John R. Turner and Isaac Scott in Blue Sky MerchantsScott Community College's Blue Sky Merchants is an interesting idea that doesn't reach its potential, mainly due to its absence of subtlety. Local playwright and actor John R. Turner's play about a man (simply named Deskman, and played by Turner) who listens to, and then green-lights or rejects, ideas for television shows could be a poignant commentary on modern society's tastes in entertainment. Yet while Turner has a laudable knack for dialogue, Thursday's production left me with too-little question as to his intended message, mainly because his Deskman character clearly states the author's intent, rather than allowing the audience to decipher it.

author Dana-Moss Peterson (left), with Jessica Denney, in New Ground Theatre's Mr. MarmaladeOver the years, Davenport's New Ground Theatre has prided itself on the presentation of new works by emerging authors. But this year, even Artistic Director Chris Jansen is shocked to find the company not only producing eight new works in a season, but eight new works - the majority of them by local authors - over a two-night span.

Gini Atwell and Jake Walker. Photo by Tracy Skaggs.Before the production officially begins and without uttering a single word, Gini Atwell effectively sets the tone for the Prenzie Players' Antigone. On Friday evening, during the ad-libbed pre-show that's a staple of Prenzie productions, Atwell sat at the front of the stage, half-cradling her knees while wearing a far-off look in her eyes and a deep sadness on her face, as though lost in thought on woeful memories or circumstances.

Not long after the play begins, it's made clear that Atwell's expression is due to her character's resignation to her own death. She is passionate during the course of the play - particularly as she attempts to garner her sister's help in burying their brother (who lost his life in battle with their other brother for the throne of Thebes), and as she embraces her fiancé as if it's the last time they'll ever hold each other. But her ability to maintain the cheerlessness at the core of her Antigone is remarkable, creating a palpable pain that's punctuated by her inevitable death.

 Kimberly Steffen, Kay Francis, Tom Walljasper, Nikki Savitt, and Carrie SaLoutos in A Mighty Fortress Is Our BasementBilled as "the funniest and most tuneful Church Basement Ladies yet," A Mighty Fortress Is Our Basement had me laughing more than I expected to during Friday night's performance. Having had a too-hearty helping of the first two Lutheran-themed kitchen musicals, I couldn't help but have low expectations for the Circa '21 Dinner Playhouse's production of this fourth show in the series. Yet while this sequel still falls into some of the expected traps, it also had enough humor - and one especially entertaining song - to keep me amused.

Erin Churchill in Avenue QFive months after its first staging of the bawdy Broadway musical Avenue Q, the District Theatre has brought back its prurient puppets for another round, and with the replacements of just two cast members and minor reworkings made by director Marc Ciemiewicz, this return performance is still enough improved (from an already laudable production) to make the show worth seeing again, if not for the first time.

Matt Madison, Rita Jett, and Vincent Briley in Blues for an Alabama SkyPlaycrafters Barn Theatre's Blues for an Alabama Sky manages to be an adjective I've come to love regarding theatrical productions: surprising. Playwright Pearl Cleage takes her story in directions I did not expect from the outset of Saturday's performance, as her play moves from the plight of a recently out-of-work singer in Harlem to a study of societal views on homosexuality and abortion in 1930. I had no idea that was the direction the plot would take, but I was grateful for it, as the proceedings kept me on my mental toes, and continually interested in what was going to happen next.

Matt Moody and John VanDeWoestyne in A Walk in the WoodsPlaywright Lee Blessing's A Walk in the Woods successfully re-creates a sense of the Reagan-era Cold War conflict between the United States and the then-Soviet Union ... at least according to an older friend of mine who also attended Friday's performance of New Ground Theatre's production. However, my theatre-going companion also agreed with me that the play is reminiscent of the film My Dinner with Andre, famed for simply being a conversation between two people in one setting. And Blessing's story is just that - a series of discussions between a U.S. and Russian diplomat sitting, or sometimes standing near, a park bench. For two hours.

Rock of Ages at the Adler TheatreWelcome to the Reader's annual article on springtime area-theatre productions, where our trek through the season's comedies, dramas, and musicals will have us taking a walk in the woods with Antigone, wandering into suburbia with Eurydice, and realizing that something's afoot in our town when Talley's folly makes Cinderella go boom on Avenue Q.

Okay, so that takes care of 10 upcoming titles ... only 50 or so to go ... .

Ballet Quad Cities' Love Stories: Love on the RunWhile bearing the same title as 2012's Valentine's Day-themed performance, Ballet Quad Cities' 2013 Love Stories: Love on the Run - held on February 16 - offered several new short pieces along with "Newsflash," one of my favorites from last year's presentation. And Saturday night's entertainment delivered a mixture of sensuality, flirtatiousness, and exquisite beauty, culminating in a romantic experience that left me doe-eyed with emotions linked to love.

Becca Meumann and Doug Johnson in barePassion counts for a lot in drama, and sincerity counts for a lot plus, and both qualities are in welcome abundance in the Center for Living Arts' presentation of the adolescent-angst musical bare. Another theatrical commitment kept me away during opening weekend, but if you haven't yet caught up with the show, I heartily recommend taking advantage of its three-weekend run; you could conceivably ask for a stronger production, but only a complete boor would dare ask for a more heartfelt one, or one that exuded more enthusiasm and feeling from its clearly, beautifully invested participants.

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