The time: the present invaded by the past. The setting: sanctuaries in the southwest desert. The play: Altar Call. And the playwright: Melissa McBain, who has appropriated one of the country's most volatile current debates - where the church stands on the subject of homosexuality - as her play's subject.

So far as I know, there are no steadfast rules regarding children's theatre, but two certain "don't"s would have to be: (1) Don't bore the kids, and (2) Don't confuse the kids.

Chief among many surprises in Circa '21 Dinner Playhouse's current production of The King & I is the re-discovery of just how funny the show is. For many, myself included, the news of another Rodgers & Hammerstein revival is enough to fill you with trepidation; must we sit through one of their timeless extravaganzas yet again? But it's easy to forget that this theatrical duo is legendary for good reason. Beyond their undeniable musical talents, Richard Rodgers and Oscar Hammerstein wrote strong, well-constructed shows and empathetic characters, and their productions always feature an intriguing, nearly treacherous dark side; Rodgers & Hammerstein felt no compunction about casually killing off major characters. (Every time I see The Sound of Music I have to remind myself: Oh, right. There are Nazis in this.) And although I'd be content to never see South Pacific again, a recent, invigorating production of Rodgers & Hammerstein's State Fair at Assumption High School was a welcome reminder of the duo's gifts, and Circa '21's The King & I is fantastically fine, engaging and memorable and, to a quite unexpected degree, hilarious.