First, let's get one thing straight, or as close to straight as this show allows: You do NOT have to be a faithful follower of Monty Python to completely enjoy the wild and wacky humor of "Monty Python's Spamalot."

What you do need, at least on some level, is a sense of humor.

The 2004 theatrical version of the British group's 1975 film ("Monty Python and The Holy Grain") opened Tuesday evening at The Barn Theatre in Augusta, MI and all the laughs were still there and in very good shape.

Of course, my favorite is the Killer Rabbit, while my theater buddy really prefers Not Dead Fred. But then there are the Knights Who Say Ni, the Lady of the Lake and her Laker Girls, the French Taunter and the insanely skewed bits which somehow, under the direction of Hans Friedrichs, come together to form a wildly disjointed scenario which manages to be wildly funny.

If the aforementioned strike no familiar chords on your humorous bone, this would be a good time to head to Michigan for a closer look. The premise is too simple. When the initial setting (Moose Village, Finland where Finnish Folk are celebrating with the "Fisch Schlapping Song," a traditional merry dance in which the title is taken literally) is returned to its proper locale, England, the focus returns (at least sporadically) to the recentlyl crowned King Arthur (Fee Waybill) who is recruiting knights for his round table.

Reportedly written in just five days by Noel Coward, one of Britain’s most sophisticated playwrights, “Blithe Spirit” has maintained its popularity since first produced in 1941.

The current production at Warsaw’s Wagon Wheel Theatre is a sterling example of why the play, categorized as a “drawing room comedy,” has maintained it’s place in the hierarchy of classics.

With a talented cast, each at the top of his/her theatrical game, a mood-setting scenic design and just the right amount of music, this “Blithe Spirit” lives up to its title and, for this reviewer, reaffirms the success of dialogue as a primary comedic instrument, albeit well-placed and deftly directed dialogue a la Noel Coward.

In the world of musical theater today, there is no greater talent than that of composer/lyricist Stephen Sondheim. His body of work is complex and impressive and his subjects range from murderous barbers to presidential assassins to fairy tale characters.

In 2010, his 80^th birthday was the occasion for concert celebrations by theatrical superstars and, since then, a rash of productions by professional, regional and community theaters. Among these is South Bend Civic Theatre which opened its production of Sondheim’s award-winning fantasy “Into The Woods” Friday evening.

There is no doubt that producing a Sondheim show offers more than its share of challenges. His complex rhythms and sharply defined lyrics have delighted audiences for more than half a century. For the unwary, they also are filled with many musical and dramatic pitfalls as the journey progresses.

You must excuse me while I consult my thesaurus in search of additional laudatory adjectives for the current Wagon Wheel Theatre production of “Chicago.”

To paraphrase Johnny Mercer, “It’s just too marvelous for words!” And that is an understatement!

Let me begin my saying that “Chicago” is one of my very favorite musicals and I have seen it too many times in too many incarnations not to be just a bit wary of any new production.

I should remember, however, that when director/choreographer Scott Michaels promises to “knock your socks off” it’s not just an empty threat.

Of course, he has a lot of help from WW’s fantastic costume designer Stephen R. Hollenbeck and its equally marvelous music director Thomas N. Sterling, lighting designer Greg Griffin and sound man Chris Pollnow, but as everyone knows, the buck (sorry Harry!) stops at the door of the director.

Playing on a set designed by the late Roy Hine for a WW production of “Cabaret,” Michaels creates atmosphere-plus as he brings to life the Windy City in the Roaring Twenties when prohibition was a way of life and murder was entertainment.