In addition to its power to impair our vision, speech and judgment, imbibing too much alcohol can also coerce people into saying what they really mean. Hence the premise of “Vino Veritas” — roughly translated “in wine, truth” — a play by David McGregor about unbridled honesty.

This isn't science-fiction. It's a question of faith that drives the core conflict between the two lead characters in the Peppermint Creek Theatre Co. production of "Next Fall." In Geoffrey Nauffts' script, the rhetorical debate pits spiritual certainty against science on a personal level.

Although Starlight Dinner Theatre serves their meal before the performance, sitting through the murder mystery parody "Let's Murder Marsha" feels like enjoying a delicious multi-course meal with excessively slow service. By the time dessert arrives, you're ready for the check.

The long-awaited film debuts in theaters nationwide on Friday, and box office anticipation has immediately conjured up comparisons to the "Harry Potter" and "Twilight" franchises. Local IMAX shows are already sold out, and fans of the Suzanne Collins books be may coming to the show dressed in costume.

The play derives its name from one of the opening lines of dialogue: "When women say they want a new car, they want a new life," delivered by the “middle-aged” protagonist Becky — full name Rebecca Foster (Gini Larson).

While the script avoids easy Irish stereotypes (apart from some brief whisky imbibing and a sarcastic reference to a shalalie), actors remain only one level away from shouting to make their points. Without equally measured diction, the result is often an acoustical echo cloud created by overlapping Irish accents and the dynamics of the Arena Theatre.

But the original voices are not essential to spark these songs, as the fantastically talented and diverse cast of Riverwalk Theatre proves. If anything, these remakes typically exceed their original counterparts, giving fresh life to timeless tunes with flair.

Since its inception in 1974, Les Ballets Trockadero de Monte Carlo has been keeping the ballet world on its toes — male toes, that is. The all-male repertory company from New York continues its almost 40-year legacy of sending up classical and contemporary ballet pieces in drag.

The stakes are higher and the situation more dire in Williamston Theatre’s world premiere of Joseph Zettelmaier’s “Dead Man’s Shoes.” By placing his character’s lives at risk, the renowned Michigan playwright creates real suspense with his latest work. At its heart, “Dead Man’s Shoes” is a comical examination of unlikely friendships and coincidental meetings.

It´s yet another adaptation of the Charles Addams cartoons, this time for the Broadway stage. But this show is hardly a reanimated sellout. It is mostly funny and highly entertaining for its target audience, which would be parents who were raised on the 1960s TV show.