David Cabassa and Angela Rathman in The Taming of the ShrewIf, at any point, you find your mind wandering during director Jeff Coussens' Genesius Guild presentation of The Taming of the Shrew - and trust me, that won't happen often - snapping back to attention is easy: Just check out the reactions of the men watching the show from stage right. You'll have no trouble spotting them, because one of the guys is drunk off his ass, and the other's wearing a dress.

Nicole Ferguson and Brian Cowing in High FidelityThere is so much energy in the Clinton Area Showboat Theatre's High Fidelity that I practically had to hold myself down in my seat throughout Thursday night's performance to avoid jumping up and dancing along with the actors. Not only are the book by David Lindsay-Abaire, lyrics by Amanda Green, and music by Tom Kitt great fun, but director Patrick Stinson and his cast seem to have a rocking good time staging it.

Grant Drager and Sophie Brown in Flight of the Lawnchair ManPeppy, cheeky, and somewhat unsatisfying - though in ways that are rarely the fault of its current Timber Lake Playhouse presentation - Flight of the Lawnchair Man boasts a friendly spirit, a number of witty and weird diversions, and a brisk running time, clocking in (with the intermission) at a mere 105 minutes. Yet for all of its strengths, and unlike its determined hero, this musical comedy never really takes off. Director Chuck Smith's production is ingeniously designed and energetically performed, but the show itself is a little bit You're a Good Man, Charlie Brown, a little bit The Wedding Singer, and a little bit Bat Boy, and about as stylistically awkward as that description implies.

Melissa Flowers, Sheri Brown, and James Pepper in CinderellaThere are so many delightful distractions in Quad City Music Guild's Cinderella that, during Thursday night's preview performance, I kept getting lost in the scenery. And then the costumes. And then the vocals. And then the scenery... .

Adam Michael Lewis and Cari Downing in Same Time, Next YearMy enjoyment of the Harrison Hilltop Theatre company's Same Time, Next Year was inhibited by the moral issues at the core of the play.

Kevin Maynard, Nicholas Waldbusser, Rosemary Ocar, Mollie A. Schmelzer, and Don Hazen in Don't Talk to the ActorsWhat strikes me most about the Richmond Hill Barn Theatre's production of Don't Talk to the Actors is the tone created by director Susan Simosky. While playwright Tom Dudzick's script calls for a couple of roles to perhaps be played bigger than they are, Simosky maintains a simple feel that's more natural than feigned. Watching Thursday's performance, it seemed as if I was looking in on real-life scenes rather than designed ones. There's a gentle, unforced flow to the effort that seems effortless.

Brandon Ford in Sunset BoulevardAfter an extended silent-movie montage - one featuring clips from F.W. Murnau's horror classic Nosferatu - and the appearance of the show's title, the Timber Lake Playhouse's Sunset Boulevard opens with screenwriter Joe Gillis (Brandon Ford) at the bottom of a swimming pool. Granted, the water, like that montage, is a multimedia projection, and Gillis is standing (and singing) rather than floating face-down. But the Act I prelude is still enough like the opening to Billy Wilder's beloved Hollywood noir that fans of the Sunset Boulevard movie will likely smile in recognition and appreciation, and we're returned to this scene of a future crime at the start of the musical's second act.

These are the two, and only, times that Timber Lake's production will find itself underwater.

The Clinton Area Showboat Theatre's NunsenseThe Clinton Area Showboat Theatre kicks off its summer season with two similarly themed shows running in repertory, and I caught a double-feature of Nunsense and Altar Boyz on Saturday - a marathon day of Catholic humor. The pairing is a good choice, with each offering a self-aware musical featuring jokes related to Catholicism. And while the scripts push the boundaries of Christian decency, neither crosses over into completely irreverent territory, each maintaining a respect for religious roots and having fun with the shows' core faith, rather than at its expense.

Rosemary Ocar, Kevin Maynard, Nicholas Waldbusser, Don Hazen, and Molly Schmelzer in the Richmond Hill Barn Theatre's Don't Talk to the ActorsAdulterous lovers. Women and men in drag. Mistreated orphans. Nuns sniffing glue. Grandmas peddling racy underwear.

But enough about my upcoming birthday party.

These are just a few of the stage sights that audiences will be privy to over the next three months, as our area's theatre venues and companies open, at last count, an intimidating 62 productions between June 2 and August 26. As usual, the summer season will be filled with musicals, comedies, and blends of the two. But we theatre-going masses will also be treated to a number of classical and Shakespearean titles, challenging Tony Award- and Pulitzer Prize-winners, and even - gasp! - the occasional intense drama, for those who aren't afraid to spend a couple hours of their summer, you know, thinking.

Don Faust and Pat Flaherty in Under the RadarAllow me, if you will, to get the unpleasantries out of the way right away, so that I can expound upon the virtues of New Ground Theatre's debuting drama Under the Radar. The play, inspired by the local gay scene in the late 1970s, isn't eloquent in its verbiage or impressively acted; the dialogue is amateurishly written; and for the most part, the individual performances are adequate, at best.

Fortunately, though, the employment of news, game-show, and other TV-programming clips from 1978 provides context for the social environment of the time, and elevates the piece to a place of educational significance.

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