A cold chill ran through the Playcrafters Barn Theatre at Friday's opening-night performance of Arthur Miller's 1953 play The Crucible; a riveting, partially fictionalized story about the hysteria that took place during the Salem Witch Trials in the Puritan town of Massachusetts Bay Colony in 1692. A group of young women are accused of casting spells, communing with the dead, and putting curses on children. The subsequent Salem Witch Trials, meanwhile, consisted of depositions, legal proceedings, hearsay, evidence (or lack thereof), and religious leaders of the day investigating alleged heresy and evil-doings involving the practices of witchcraft and black magic. Director Patti Flaherty delivered a provocative and captivating production that kept you interested and on the edge of your seat.

Friday's opening-night performance of A Gentleman's Guide to Love & Murder at the Spotlight Theatre was hilarious, with a richly talented company of performers that blended together extremely well. This musical comedy was full of clever slapstick routines and catchy tunes executed by terrific actors who also have strong singing voices, and director Brent Tubbs did an outstanding job delivering a satisfying production that is sure to make you chuckle.

Let’s just get this truism out of the way: When a show has a swear word in the title (though we’ve taken the liberty of adding some well-placed hyphens for you), one should expect mature language. But if a little – okay, a lot – of swearing won’t ruffle your feathers, then the Playcrafters Barn Theatre's Stupid F---ing Bird is a presentation that will satisfy your needs to think and emote.

The heartbreak was palpable at the Black Box Theatre's Saturday-night opening of Lady Day at Emerson’s Bar & Grill. Transformed into a quaint cabaret, the space featured a small stage with a single stool and microphone, with a bar (dutifully tended by server LuAnne Sisk), a three-piece band, and two tables rounding out the experience. And from the moment the lights went down, audience members were treated as patrons of Emerson’s establishment, whisked away from the Quad Cities, and transported to 1959 Philadelphia – for Billie Holiday’s last concert.