Go, Dog, Go! Theatre for Young America's new show is based on a vintage children's book by P.D. Eastman, whose credits include Mr. Magoo scripts and a collaboration with the genre's godfather, Dr. Seuss, on The Cat in the Hat Dictionary. Director Valerie Mackey takes advantage of the book's eye-popping illustrations and repetitious prose to create a physical romp that embraces all mixes of canine diversity. Assisting a show geared to the youngest of audiences are such TYA veterans as Parry Luellen and Chris Clegg. Through May 20 at Theatre for Young America, 5909 Johnson Dr. in Mission, 913-831-2131.
Perfect Wedding If this comedy by Robin Hawdon has any deep message, it's probably that weddings should not occur in the same hotel where there was a bachelor party the night before. Using such elements of classic farce as mistaken identity and slamming doors, the play sabotages its title event with a series of mishaps, not least of which involves a member of the wedding party who is erroneously thought to be a call girl. Glenn Pierce directs the six actors who play the betrothed, various friends and relatives, and the ever-ripe-for-ridicule mother of the bride. Through May 21 at the Olathe Community Theater, 500 E. Loula, 913-782-2990.
Rockula! Late Night Theatre's new show, subtitled The Hair Band Vampire Musical, is just as cheesy as the name implies. But who farms cheese better than Late Night? Ron Megee's script about, well, a vampire hair band from the 1980s, is at once a witty homage to the banality of VH1's Behind the Music series and an artful celebration of how metal and goth drink from the same trough. And there are elements of classic Greek theater in the way the company spills blood. It's an ambitious piece of work yet doesn't take itself too seriously -- after all, there's a production number staged to Ram Jam's "Black Betty." Through May 21 at Late Night Theatre, 1531 Grand, 816-235-6222.
The Stinky Cheese Man Any show featuring both local diva Cathy Barnett and the theater scene's reigning teen idol, Sam Cordes, elicits buzz. Such is the case with John Glore's adaptation of Jon Scieszka and Lane Smith's tweaking and blurring of such familiar characters from children's literature as Rumpelstiltskin and Cinderella, blended here into Cinderumpelstiltskin. Director Missy Koonce has the wit to pull off such tales within tales as "The Boy Who Cried Cow Patty," and William Hill's costumes are rumored to be mind-blowing. Through May 15 at the Coterie, 2450 Grand, 816-474-6552.
Trains Across America Of all the suggestions thrown on the table the past couple of years to boost attendance at Union Station, who would have thought the answer would be found with Kansas City's theater community? The past month alone, audiences could take in the U.S. premiere of the Kansas City Rep's Young Lady from Rwanda or an interactive murder mystery from the new Mystery Train company. The latest entry, from Theatre for Young America, promises adventure, drama and humor in a show that salutes -- not surprisingly, given the venue -- the importance of trains in American history. It is written and performed by Danny Cox, who is simultaneously moonlighting in the Unicorn's drama The Exonerated. May 11-21 at Union Station's H&R Block City Stage Theater, 30 W. Pershing, 816-460-2020.
Tuesdays With Morrie Mitch Albom, recently on the best-seller list with The Five People You Meet in Heaven, first gained national attention with the book that Oprah Winfrey turned into an Emmy-winning TV movie. Craig Benton plays the character based on Albom, a sports writer who makes weekly pilgrimages to the bedside of his dying mentor, played by Richard Alan Nichols. If it ends up being something more than the equivalent of a Lifetime movie on testosterone, the thanks can go to director Donna Thomason, whose last project was the unexpectedly fabulous Affluenza. May 6-June 26 at the American Heartland Theatre, 2420 Grand, 816-842-9999.
A Young Lady from Rwanda Sonja Linden's new play joins an ever-growing list of dramatic interpretations of the 1994 Rwandan genocide that give voice to both the horror and the healing. The quietly effective performance of Kenya Brome as a survivor attempting to make sense of the tragedy is occasionally undermined by Linden's resistance to a straight narrative. Instead, we get inner monologues, chats with the audience and dialogue between Brome and Paul DeBoy as the employee of a refugee center intent on shaping her writings -- and sometimes all three in the same scene. The shifting theatrical styles tend to keep the audience at a distance from any emotional payoff. Through May 8 at the Kansas City Rep at H&R Block City Stage in Union Station, 30 W. Pershing, 816-235-2700.