Does sex sell? That question is dissected by every Marketing 101 class every semester on virtually every college campus. Professors will have students review magazine ads, Web-site pop-ups, and television commercials. They study the branding of perfume, women's-underwear slogans, and the sensuality of eating a luscious cheeseburger. I think most can agree that sex does sell. And if theatre is any indication, the older the targeted market, the better it sells! Just check out the Richmond Hill Barn Theatre's Sex Please, We're 60, and you'll know exactly what I mean.

Clue: The Musical is the latest production to open in this wonderfully intimate venue in downtown Moline, and speaking candidly, I was blown away by the packed house as audience members loudly chattered away before the opening curtain. It was as if they all had been cooped up in their homes for the last 24 hours, but needed to venture out just to see a classic board game brought to life via a Broadway-esque style musical.

Maybe our virtual lives are just as important as our physical lives. To some, maybe, they're more important.

Each of the collective 11 scenes lasts mere minutes and usually employs no more than two actors on-stage at a time, with no more than three actors in any given scene. But the beauty of the script is its poignant, witty, heartbreaking, and hopeful look at the one thing that bonds these characters under the Northern Lights on a bitter Maine night: love.

When director Catherine Bodenbender took center stage at the show's precise curtain time, she reminded the audience to silence their phones and provided a few additional tidbits of information. And then – like a stage manager would typically do behind the scenes – she yelled, “Actors: Places!”, and the cast marched out from their backstage dressing area and took their seats behind the audience. I thought: “This is gonna be cool.”

On the night of August 25, this one spoken line stuck in my head like newly poured concrete – clammy and heavy while slowly thickening in my mind. I can only imagine that most of us have been stuck at some point, but this didn't refer to the everyday kind of stuck. It wasn't about something normal such as being trapped in traffic, or having writer's block, or doing the same workout over and over. No, this question asked in a play referred to an endless hamster wheel of shame and humiliation stigmatized by one poor life choice.

I am biased. Because as a former member (1985-86) of our area's performing wait staff of Bootleggers, I watched No Business Like Show Business feeling proud, and even blessed, to experience this stage retrospective – a celebration of the Circa '21 Dinner Playhouse's 40 years of producing live theatre in the Quad Cities.

Across the street from my childhood home was an open lot with worn-down dirt spots and paths etched into the grass, shaping a makeshift baseball diamond – like something from the film The Sandlot. I played ball there every summer, all summer, from kindergarten through high school, and getting a new baseball glove was always the best, except when you initially put the glove on your hand and realized it was stiff and awkward.

Everybody wants to see that hot, innovative musical. You know the one. It’s cool and diverse, sexy, sacred to its fans, and combines hip music and lyrics with some phenomenal choreography. The one in which a man and woman fall into a forbidden love that takes place amidst a bloody war between rival armies with a deadly duel as part of its climax. C’mon, you know the show I'm taking about, right?

No, not Hamilton. Sheesh.

Don Denton, Shelley Walljasper and ensemble members in Zombie Prom

I mean no offense, but I just have to get this off my chest: Zombie Prom – the first production in the inaugural season of new theatre company the Mississippi Bend Players, directed by Broadway veteran Philip Wm. McKinley – is dumb. There, I said it. I mean, we're talking about a kitschy, '50s-era musical comedy in which a pubescent zombie goes to a high-school prom, for God's sake.

But before QC theatre elites call for my head, hear me out, because the gift of having a talent such as McKinley helm this type of production is that he knows how to create a show boasting a complete vision, and he also utilizes top-level talent to take a silly script and turn it into something exceptionally entertaining.

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