Plucky, abused orphans. English-language literature is full of 'em: Dickens' lads Oliver Twist and David Copperfield; Canada's Anne Shirley; America's optimistic Annie; prehistoric Europe's Ayl; contemporary Britain's Harry Potter. One 177-year-old orphan still going strong is Jane Eyre.

As faithful theatre-goers have proved their devotion to Church Basement Ladies (and its many offspring) since 2007, the Circa '21 Dinner Playhouse has resurrected it for the third time. At Thursday's preview night, I saw everything they had made, and behold – it was very good. Yea, those lutefisk-loving Lutherans on the lowest level of the Lord's House have returned.

You're invisible to the characters; there's no interaction between performers and audience, and no talking between spectators. But you can prowl and eavesdrop at will. Everyone witnesses the happenings differently.

Director Rebecca Casad and musical director Christine Rogers have wrangled a large, impressive cast, crew, and staff into an energetic singing, dancing, overall good time.

Mysteries should surprise you. Murder on the Orient Express, the Circa '21 Dinner Playhouse's current offering, did so for me in … well, surprising ways.

Director/choreographer Ashley Becher, her performers, and her crew have whipped up one merry and delicious fudging indulgence. You don't need to know the movie to love this show.

If you're one of those folks excitedly looking forward to snow, and this week's forecasted highs in the 60s are bringing you down, you can step into a cold New England night this weekend and bask (sort of) in that chilly atmosphere – plus get a warm, bountiful evening of entertainment – at the Playcrafters Barn Theatre.

Bram Stoker sucked the life force from the works of Transylvanian folklore scholar Emily Gerard for his 1897 novel Dracula. His immensely popular book, in turn, has been drained of its essence by many adapters. Playwright Kate Hamill's version is Dracula: a feminist revenge fantasy, currently running at Augustana College. But this show is probably not what you think it is.

The world seems to be rampant with disappointments, disasters, and persistent obstacles. Conflict drives drama, but does real life have to be so hard so often? Sometimes, theatre can provide answers, comfort the life-weary, or entertain so thoroughly that you forget your problems. The Richmond Hill Barn Theatre's production of The Seafarer does all three.

School of Rock: The Musical was directed by the theatre's co-owner (and set, lighting, and sound designer) Brent Tubbs, aided here by musical director Laura Hammes and choreographer Becca Johnson. Onstage, we have 30 actor/singer/musicians, plus seven musicians in the pit, and they and the crew have staged an ambitious, complex production that runs smoothly, sounds great, and will leave you grinning.

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