Jeremy Mahr may be our area's most effortlessly relaxed performer. There isn't even a trace of actor's phoniness in his line readings or physicality; there's so little artifice in Mahr's portrayals that he can easily fool you into thinking he's not acting at all. Mahr has a beautiful hangdog expression - he looks as if he's endured continual disappointment, and is prepared to endure more - and his focus is concentrated and imploring. Yet when he smiles, the warmth that exudes from him is a little overpowering; he acts like a man embarrassed to be receiving the happiness he deserves. Mahr is a supremely empathetic performer - I've now seen him in three productions since August, and for the life of me, I can't figure out how he manages to do so much while appearing to do so little.
Anyone who has spent a significant amount of time in theatre knows that if your first dress rehearsal goes even the least bit well, there's cause for celebration. Having seen the first dress of the Quad City Music Guild's You're a Good Man, Charlie Brown this past Sunday, I can assure the production's participants: There's cause for celebration, because things appeared to go considerably better than "the least bit well."






