The gap in theatrical offerings that often occurs around the Easter season is not happening here for 2025, perhaps because the holiday falls at the later end of the spring spectrum. Whatever the reason, this week fans have more than half a dozen shows to choose from in venues large, medium and small.

This is the last week for the delightful “Dial M for Murder,” presented by Road Less Traveled Productions in Shea’s 710 Theatre, one of my favorite places to see live shows. Our local companies have learned how to make the most of the larger performance space – for “Dial M” the stage has been turned into a multi-level midcentury apartment living room – while those in the viewing seats get to enjoy cushioned comfort and beaucoup leg room to go with the excellent sightlines no matter what row you are in. 

RLTP uses an adaptation by playwright Jeffrey Hatcher, who tweaked the original 1952 script by Frederick Knott while keeping the time and setting (1950s London for the well-to-do) the same. Steve Copps is devilishly clever as Tony Wendice, who easily admits that he married his now-unfaithful wife Margo because of the pots of money she inherited. 

Alfred Hitchcock was aiming for glamour when he cast Grace Kelly as Margo opposite Ray Milland in his movie of the same name. In this version, an also lovely Kate LoConti Alcocer gives Margo a lot more grit and imagination. Plus, she’s downright playful in the opening scene with her friend, the mystery writer Maxine Hadley (a formidable Kristen Tripp Kelley), as they banter about fictional murder plots and, eventually, real life blackmail. 

You see, someone has gotten hold of a letter that reveals Margo and Maxine had a love affair. By changing Margo’s paramour from male to female, Hatcher provides one more role for a woman and, for the 1950s, an even more intense reason for the two to keep their relationship secret. 

The rest of the action follows the original tale of suspense at a lively pace. Everyone has something to hide and every few moments more is revealed.

Margo and Maxine’s secret is not so secret after all. Tony, the charming and attentive husband, is even more attentive his own base needs. Nice guy actor Adam Yellen is a revelation as Lesgate, the hapless career criminal who becomes Tony’s chump, and Todd Benzin winningly steps into the gumshoes of Inspector Hubbard, who is not so dim a sleuth as one might expect.

Director Robyn Lee allows her actors to play to their strengths to excellent effect, keeping the woman from becoming shrill and allowing Copps to lean just a bit on his noted comic chops. Dyan Burlingame designed what appears to be a perfect set for the seamless scene changes, facilitated by Nicholas Quinn’s lighting and sound by Kevin Faulhaber. 

I’m assuming props master extraordinaire Diane Almeter Jones gets credit for the vintage phone and furniture, and for keeping the decanters full on the handy bar. (This group pours out almost as much as the gang in “Scenes From a Marriage” over at Torn Space; apparently libation lubrication keeps the dialogue moving.)

“Dial M for Murder” concludes this weekend in Shea’s 710 Theatre, 710 Main St., with shows April 10 and 11 at 7:30 p.m.; April 12 at 8 p.m., and a matinee Sunday, April 13 at 2 p.m. Tickets are about $55, including fees, at sheas.org.

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For even more Hitchcock, there’s the opening on April 11 of “The Hung Man,” a mystery satire by Ian Bonner and Marty Shea, presented by Buffalo United Artists. Publicity describes it as “a cheeky romp through a full-length ribald parody that tips its hat to Alfred Hitchcock’s cinematic gems and their deliciously homoerotic vibes!”

This unconventional tribute to Hollywood’s master of mystery (yes, I’m a fan) opens Friday, April 11 and runs through May 3 at the Compass Performing Arts Center, 545 Elmwood Ave., with shows Thursdays and Fridays at 7:30 p.m. and Saturdays at 5 p.m. Tickets are $33.85 at buffalounitedartists.org.

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Out at the Lancaster Opera House, the Cold War musical “Chess” continues through the weekend, layering a star-crossed love story over East-West intrigue using Tim Rice lyrics and music by ABBA members Björn Ulvaeus and Benny Anderson. Though the original musical hails from 1986, when “glasnost” was all the rage, and though the Opera House scheduled it last year before the election, the themes are still jarring: 

People unable to travel freely; the government trumping up false charges to punish those who don’t toe the line; a boorish American who can’t resist making sexist remarks and blasting the media. 

The action centers around a chess competition between two grand masters, a Russian and an American. One match takes place “One Night in Bangkok,” the most recognizable song in the show, which runs a hefty 2 hours and 50 minutes, including intermission. 

Arrive early enough to read director J. Michael Landis’s interesting director’s note in the program for more background the unusual history of  “Chess.” Then sit back and listen while Emily Yancey (“Heaven help my heart”) as Florence, the love interest; Merrick Allen (“At least she’s a good looking spy”) as the Russian and Jacob Albarella (“Pity the Child”) try to find happiness while being used as pawns by unseen powers.  

LOH director David Bondrow, so wonderful last year in “The Producers,” has a supporting role as another questionable character with tricks up his sleeve, while Jon May as Molokov, handler for Anatoly turns out to be surprisingly sympathetic. Sydney Conrad, aka the Lady in Red, shines in a smaller role as Anatoly’s estranged wife. 

They’re supported by a large, talented ensemble that does double duty in numerous roles and effecting set changes. Altogether, a well-produced show with fine musical direction (by Fran Landis), a well-conceived set (that’s Lou Iannone’s doing) and effective tech design on all counts. 

“Chess: The Musical” pulls out the boards for one more weekend at the Opera House, 21 Central Ave., Lancaster, with shows Friday and Saturday, April 11 and 12m at 7:30 p.m. and Sunday, April 13 at 2:30 p.m. Tickets are $45; $43 for seniors, $25 for students, at lancasteropera.org. 

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The dramedy “Now & Then,” at Desiderio’s Dinner Theatre in Cheektowaga, also deals with choices made and possibly regretted, for one more weekend. Call 716-395-3207. (See the review on this site for more on the show.) And, looking ahead, coming up there is “Mass Appeal,” starting May 8, with Peter Horn and young Connor Hesch, who has just wrapped up a great run as Pippin with O’Connell & Co. 

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It’s a blast from many of our pasts at Shea’s Performing Arts Center (aka Big Shea’s) this week as it welcomes “The Neil Diamond Musical: A Beautiful Noise,” for eight shows. Performances are at 7:30 p.m. April 8, 9, 10 and 11; 2 and 8 p.m. Saturday, April 12; and 1 and 6:30 p.m. on Sunday, April 13. Tickets are $55 to $107, at sheas.org and Ticketmaster. Best availability is for the weekend evening performances. 

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And, apologies if you were hoping to get tickets now for “Dorian” at Irish Classical Theatre Company. The North American premiere of the mash-up story of Oscar Wilde and his masterpiece “The Picture of Dorian Gray” has sold out its final performances. 

“Dorian” features stellar performances by Kristopher Bartolomeo, Dave Spychalski and Brian Brown, each playing multiple roles as characters from the book and people from the life of Wilde in a riot of innovative costuming and staging. Again, this was a show scheduled well before the political cultural climate took its sharp right turn, so any thoughts about whether it would ever see the light of day at the Kennedy Center were not planned. But the answer is, how nice to be able to see it here. If you already have a ticket in hand.