Steven Quartell and Asastasiya Bauswell in La LloronaThe Harrison Hilltop Theatre's latest presentation is playwright Kathleen Anderson-Curado's La Llorona, and you won't be reading the review I originally set out to write, because after more than 1,000 words of trying, I couldn't find a way to finish it.

James Bleecker II in Thom Pain (based on nothing)The Harrison Hilltop Theatre's latest offering is the 65-minute solo presentation Thom Pain (based on nothing). Yet its title seems more than a little inaccurate, because by the time this rather astounding monologue reaches its climax, it seems to have been based on everything: truths and fabrications and suppositions and dreams, and on the audience's expectations and perceptions not only of theatre, but of life itself.

Monta Ponsetto, Gary Koos, and Jeff Adamson in Murder at the Howard Johnson'sFew things are tougher, or more pointless, to explain than the reasoning behind why a joke is funny. I think I've got a topper, though: The reasoning for why a joke isn't funny - at least to you - even though a hundred-plus people are roaring at it.

Cait Bodenbender and Aaron E. Sullivan in Much Ado About NothingWith the current Much Ado About Nothing, I've now attended 10 presentations by the classical-theatre troupe the Prenzie Players, and perhaps fittingly, it's maybe the most sheerly Prenzie Prenzie production I've yet seen.

The Prenzie Players' Much Ado About NothingThe Quad Cities' spring theatre season will be bookended by Shakespeare, with the March 6 opening of Much Ado About Nothing, and Sophocles, with the May 28 debut of Oedipus Rex. But just because these plays are, respectively, more than 400 and 2,400 years old, it probably isn't wise to enter them expecting the expected. This Sophocles, after all, is subtitled The Audacity of Oed, and this Shakespeare is being staged by the Prenzie Players, so in both works, you may as well expect anything to happen; considering our lineup also features titles by Stephen Sondheim, Neil Simon, Euripides, and Mel Brooks, I'm thinking you can say the same for the theatre season as a whole.

Jessica Stratton, Melissa McBain, and Jeremy Mahr in DoubtThere's a special thrill you get from a stage work that seems not just beautifully, but perfectly cast, and following the curtain call for the Green Room's Friday-evening presentation of Doubt: A Parable - currently playing at the Harrison Hilltop Theatre - that thrill stuck with me for the rest of the night, and into the next day.

Jason Platt and Stacy Herrick in Almost MaineGranted, it's only February. But after seeing the Richmond Hill Barn Theatre's Thursday-night presentation of Almost, Maine, I thought a reasonable case could already be made for actors Jessica Nicol and Chris White emerging as area theatre's most endearing romantic pairing for 2009. Although, to be fair, the accolade could just as easily go to Nicol and Almost, Maine co-star Jason Platt. Or to Platt and co-star Stacy Herrick. Or to Herrick and co-star Alex Klimkewicz. Or to White and Platt. Whichever.

Katie McCormack and Emily Kurash in Lettice and LovageOne of the great joys of having attended so many collegiate productions over the past several years has been in watching promising freshman performers grow into confident and inspired senior performers.

Grandma LeeAt one point during my recent (and rather terse) phone interview with comedienne Grandma Lee, the performer explains her interest in stand-up by saying, "You gotta do somethin' you love. I'm 74 years old, but I'm not ready for the rocking chair."

It would be understandable if you responded to those statements with, "Aw-w-w, how cute!" But with her voice pitched just a tad higher than Bea Arthur's, and with her Web-site introduction providing a memorable image of the comic with a beer and a don't-piss-me-off deadpan, this 74-year-old is hardly your everyday, adorable, cookie-baking granny. (On Lee's MySpace profile, "Drink/Smoke" is followed by "Yes/Yes.")

Jake Lyon and Iona Newell in Romeo and Juliest in the 21st Century For choreographers, inspiration can sometimes come from a story, or a theme, or a series of dance moves. For Ballet Quad Cities' Margaret Huling, who makes her professional choreographic debut with the upcoming Configurations, it came from Tchaikovsky - specifically, the First Movement of the composer's Piano Trio in A Minor, Opus 50.

"I was kind of fighting with myself over what I wanted to do," says Huling, "and I kept coming back to the First Movement. It's music that really inspires me."

Yet choreographic inspiration can also come from the inspiration of others, as Ballet Quad Cities' Associate Director Courtney Lyon discovered in the course of re-staging original choreographer Johanne Jakhelln's Romeo & Juliet in the 21st Century.

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