(Warning: Specific details of - and potential surprises in - Oleanna may slip through. Proceed with caution.)

 

Jamie Em Jonson and Chris Browne in It's always heartening to see theatre directors making strong choices, and this is true even when those choices appear to be spectacularly misguided. Such is the case with My Verona Productions' presentation of David Mamet's Oleanna. I didn't necessarily agree with several of Tristan Layne Tapscott's directorial decisions, but I happily recognize that at least decisions were made; in its current incarnation, this 1992 play that has been acclaimed (and, in some circles, reviled) for its refusal to choose sides most definitely does choose a side. Yet what does that decision do for the work as a whole?

Mishi Schueller and Kimberly Willes in For West Side Story to really work, the actors portraying Tony and Maria have to be marvelous, and in Circa '21 Dinner Playhouse's new presentation of this beloved musical updating of Romeo & Juliet, Mishi Schueller and Kimberly Willes are even better in these roles than you'd hope they'd be. The duo is so touching, so emotionally expansive, that director/choreographer Ann Nieman's production is an absolute dream whenever they're on stage, so allow me to begin by discussing Schueller's and Willes' contributions, which should underscore how great this West Side Story is, and perhaps help explain why it should've been greater still.

Tom Dugan as Robert E. Lee When actor/playwright Tom Dugan premiered his one-man show Robert E. Lee: Shades of Gray in Richmond, Virginia, in 2004, the packed audience at the Carpenter Center for the Performing Arts gave the production a standing ovation. Crowds were similarly enthusiastic after subsequent performances in Tennessee, West Virginia, and Georgia, and when Dugan performed Shades of Gray in Lexington mere days before his Quad Cities arrival, the show was sold-out long in advance of its January 11 opening.

Southern audiences, it seems, have been most appreciative of Dugan's historical endeavor. But what of Northern audiences?

"I'll let you know after I get through Davenport," says Dugan during a recent phone interview. "You guys - you count as the north, don'tcha?"

We certainly do.

Dugan laughs. "I'm finally invading the north!"

Alexa Florence and Chris Zayner in You can tell that the Playcrafters Barn Theatre's production of Strangers on a Train is doing its job, and doing it quite well, because - at Friday's opening-night performance, at any rate - the show appears to be making a large segment of its audience really uncomfortable.

612-reader-cover2 My mother sends out an annual holiday letter, which serves as a de facto State of the Union for our family - a recap of what that she and Dad did during the year, a checklist of casinos they visited (which pretty much covers the same ground), and, of course, an update on the lives of their children.

In the past, recipients of Mom's missives would get the skinny on my brother and his wife, my sister, her husband, and their pets, and my adventures would be detailed with a succinct "And Mike went to the movies." (I was thrilled last year when she provided the addendum " ... and the theatre.")

"Cabaret" In the 11-week period between June 1 and August 12, I saw 28 area productions. And how did you spend your summer vacation?

Considering the overall great time I had last summer, though, I was hardly dreading this relentless schedule. I'd spent 10 whole months eagerly anticipating my return to the Clinton Area Showboat Theatre (CAST), Mt. Carroll's Timber Lake Playhouse, and - for Genesius Guild productions - Rock Island's Lincoln Park; the summer-theatre triad would be responsible for 17 of those 28 offerings. (Summer 2006 would also provide my introduction to Eldridge's Countryside Community Players, whose Cinderella I missed last year.)

"Aida"There seems to be a pretty safe rule of thumb regarding the productions at Quad City Music Guild and the Richmond Hill and Playcrafters Barn theatres: When the actors appear to believe in their material (whether that material is strong or weak), the shows are terrific, and when they don't, they're not.

"Grease"I got pretty choked up at Quad City Music Guild's production of It's a Wonderful Life: The Musical, especially when George started yelling at his kids. (They were so cute!) I was truly affected by the anguished performance of John VanDeWoestyne in the Richmond Hill Barn Theatre's Cat on a Hot Tin Roof.

But, in 2006, do you know what area production made me cry like a little girl?

Freakin' Grease.

Risky Business

"The Winning Streak"Theatre can be a great escape, but it can also be so much more. In 2006, most of the area's challenging works were presented by the New Ground Theatre, My Verona Productions, and the Prenzie Players, and over the past year and a half, I've had the pleasure of interviewing the impresarios of these organizations: New Ground Artistic Director Chris Jansen, My Verona producers Sean Leary and Tristan Tapscott, and Prenzie founders Cait Bodenbender, John Luxton, Aaron Sullivan, and Denise Yoder.

So, as I'm on a first-name basis with all of them, permit me to direct a few holiday cards their way:

"Much Ado About Nothing" In the realm of educational theatre, the audience's enjoyment should always be secondary to what the students take from their theatrical experiences. So I certainly hope that 2006's productions were meaningful for the students in Augustana College's, St. Ambrose University's, and Black Hawk College's theatre programs, because this particular audience member had a great time at their shows.

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