What is truth? This is an age-old question, pondered by millions of people over the centuries. According to the story of Rashomon, truth lies in the eye of the beholder. As the wigmaker in the story says, "People see what they want to see, and say what they want to hear." Unlike many other treatments of the question of truth, Rashomon does not expose truth as absolute; it explores truth as a constantly shifting abstract idea, based solely on the perceptions of humans.

After seeing Riverside Theatre's annual monologue performance Walking the Wire during its three-day run last weekend, I'm already looking forward to next year. Rarely is a collection of monologues presented locally (with the exception of the woman-power fundraiser The Vagina Monologues, which is structured more like a play), and the Iowa City theatre's Wire provides a unique opportunity for viewers to absorb an assortment of unpublished works presented by diverse individuals. While a few of the pieces were lacking in either character believability or author voice, most of the two- to 10-minute monologues were very engaging.

Riverside Theatre's production of Noel Coward's relationship-centered play Private Lives is such a captivating romp through France in the 1920s, and there were moments I was so happily lost in the action, that I never wanted to return to contemporary Iowa City.

I don't like to start reviews with questions, but New Ground Theatre's current production of Lobby Hero raises some interesting ones. (1) Is a hero someone who, when faced with a moral dilemma, reveals deep dark secrets that will get a friend in big trouble? 2) Does sliding indifferently through life without ever changing viewpoints, challenging ideas, or standing up for personal rights gain someone hero status? The answer to both, obviously, is no. A hero is defined by my dictionary as "a man of great courage, nobility, etc. or one admired for his exploits." So what was playwright Kenneth Lonergan thinking when he used a lazy, noncommittal lobby security guard as a protagonist of his play Lobby Hero?

Melissa Coulter was thrilled when she was asked to direct a show at Ghostlight Theatre. What she didn't yet know was that the show, Das Barbecü, is actually a musical comedy loosely based on Richard Wagner's four-hour Ring opera, is performed in country-western style, and calls for a fairly large cast of about 15 people.

For 43 years, Don Wooten has been re-writing Greek history. His history lessons are anything but serious or classroom-worthy, and that's all right with him. Wooten, the founder of Genesius Guild theatre group, has most recently altered the more outdated sections of Aristophanes' comedy Plutus to make its already-quirky script even quirkier and more accessible to modern audiences. Wooten has added musical numbers and touches of local humor about bridge construction and the Mallards hockey team, and he addresses national issues such as war, education, President Bush, and television infomercials. With a bit of assistance from Aristophanes, Wooten has produced an appealing script.

Quad City Music Guild's Kiss Me, Kate boasts an ensemble of twenty-some gifted performers, including a tap-dancer whose photograph belongs alongside the likes of Gene Kelly, and singers that demonstrate excellent unity in rhythm. The musical is an entertaining, humorous, colorful, and energizing romp through the onstage and back-stage lives of performers in a Shakespearean play, and this production shouldn't be missed.

Three Weird Sisters, sexy love scenes, sword fights, and murder. I tell you, life doesn't get much better than this. Well, at least for a certain theatre reviewer it doesn't. Not even the mosquitoes could keep me from enjoying Riverside Theatre's summer production of Macbeth at the company's Shakespeare Festival in Iowa City.

Local playwright Chris Jansen recently caught the eye of the media with her innovative musical Journey for a Reason, which is being performed by New Ground Theatre (and directed by the author) through Sunday at Rivermont Collegiate in Bettendorf. But credit should also be given to the young performers in Jansen's theatrical creation; most of them are college students, and one is just starting sixth grade.

Though senior citizens, religion, sex, love, and the timely battle between good and evil are all poked fun at in Circa '21's current show, playgoers should be prepared to see more than just a lighthearted comedy. Almighty Bob is quite a funny play, but it also lifts the veil from the element that is our ever-present fear - death - and gives us the playwright's take on how life and death work.

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