It might be hard to imagine that a show like Legally Blonde: The Musical could stir up controversy, which it did last fall at Loveland High School. But that's not stopping other theaters from putting it onstage, including Northern Kentucky University, which opened a campus production on Thursday (and continues through March 3). It's the familiar story of Elle Woods, spurned by her fiancé, off to Harvard Law School in pursuit of him, only to discover that she's got the smarts to be more than just a girlfriend. Not profound, but certainly entertaining. Tickets: 859-572-5464 On Wednesday evening, I attended the first performance of Slow Descent from Heaven, a world premiere play by local writer Catie O'Keefe. Presented by New Edgecliff Theatre (O'Keefe is their playwright-in-residence), it's an ambitious work, presented in a converted classroom at the Clifton Cultural Arts Center (3711 Clifton Ave.) in a production directed by Ed Cohen. The central character, Molly (Elizabeth A. Harris), is a NASA scientist whose story is bookended by space shuttle disasters in 1986 and 2003. She's an angry, tense character, and her involvement with men has affected her career and her attitude. The story has a reverse chronology, so we peel backward in time to learn more about why she's the way she is. I'm glad to have seen this, but I think the script needs more work in delving into Molly's psyche. Right now, her angst is all on the surface, and her interface with the two men in her life (plus the funny mother of one of them) is too predictable. Nevertheless, it's great to see a group like NET encouraging the development of new work. Tickets: 513-399-6638 Another group producing new work is Thompson House Newport (the venue formerly known as Southgate House). They are staging a new Rock musical, Variables, the comic story of five friends out for a night on the town. Their evening takes a serious turn when it's interrupted by disturbing news. It's the work of composer Jered S. Ryan and lyricist Mark D. Motz. Performances are on Feb. 23, 28 and March 2. I haven't seen it, so I can't offer an assessment, but it's another example of our fertile local theater scene. Tickets: www.thompsonhousenewport.com Cincinnati Shakespeare Company's production of Dangerous Liaisons (review here) is a listless interpretation of a show that should be deliciously (dare I say "dangerously") nasty. There are some fine actors onstage — notably Giles Davies and Corinne Mohlenhoff, both longtime favorites at CSC — and moments when the chemistry works, but not enough of them. Tickets: 513-381-2273, x1. Several Cincy Shakes actors are doing a fine job on another stage, in Know Theatre's production of When the Rain Stops Falling, a compelling story of multiple, intersecting generations of two families. (review here) It's a fascinating piece of writing by Andrew Bovell, and a taut, engaging 100-minute production, staged by CSC's Brian Phillips. If you're looking for the one show to see this weekend, this is the one I'd point you to. Tickets: 513-300-5669

No new shows opened this week. But several will close this weekend, so it's your last chance to see them. At the top of that list I would put Cincinnati Shakespeare Company's production of Richard II (Review here). If you're a completist, this is a rare chance to catch a show that's produced very infrequently. (CSC's staging is its first in 19 seasons, leaving it just one shy of producing all 38 of Shakespeare's surviving plays.) But an even more important reason is that actor Brent Vimtrup offers a breathtaking portrait of a weak king (he ruled in the 14th century) who questioned his own ability to reign, decided to hand over his throne and then agonized over relinquishing his "God-given" right. Vimtrup makes Richard real and human in some unexpected ways; it's a performance that's definitely worth seeing. It doesn't hurt that the script is entirely in verse — CSC's actors know how to revel in this language, so the words are wondrous things to hear. But you last chances are this weekend; the final performance is Sunday at 2 p.m. Tickets: 513-381-2273, x1. A British king of a different sort is onstage at the Carnegie in Covington, where the musical Camelot is on view in a concert staging (Review here). The mythical King Arthur — he of chivalry and knighthood and the Round Table — is the subject, as well as his beautiful Queen Guinevere and his valiant retainer Sir Lancelot. Like Richard, Arthur has some shortcomings — hey, we're all human, right? — but his problems are more about being too idealistic and trusting. The truth about Camelot is that the story is kind of choppy and the characters rather one-dimensional, but Lerner and Loewe's music is beautiful, especially in this production, where some great voices are accompanied by an ensemble of musicians from the Cincinnati Chamber Orchestra, conducted by the CCO's Mischa Santora. The show is minimally staged and costumed, but its maximally sung. This one wraps up with a 3 p.m. matinee on Sunday. Tickets: 859-957-1940. Two other productions that are definitely worth seeing: The Cincinnati Playhouse in the Park's world premiere of Abigail/1702 (through Feb. 17, 513-421-3888) (Review here), a spooky sequel to Arthur Miller's The Crucible, and Ensemble Theatre Cincinnati's regional premiere of the recent Off-Broadway hit Freud's Last Sesson (through Feb. 16, 513-421-3555) (Review here). The latter is an imagined conversation between Sigmund Freud and C. S. Lewis about some big issues of life and death, faith and belief. It's a very thought-provoking script, performed at ETC by two fine actors, Bruce Cromer and Barry Mulholland. This one was scheduled to close on Feb. 10, but demand for tickets led to an extension. Take advantage of it!