles' well-paced production, it's VanDeWoestyne who deserves extra credit for being the glue that holds it all together.

Carly Berg in The Wizard of OzWhile traveling to Thursday's presentation of The Wizard of Oz, which features much-loved songs by Harold Arlen and E.Y. Harburg, I pondered whether the Clinton Area Showboat Theatre's production would stick closely to the familiar images and characterizations from the equally loved 1939 film version. (As I prefer to see local theatre companies presenting unique versions of theatrical pieces, I hoped the Showboat would avoid copycat staging.) But once I settled into my seat, it took just a perusal of the program to know this wasn't going to be my grandfather's Oz, and a sense of excitement blossomed as I eagerly awaited the metaphorical curtain's opening.

Matthew Webb, Lexie Plath, Analisha Santini, Blake W. Price, and Cody Jolly in Young FrankensteinThe Timber Lake Playhouse's Young Frankenstein is a polished, professional production featuring stellar performances by the lead actors and impressive energy from the ensemble. Playwright/composer Mel Brooks' material - with its book by Thomas Meehan - is well-served by this group of talented performers, dynamic lighting effects by designer James Kolditz, inventive choreography by Cameron Turner, and adeptly paced humor by director Brad Lyons. After seeing my first production at this much-lauded theatre in Mt. Carroll, I left impressed.

Lauren VanSpeybroeck, courtesy of Nick West PhotographyAs with many things in life, it can be blamed on a friendly purple dinosaur.

Pat Flaherty and ensemble members in The SuppliantsThis year, Genesius Guild's annual Greek tragedy is a double-feature, as the local theatrical organization presents Aeschylus' The Suppliants and The Persians - two plays for the price of one (which is still free). With each piece running less than an hour, the entire evening's entertainment, even with intermission, falls just short of two hours, giving audiences one partial hour of what frequent Guild patrons expect from the group's Greek tragedies, and one partial hour of some very welcome, though relatively minor, changes.

Iliana Garcia, Lauren VanSpeybroeck, and Alexis Harter in StinkyKids: The MusicalConsidering its title, and my unfamiliarity with the Britt Menzies books on which it's based, I was uncertain what to expect going into Thursday's Circa '21 Dinner Playhouse production of StinkyKids: The Musical. That title, for me, conjures up thoughts of the grotesque Garbage Pail Kids collector cards from the 1980s. Thankfully, though, the show's StinkyKids are nothing like those urchins, as was noted upon my first look at costume designer Gregory Hiatt's colorful, playful choices for the six characters, with each six- or seven-year old child wearing a predominant color with accents - such as flowers or shapes - in another hue.

Pages