Leigh Funk loves glass beads. I could tell from her appropriately named Web site (http://www.funky-beads.com), a kind of glass-bead heaven that features photos of Funk's original designs, including sea creatures, food & drink, animals, holiday themes, and whimsical pieces.

Preparing for a show in the location the set pieces are constructed, rehearsals held, and technical adjustments made is the easiest way to ensure the fluidity of all theatrical aspects as performance time approaches.

Once in a while a script lingers in a realm of such greatness that it demands the patience, creativity, and collaboration of the most dedicated and talented individuals in theatre to do justice to the playwright's original intentions.

Sean Leary is sticking to basics. The author and producer of the innovative Your Favorite Band believes - despite the unique combinations of film, theatre, and music media used during the performances - that "a good story will always be the key to a successful show. " We'll see whether he followed this maxim and how local audiences respond to his part-live-theatre, part-film show when Your Favorite Band starts a two-week run August 5 at ComedySportz.
Richmond Hill Players Theatre has done a very good thing. Instead of usual attempts to "wow" audiences with edgy (and, in my opinion, too brilliantly written for community theatre) scripts such as Steve Martin's Picasso at the Lapin Agile or efforts to appeal to the older generation with shows such as On Golden Pond and Driving Miss Daisy, the organization's current production of Desk Set settles contentedly into a much-needed middle ground.
Kindertransport is a script full of potential. Unfortunately, on the Playcrafters stage on May 8, the meaning of the play got lost somewhere in the muddle of forgotten lines and lifeless delivery. Directed by Charles Rubovits, Kindertransport (continuing through May 23) is definitely a change for Playcrafters Barn Theatre, which usually sticks to scripts in the adult comedy or mystery genres. I'm glad to see the group stepping out of its usual lighthearted mode into drama, but a lot of elements need improvement before plays such as Kindertransport will be taken seriously.
I always love seeing the plays at Augustana College for the acting skill, detailed and appropriate set designs, and beautifully constructed costumes and props. The musical Quilters - which finishes a two-week run this weekend - is no exception, with an ensemble of seven vocally talented women, live keyboard and fiddle players, and an elaborate display of at least 30 quilts hand-made by Augustana students and faculty.
In 1979, Patti Flaherty starred in Born Yesterday at Playcrafters Barn Theatre in Moline. Unfortunately, I hadn't yet made my earthly appearance and was unable to review it. But 35 years later, she's given me the chance by directing the current production of Yesterday on the same stage. The play is fast-paced if easily foretold, the characters are memorable, and the acting is superb.
Hey you cats, listen up. I saw a show at Circa '21 that's hoppin' and swingin' - like being inside a jukebox. Smokey Joe's Café is where all the cool Daddy-O's and neighborhood gals are dancing to music from the days of the zoot suit up to 1960s love songs. If you're expecting a plot line, a bit of spoken dialogue, you kids won't get it. This musical revue is purely fun. It involves no setup or explanation, and simply celebrates music from days gone by.
A night of reviewing a theatrical production doesn't usually leave me shuffling about the house in my pajamas, checking closets and under the bed for ghosts. But Susan Hill's thriller Woman in Black at Playcrafters Barn Theatre was just chilling enough to send me scurrying under the safety of my bedspread, eyes shut tight to whatever roamed my imagination.

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