Famous events -- JFK's assassination, the Mets winning the World Series, the moon landing, Nixon -- are recalled by marks on the set, and camera tracking set-ups. In this world, soap stars never die.

The Big Fat Year End Comedy Show features a night of comedy and politics with a collection of stand-up comedy, skits, quizzes and many other surprises.

Yes, there are the minor lighting miscues and flubbing of lines typical of community theatre, but the undeniable talent in evidence and the timeliness of the topic make this a highly worthwhile production of an American classic.

Taken together, the piece had a ‘60’s feel to it, but in a good way, relieved from the overstated cultural baggage.

This was not some pompous Il barbiere whose wit dried shortly after the ink from Rossini’s pen.

Hagedorn gives us a Blanche who is compos enough to know she needs to confabulate – and compelling enough that she has the audience’s sympathies for a psyche held together with spit and baling wire.

At first blush Reynolds does not strike one as quite the lothario type, but he evinces enough of an artist’s ego, passion, and an insouciant, Latin charm to win one over.

Perhaps the best part of Fly By Night is that it's anything but cliche. Thankfully we don't see a large ensemble blitz the stage with jumping jacks and cartwheels, wailing at full volume.

The opening sequence is a poignant solo rendition of Dire Straits’ “Romeo and Juliet” by chorus member Miranda Morris. It sets just the right, wistful tone and serves as an introduction to the narrative for the uninitiated.

Just as we watch politicians in Iowa fall over themselves on issues of moral certitude, The Music Man makes us realize that what passes for Iowan family values has been a joke at least since 1957 when it first opened on Broadway.