I’m a bit of a comedy snob. I can’t stand stupid comedy: low brow, “Whoa, Dude, I’m like, whatever!” fare is completely lost on me. I appreciate a more subtle hand in humor, a sly wit, a surprising turn of phrase.

The New Line Theatre kicked off their second production in their swanky new digs in the Marcelle Theatre with AMERICAN IDIOT, a mostly sung through musical written by Green Day frontman Billie Joe Armstrong and Michael Mayer, featuring the entire American Idiot album with a few numbers from 21^st

I’ll admit it—I’m embarrassed. What I knew about Carole King before arriving at the Fabulous Fox to see BEAUTIFUL: THE CAROLE KING MUSICAL consisted mostly of the soft rock easy listening stuff I used to get subjected to when my coworkers would insist on tuning our radio to the “Delilah” show on KEZK in St. Louis.

Disney is known in the theatre world for elaborate and grandiose productions like THE LION KING and BEAUTY AND THE BEAST. Those shows feature exciting sets, memorable songs, exciting costumes and touching stories.

When I see a musical theatre production for the first time, you pay close attention to the story and the song lyrics. I let the music envelope me and let the set and costumes bring me on stage and pull me into their world.

I might not be a big fan o f clowns, but I’m a huge fan of clowning around. Sing a song, tell a joke, perform a little stunt or better still, a little magic, and bring a smile or even a laugh from the grumpiest of Scrooges—that’s what the holidays are all about, right?

If you’re in the mood for a classic cocktail, you might order up an Old Fashioned—a jigger of bourbon, two dashes of Angostura bitters, a lump of sugar and just a splash of water. It’s a drink that goes back to the 19^th century and is something every bartender should know how to mix.

IRVING BERLIN’S WHITE CHRISTMAS is gracing the stage at the Fabulous Fox Theatre from November 17-22, 2015, just in time for…Thanksgiving. You can blame WICKED’s December residency for that, but that’s fine, really.

When you hear the word “Motown” any number of names should immediately spring to mind: Barry Gordy Jr., Diana Ross and The Supremes, The Four Tops, The Jackson 5, Marvin Gaye, The Marvelettes, Smokey Robinson, and of course, Gladys Knight & The Pips.

For many of us, I suspect our first exposure to the bizarre, grotesque world of “Ripley’s Believe It Or Not” sort of human oddity is The Elephant Man. Born Joseph Merrick but commonly referred to as John due to some confusion from his physician’s memoir, The Elephant Man is still a medical mystery.