Whether it be community, professional, college-university or national touring productions, Lehigh Valley theater-goers have, to quote a cliche, a “vertible plethora” of stage shows from which to choose.

While I didn’t get to see nearly as many college productions in 2015 as I would’ve wanted to, Muhlenberg College Theatre Department’s “Chicago” was one of the year’s best be it professional, community or college productions.

”Director Charles Richter and his excellent production team, as well as the tremendous student cast, get it and they get it right in the musical comedy ... In his 37th year teaching and directing at Muhlenberg ... Richter’s ‘Chicago’ is nothing short of spectacular ... Think Muhlenberg Summer Music Theatre in the fall,” stated the Lehigh Valley Press Focus theater review. As if to prove the point, the two week-run sold out.

The Muhlenberg College production of “Chicago” symbolized the quality and variety of shows and theater groups in the region, from national touring shows at the State Theatre For The Arts, Easton, to children’s shows at Miller Symphony Hall, Allentown, to a revived Bucks County Playhouse, New Hope.

Bucks Playhouse returned to the fore as a theater destination with Stephen Sondheim’s “Company,” which starred Justin Guarini of “American Idol” fame; the glitzy fun of “Sandy Hackett’s Rat Pack Show,” and “On Golden Pond,” which starred Keir Dullea (astronaut David Bowman in director Stanley Kubrick’s 1968 classic, “2001: A Space Odyssey”) and his wife, Mia Dillon (1982 Tony nominee, featured actress, play, “Crimes Of The Heart”).

Some Lehigh Valley theater groups carried on despite the departures of key personnel.

Allentown Public Theatre staged the children’s show, “Charlotte’s Web,” and launched its Theater Cafe series under the tutelage of Anna Russell, who succeeded APT founder Joshua Neth as artistic director.

Despite the departure of its artistic director and choreographer, the show did go on for MunOpCo’s 88th season with the Lehigh Valley premiere of “Catch Me If You Can.“ As MunOpCo board member Daniel Petrovich and director of “Catch Me” said, “One of MunOpCo’s calling cards has always been a Lehigh Valley premiere or a show with a large cast. We opted to go with a Lehigh Valley premiere and a cast of 30.”

At Civic Theatre of Allentown, also noting its 88th season, “The Addams Family” and “A Christmas Carol” set box office and attendance records. The final weekends for both productions had sell-out performances.

At Touchstone Theatre, Bethlehem, “Christmas City Follies XVI” sold out a record eight performances and had its highest-attended run to date.

At Pennsylvania Playhouse, Bethlehem, all of the performances of “Irving Berlin’s White Christmas” sold out and and several performances were added to meet ticket demand.

Theater groups continuing to grow and proliferate, including Notre Dame Summer Music Theatre, Selkie Theatre, Star Of The Day, Sing For America, Third Mask Theatre Company, Shakespeare In The Park and Global ImpActors.

A staged reading of “Greenwood, An American Dream … Destroyed” was presented. The drama, written by Celeste Bedford Walker and directed by Lynnie Godfrey, deals with the Memorial Day 1921 destruction by white citizens of Greenwood, a section of Tulsa, Oklahoma, referred to as the “Negro Wall Street.”

Taking a cue from hatred-fueled violence in the streets of the United States, several theater groups, spearheaded by Ara Barlieb of Crowded Kitchen Players, launched “Voices Of Conscience” to spotlight productions focusing on racial understanding.

The Freddys continued to fan audience interest and student participation in theater.

And the Lehigh Valley lost one of its staunchest theater enthusiasts and critics in 2015: Myra Yellin Outwater. Her feature articles, theater reviews and independent voice will be missed.

Theater reviews of 38 plays were published in the Lehigh Valley Press newspapers Focus section and web sites in 2015. That’s up from 31 theater reviews in 2014.

The theater reviewers’ tally: Rebekah Hawk; 1; Luke Muench, 1; Dawn Nixon: 1; Ellen Wilson: 1; Deb Boylan: 14, and Paul Willistein, 18.

Based on Lehigh Valley stage shows that I saw in 2015, with input from Deb Boylan, here’s the 10th annual ABEs (as in Allentown, Bethlehem, Easton) Awards. Quoted passages that follow are from Lehigh Valley Press Focus theater reviews of the 2015 productions.

Professional Theater

Producer. Patrick Mulcahy, Producing Artistic Director, The Pennsylvania Shakespeare Festival. The PSF is dedicating its 25th season in 2016 to its founder, the Rev. Gerard J. Schubert, who died in 2015. For the 2015 season, ticket revenues exceeded $1 million for the first time, there was a 45 percent increase in subscriptions, a main stage production (“Les Miserables”) played to 103 percent capacity and attendance for the season was 38,615, the highest since the festival’s founding in 1992 and 15 percent more than the 2014 season. The productions’ stagecraft and actors’ performances continue to garner critical acclaim. You’d have to drive to New York City or Philadelphia to find productions on par with those at PSF.

