Into the WoodsThe scenic design for the Clinton Area Showboat Theatre's Into the Woods is deceptively simple - basically a half-dozen white drop curtains hanging ceiling to floor, with a few stone steps decorating the otherwise bare stage. But don't be fooled: Like a rabbit being pulled from a hat, something truly magical emerges from this production's minimalist-by-necessity façade.

JJ Johnson, John Donald O'Shea, Jay Rakus, Leigh VanWinkle, Sue Somes, and Elisabeth Gonzales (back row); Lauren VanSpeybroeck, Katie Osborne, and Laila Haley (front row) in Meet Me in St. LouisQuad City Music Guild's Meet Me in St. Louis seems to me a beautifully gift-wrapped empty box. Designer Kevin Pieper's sets are grand and detailed with touches, such as light fixtures and curtains, that are appropriate for the piece's 1904 setting. Sara Laufer's choreography fits the feel of the songs, exuding high-energy fun without being overdone. Costume designer Cindy Monroe's period creations are gorgeous - particularly the women's feathered, wide-brimmed hats. And the actors are, for the most part, in fine voice, and offer cheerily spirited characterizations. I enjoyed the sights and sounds during Thursday's performance. The story, however, barely interested me.

Guys & Dolls ensemble membersOn any given day, the musical I consider my all-time favorite will either be Sweeney Todd or Guys & Dolls ... unless that day is the day after I've seen a production of Guys & Dolls, in which case it's the clear winner. Heaven knows there are plenty of entertaining, tune-filled warhorses from Broadway's golden era, but do any of them have the effervescent fizz and pop of composer/lyricist Frank Loesser's 1950 triumph, a beautifully constructed musical comedy so funny and clever and sweet that it can keep you happy and humming for hours - like, 100 hours - after it ends?

Bruce Carmen and John VanDeWoestyne in Greater TunaBased on the reputation of the Tuna plays and remembering how heartily I laughed during a recent production of A Tuna Christmas, I expected the original piece in the series, Greater Tuna, to be, well, funnier. That's not to say that the Richmond Hill Barn Theatre's production of this comedy isn't without laughs - they're just not side-splitting ones. Still, thanks to the two actors who impressively handle 20 roles between them, director James Fairchild's staging of authors' Jaston Williams', Joe Sears', and Ed Howard's play is adequately diverting, and good for an evening's entertainment.

Little Shop of HorrorsThe Clinton Area Showboat Theatre's Little Shop of Horrors kicks off with the promise of a lot of fun. The opening, titular doo-wop number is full of spirit (aided by choreographer Brian Cowing's homage to '50s-era backup singers) and is well sung by the trio of street urchins - played by Monique Abry, Heather Botts, and Nyla Watson - who showcase impressive solo belt voices and tight harmonies. With my head bopping and my lips longing to sing along, I believed I was in for a raucous good time during Friday's performance. However, the Showboat's production wilts as the carnivorous plant at the center of the action grows.

Cari Downing, Lauren Vickers, and Jackie Madunic in Anton in Show BusinessThank the theatre gods for Denise Yoder, as her presence livens up New Ground Theatre's production of Anton in Show Business every moment she's on stage. Portraying a handful of characters, Yoder really gets to showcase her range; whether she's playing a somewhat ditzy stage manager, or a race-conscious black woman directing a play-within-a-play, or a self-assured, bad-joke-telling, male underwriter, Yoder's sense of pace and comic timing are flawless. (Her director is a particular hoot, and her aggressively annoyed attitude as the stage manager T-Anne - who grows more and more impatient throughout the piece - is hysterical from beginning to end.)

Marquetta Senters in the Old Creamery Theatre's BusybodyAt last count, there were 74 plays and musicals set to open at area venues this summer. Although one of the productions is technically two separate productions. And four of them are technically one. And two of the plays are really readings of plays.

You know what? Let's just say 70-ish plays and musicals. That's still impressive, right?

Tom Swenson and Daniel Ferguson Haughey in The Chronicles of Lincoln and GrantThe District Theatre's The Chronicles of Lincoln & Grant is an historical account of the Civil War from the perspectives of two of the country's leaders: President Abraham Lincoln and General Ulysses S. Grant. However, instead of discussing events from the actual war (though they occasionally do), the characters in this two-person play mostly share stories of their personal experiences leading up to, during, and following the war.

Ballet Quad Cities' The Sleeping BeautyWhat struck me most about Ballet Quad Cities' Saturday-night performance of The Sleeping Beauty was how easy it was to follow the storyline even though it was told entirely in dance (set to Peter Ilich Tchaikovsky's score), and featured absolutely no dialogue.

Director Paul Workman deserves high praise for making the Playcrafters Barn Theatre's Titanic Aftermath at all watchable, particularly as the boat is sinking in the second act. Throughout Friday's performance, I kept thinking that playwright Michael Wehrli's script was a fantastic historical account, but also kept wondering, "Why is it a stage play?" With so much action described, and so little played out visually, especially during the first act, this piece might as well be a radio drama, or the script for a documentary on the Titanic. As a theatrical production, however, Wehrli's work is ... well, rather boring.

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