Victor Angelo and Jonathan Grafft in The Boys Next DoorI sat through Thursday's The Boys Next Door at the Richmond Hill Barn Theatre fascinated and perplexed by the mixture of emotions I felt. Author Tom Griffin's play about four men with various degrees of mental illness living together in a group home is a comedy, for sure. But director John VanDeWoestyne and his cast presented it in such a way that I wanted to "Ha!" and "Aw-w-w!" simultaneously during almost every moment. The piece is both funny and deeply touching, and much of the credit for that goes to the perfectly cast actors playing the titular "boys." While it took time for a couple of them to win me over, by intermission, each one had me convinced that he shouldn't have been cast any other way.

George Strader, Andrew King, and Patrick Adamson"Is that ahi tuna?"

"No. It's a-ha tuna. This is a comedy interview."

So went a not-atypical exchange during my recent conversation with area comedians George Strader, Patrick Adamson, and Andrew King. (It was George who asked about the tuna and Patrick who ordered it. If you were wondering, Andrew had a burger.) But while the jokes and laughs tended to come fast and furious during our chat, there was one thing this trio was dead-serious about: The Quad Cities' comedy scene has, since the beginning of this decade, been enjoying a pretty dramatic renaissance. A pretty inspiring one, too.

Natalie Anderson, Allison Willie, Autumn Loose, Lauren VanSpeybroeck, Krianna Walljasper, Ben Klocke, Gage McCalester, and Hailie Shemek in The Sound of MusicThere's an effervescent joy permeating the Circa '21 Dinner Playhouse's The Sound of Music from beginning to end - minus the Nazi involvement, of course. Director/choreographer Jim Hesselman's production exudes an infectious glee that, for me, lifts this Rodgers & Hammerstein classic to new heights of performance pleasure. And as Hesselman must know that audiences take great delight in its composers' cherished musical and remember it fondly, he plays to those happy memories.

It was difficult to go into Saturday's performance of New Ground Theatre's The Way West without high expectations given the cast of women involved. I've enjoyed all four of them in the past and was certain I'd be impressed yet again, and by the end of the night, my respect for their talents was mostly renewed due to each one's admirable characterization.

Rae Mary and Fred Harris Jr. in Driving Miss DaisyPrior to Friday night, my only experience with Driving Miss Daisy was with the remarkable film version starring the incomparable Jessica Tandy and Morgan Freeman. Although its tenderness sticks with me, for some reason I don't recall Alfred Uhry's script being terribly funny. And with the Playcrafters Barn Theatre's production of this material, I'm now wondering why I don't remember the humor, considering how loud and often I laughed during director Donna Weeks' presentation.

Kristin Skaggs and J.C. Luxton in Antony & CleopatraMuch of Friday's performance of the Prenzie Players' Antony & Cleopatra played almost like a romantic comedy. Director Kate Farence's staging of William Shakespeare's tragedy feels lighter and funnier than perhaps the material calls for, with the titular couple enjoying their post-Julius Caesar relationship - and ultimately dealing with Rome's political power plays and battles - amidst a den of hedonism, with hippie-esque attendants engaging in swinging orgies and drug use. Matt Moody's set design even has the lovers reclining on a tiered platform covered in colorful pillows and blankets, a seeming nod to the pair's interest in each other over the power of a throne. And the personality in Farence's production proves titillating - and should make the show more palatable for those who might not enjoy a stuffier version.

Jessica Holzknecht, Rowan Crow, and Keenan Odenkirk in As You Like It; photo courtesy of Augustana Photo Bureau/Nadia Panasky '17Director Jennifer Popple's decision to set her Augustana College production of As You Like It in the 1960s is one of the most appropriate changes in time-setting for theatrical material I've yet witnessed. Such shifts sometimes seem gimmicky, or are better in concept than execution, but here it works, and works well.

Kaitlyn Casanova and Sara Tubbs in Fancy Nancy: The MusicalFrankly, I was surprised to see so many boys in attendance at the Circa '21 Dinner Playhouse's Tuesday performance of Fancy Nancy: The Musical. Based on Jane O'Connor's book Fancy Nancy & the Mermaid Ballet, the play would, I thought, appeal more obviously to girls, and prior to the opening of the (proverbial) curtain, I expected the lads populating my seat section to be disappointed. Fortunately, though, there's plenty of content here that appeals to both girls and boys, and judging by the young males' positive reactions, they were delighted by the show - as was I.

David CasasNear the end of our recent interview, I ask David Casas a question that, I think, most people would want to ask a professional magician who spends much of his time making doves appear and disappear: "Has anything really awful ever happened during your act?"

He smiles and replies: "The only thing that's really happened was at one of my first shows. Every time I used to produce a bird, I would always hold them close to me. So I was doing that at one show, and people started laughing, but I didn't know what they were laughing at. So I just kept going with my act, and they kept laughing, and I think I went to grab a silk or something ... . And then I see this big line of bird poop running down my coat.

"And I was like, 'Oh-h-h-h ... now I get it,'" says Casas. "I just shook my head and said, 'That'll happen with birds,' and kept going, you know? And I learned that when I produce the bird, I need to hold it out."

Tristan Tapscott in High FidelityThursday's preview performance of the District Theatre's High Fidelity was, during its first act, a painful experience ... because by intermission, my facial muscles actually hurt from smiling so much. While this musical - composed by Tom Kitt and Amanda Green, with a book by David Lindsay-Abaire - is, in itself, a lot of fun, director James Fairchild and his cast rocked the hell out of it, presenting its story of a record-store owner's most recent breakup (in a long line of them) with infectious energy.

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