ComedySportz circa 1990 Founded by Wisconsin native Dick Chudnow, ComedySportz originated in Milwaukee in 1984, and has grown to include troupes in 21 cities nationwide, with another based in Manchester, England. As its name implies, this stage entertainment turns the art of improv into something of a team sport. (In America, at least, the show even begins with the singing of the National Anthem.)

Dallas Drummond, Chris Castle, and Nathan Batles in Joseph & the Amazing Technicolor Dreamcoat When I learned that Quad City Music Guild's new presentation of Joseph & the Amazing Technicolor Dreamcoat would feature a cast of nearly a hundred - 98, to be exact - I was both thrilled and slightly concerned. Thrilled because ... well, come on, what fan of musicals wouldn't want to see and hear an assemblage of that many performers?

But my concern stemmed from wondering what director Harold Truitt was going to do with them all. Even with 56 members of the children's chorus seated on both sides of the stage, apart from the main action, 42 seemed a rather excessive number of participants for this enjoyably featherweight biblical piece. Would Joseph's enormity prove beneficial, or detrimental?

Boib Hanske, Patti Flaherty, and James J. Loula in Medea Euripides' Medea, the title character of the Greek drama currently being produced in Rock Island's Lincoln Park, is a vengeful sorceress who - after discovering the unfaithfulness of her lover, Jason - kills Jason's wife, the king of Corinth, and, in her most monstrous act, her two young sons. And while I'm not sure what it says about me, I may have had more sheer fun at this Genesius Guild endeavor than at any other I've seen over the past two years. With superior direction by Peggy Hanske, this Medea is a vibrantly dramatic, unexpectedly funny, and completely accessible version of the classic tale, and it's the most consistently well-acted Genesius Guild production I've yet seen.

Samantha Joy Dubina, Jay Reynolds Jr., Hillary Elk, and Ben Mason in Bat Boy the Musical The Timber Lake Playhouse's production of Bat Boy the Musical features a cast of 15 playing some two dozen characters, more than a fifth of whom will be dead by the curtain call. Necks are bitten, throats are slashed, overdoses are administered, and through it all, Bat Boy's performers look as though they couldn't possibly be having more fun. En masse, Timber Lake's ensemble just might compose the happiest musical cast I've seen all year, and considering the material they're working with, and the director they're working for, how could they be anything less?

Liz Millea, Russell berberich, Hannah Solchenberger, and Brad Hauskins in Goldilocks & the Three Bears When the Circa '21 Dinner Playhouse first produced Goldilocks & the Three Bears in 2002, I was a member of the cast, so I'll admit that there weren't many surprises for me in the venue's new production of the family musical. There was one biggie, though: Beneath the program credit that read "Adapted for the stage by Justin Gebhardt," I saw my own name listed under "With additional material by ... ."

Huh?!

Lori Adams and the Pats Flaherty in Living Here New Ground Theatre's Living Here is composed of five one-acts by local playwrights, each one set in the Quad Cities, and I applaud New Ground's decision to stage this showcase for local talent; the production as a whole is more than inspiring, it's important, and the efforts of these theatrical artisans deserve to be seen.

Which doesn't necessarily mean that I liked them all.

Lend Me a TenorThis is why I love live theatre.

In the Clinton Area Showboat Theatre's production of Ken Ludwig's Lend Me a Tenor, Will Morgan plays Tito Merelli, an egocentric and wildly passionate Italian opera star. Late in Act I, the character discovers that his equally tempestuous wife is leaving him. Merelli subsequently launches into a fit of hysterically inconsolable grief, and on Thursday night, Morgan wailed and moaned with peerless comic abandon.

Yet at the very moment the actor began his tirade, there was an enormous thunderclap, and the evening's rainstorm - which had been percolating for an hour - significantly grew in intensity. For three minutes, the squall outside seemed to echo the personal tsunami that Morgan was enacting on-stage, until finally, with Joshua Estrada's hapless nebbish Max calming him, Morgan's Merelli collapsed on the bed, devastated and exhausted.

And outside, as if on cue, the storm began to subside.

The Fantasticks' ensembleIn his director's notes for the Countryside Community Theatre's presentation of The Fantasticks, William Myatt writes that he was honored to helm the production, but also concerned, as Tom Jones' and Harvey Schmidt's minimalist musical wasn't originally intended for a 900-seat venue such as North Scott High School's Fine Arts Auditorium. "Would a show of such intimacy be swallowed by the size of the North Scott theatre?" asks Myatt in his program notes.

Well, if Friday night's happy audience response didn't already convince him, allow me to answer Mr. Myatt: "Nope."

As You Like It Rating its Degree of Difficulty on a scale of one through ten, I'd give Genesius Guild's opening-night performance of Shakespeare's As You Like It... hmm... about a 27.

Cassandra Marie Nuss, Daniel Trump, and Zach Powell in Dracula The scariest thing about the Timber Lake Playhouse's world-premiere production of Dracula is the set, and I mean that as a compliment. Designed by Joseph C. Heitman, the industrial playing space includes a series of metallic walkways with perilous inclines, some 20 feet above the floor, and the walkways themselves are slightly askew. The best way I can describe Dracula's architecture is by saying that, if the set were an amusement-park attraction, you'd be both ecstatic and petrified about riding it.

Pages