cast members of Baby Wants CandyLike most professional performers, Chicagoan Nick Semar has a healthy number of musicals on his résumé.

Unlike most professional performers, Semar can boast acting credits in 26 original, hour-long musicals.

Staged over 27 nights.

All of which were made up on the spot.

David Cabassa and Angela Rathman in The Taming of the ShrewIf, at any point, you find your mind wandering during director Jeff Coussens' Genesius Guild presentation of The Taming of the Shrew - and trust me, that won't happen often - snapping back to attention is easy: Just check out the reactions of the men watching the show from stage right. You'll have no trouble spotting them, because one of the guys is drunk off his ass, and the other's wearing a dress.

Kat Martin, Jacquelyn Schmidt, and William Cahill in Our TownPlaywright Thornton Wilder's Our Town is one of the few preachy plays that I don't mind for its sermonizing. With his blatant, nearly Buddhist statements and themes about living, really living, each and every moment of life, Wilder is unapologetic about the points he wants to drive home. And perhaps because his ideas are so universally acceptable, it's easy to accept Wilder's moralizing. It also helps that the delivery of his messages is so emotionally poignant, as was effectively displayed during Friday night's Our Town performance at Augustana College.

Arlene MalinowskiNearly everyone who was of TV-viewing age in 1963, it seems, remembers where they were on the day President John F. Kennedy was shot. For writer/performer/instructor Arlene Malinowski, that day is especially memorable, because as she recalls, it was one of the first times that this hearing child of Deaf parents had to act as her parents' translator.

"I'm six, I'm in the first grade," says the Chicago-based Malinowski, "and I remember coming home from school, and they're in a dark living room watching the television, and they're crying. And my father says, 'Tell me what's on the TV,' and my mother says to my father, 'No, no, no, leave her alone - she's a kid.' But I'm like, 'No, I can do this!'

"So I'm listening," she continues, "and the man on TV is using a lot of big words. Words I don't understand, like 'assassinate' and 'motorcade' and 'depository.' I figured out that 'assassinate' was 'killed,' but I couldn't figure out what 'depository' meant. And then I remembered that Daddy deposits money into the bank, so it must mean 'the bank.' So I told my father, 'The president man has been shot, he's dead in his car, and a bank robber killed him.'

"And here's the coda to it: They never [definitively] figured out who shot the president. So I am not necessarily wrong."

Samantha Bestvina and Neil Friberg (foreground) and Robin Quinn (background) in MetamorphosesSitting down, preparing for the start of Augustana College's Friday-night performance of Metamorphoses, I marveled at the pool that took up a majority of the stage space, but worried that it would be a gimmicky, annoying distracting from the show - a series of vignettes based on Ovid's Greek myths.

Siara Cooper

Augustana College's Wrestling with Angels & Demons approaches race, ethnicity, and racism from a personal perspective, as six people share their experiences - from first arriving at college to returning to one's homeland - with much humor and grace and very little anger. It's effective at addressing its issues in a nonconfrontational way, thoughtful, and - while dealing with a touchy subject - also quite enjoyable.

Macy Marie Hernandez, Vicki Owoo-Battlet, and director Scott Irelan rehearse Wrestling with Angels & DemonsAugustana College opens its 2010-11 theatre season with the student/faculty collaboration Wrestling with Angels & Demons, and true to its title, the play will find its performers doing a fair share of wrestling. Yet rather than physical (or metaphysical) beings, the production's student actors will actually be grappling with questions: What is democracy? What is the American Dream? And a question that many of us have contemplated this year: Is Rod Blagojevich really blacker than Barack Obama?

When Jodee O'Tool's son entered kindergarten in the Bettendorf Community School District in 2008, she was troubled by the meals the school offered.

"I started looking at the menu," she said. "I am in the field of nutrition, so that's something that's important to me.

"It's mostly processed food," she said. "Not much fresh food. ... A lot of it is hot dogs. ... A lot of chicken nuggets. Fried food ... ."

The Bettendorf elementary menu for May is a good illustration. The 20 lunches include three meals anchored by chicken nuggets, one with popcorn chicken, and one with a breaded chicken patty. One entrée is a hot dog; another is breaded mozzarella sticks.

On the fresh side are days with orange wedges, bananas, apple slices, watermelon wedges, grapes, celery sticks, "carroteenies," and freshly made salads.

While these meals meet federal nutrition standards, O'Tool said they're not particularly good for students overall. And she's trying to change the way the Bettendorf Community School District feeds its children.

I have a confession: Since discovering my passion for the theatre, I've intentionally avoided the works of Anton Chekov. So many of my theatre friends consider Chekov to be the pinnacle of playwrights, placing him even higher than Shakespeare, yet fearing that I'd be excommunicated should I not like his works, I stayed away from them altogether. But now, after seeing the opening-night performance of Augustana College's The Seagull, I must form and share my opinion. So here it is: It turns out I like Chekov. A lot.

 

Supposedly a family-friendly audience favorite, The Secret Garden, currently being performed at Augustana College, is an emotional but often downright dreary musical based on the classic children's novel by Frances Hodgson Burnett. I know few children - or adults, for that matter - with the stamina to make it through this production, which lasted almost three hours on opening night. But duration aside, the decision by director Jeff Coussens and musical director John Pfautz to even attempt to stage Garden, with its cast of 19 in the relatively-intimate Potter Hall, was an audacious one that succeeded on both vocal and visual levels.

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