Director, Musical: Dennis Razze, “Les Miserables,” The Pennsylvania Shakespeare Festival. “Razze’s PSF production of ‘Les Misérables’ not only pulls out all the stops, but under his direction is a spiritual interpretation of the musical by Alain Boublil and Claude-Michel Schönberg, based on the Victor Hugo novel. Razze doesn’t flinch from the power of the music by Schönberg nor the lyrics by Herbert Kretzmer as, for example, in the ‘Epilogue’ when Eponine (Rachel Potter) and Fantine (Kate Fahrner) sing, ‘To love another person is to see the face of God.’”

Musical, ”Les Miserables,” The Pennsylvania Shakespeare Festival. PSF Producing Artistic Director Patrick Mulcahy held a press conference the first month of 2015 to announce the most anticipated musical in the history of PSF: ”Les Miserables,” which went on to sell out at 103 percent capacity. “Les Miserables” was the “Star Wars: The Force Awakens” of the 2015 Lehigh Valley theater scene. Director Dennis Razze, PSF Associate Artistic Director and DeSales University Director of Theatre, directed the show, which had a stellar cast of actors and vocalists.

Original Musical: “Steve Brosky: The Musical (Living Here In Allentown)”: Selkie Theatre co-founder George B. Miller collaborated on the original musical with Lehigh Valley singer-songwriter Steve Brosky, with Walt Garvin of the Lehigh Valley Blues Network as a producer. Brosky’s life, from his days as a Sixth Ward, Allentown, youth to serving in the Army in the Vietnam War to his critically-acclaimed profession as a folk-rock-blues performer, was presented by actors portrraying Brosky as well as persons who’ve had prominent roles in his life. The result is a kaleidoscopic tour de force of great visuals and a soundscape set to the beat of a top-notch rock band playing songs by a Russian immigrant’s son who reflects on the meaning of the American dream.

Choreography: Karen Dearborn, “Hello, Dolly!,” Muhlenberg Summer Music Theatre. “Choreographer Karen Dearborn puts the cast through its paces in the lavish MSMT production. ... Several numbers are especially standouts: ‘The Waiters’ Gallop’ (with acrobatics, juggling and three-ring circus-like choreography), and ‘It Only Takes A Moment.’”

Actress, Musical: Mia Scarpa (Dolly), “Hello, Dolly!,” Muhlenberg Summer Music Theatre. “It wouldn’t be ‘Hello, Dolly!’ without a great Dolly. Mia Scarpa is that in this vibrant production ... Scarpa sings in a Mermanesque voice and has a magnanimous stage presence, with a wide smile and sweeping gestures that seem to embrace the entire audience. The title song, ‘Hello, Dolly!,’ is the show’s signature number and it’s a show-stopper. It is the show, really. It feels so nice, they do it twice. Michael Schnack conducts the 11-piece orchestra, which plays with panache. ... Several other numbers are especially standouts: ‘I Put My Hand In,’ where we’re introduced to the power of Dolly (and Scarpa’s powerful voice). ... Dolly is a matchmaker, a meddler. She ‘arranges things.’ Call it ‘heavy meddle.’ If she wouldn’t be so charming, she’d be off-putting. Scarpa finds the balance.”

Actor: Musical: Jarrod Yuskauskas (Horace Vandergelder), “Hello, Dolly!,” Muhlenberg Summer Music Theatre. “The repartee between Mia Scarpa (Dolly) and Jarrod Yuskauskas (Horace Vandergelder) is priceless. Scarpa broadcasts brassy charm opposite Yuskauskas, a master of the double-take and exasperation. Several other numbers are especially standouts: ‘It Takes A Woman’ (despite dated lyrics, the male vocalists and Yuskauskas as Vandergelder pull it off) ... ”

Ensemble: Musical: “Avenue Q,” Muhlenberg Summer Music Theatre. “This is a very strong and impressive cast. ... ‘Avenue Q’ is a loosely-plotted musical of close encounters of the emotional kind: Kate Monster (puppeteer Kate McMorran), Princeton (George Primavera), Rod (Luke Taylor), Nicky (Sean Skahill), Christmas Eve (Lilly Randall), Brian (Dan Dobro). McMorran has a beautiful singing voice ... She also creates a vibrant character voice for Kate Monster. Her facial expressions are delightful. ... Primavera creates a nicely reserved characterization for Princeton and is in fine voice throughout ... Cameron Silliman is amazing as Gary Coleman, yes, that Gary Coleman, here as a TV star turned apartment building superintendent. ... Other standouts among the cast of standouts are Lily Randall (Christmas Eve), Morgan Reilly (Lucy), and David Forbes and Meredith Kate Doyle (Bad Idea Bear No. 1 and 2, respectively). Christian Dessler (Trekkie Monster) and Mariah Dalton (Mrs. T) round out the wonderful cast. The dexterity of the actors, their timing and their flawless performances is impressive in this rollicking production of zany cheerfulness.”

Play: “Around The World In 80 Days,” The Pennsylvania Shakespeare Festival. “Director Russell Treyz ... lets the five actors, who play a total of 30 roles, loose on the neat set with its clock and watch-gear motif, designed by Bob Phillips and Samina Vieth, with scintillating lighting by Eric T. Haugen and sound effects by Stephanie Hodge ... Phileas Fogg (Richard B. Watson) has a 20,000 British pound (about $1.6 million) bet with members of the Reform Club (fezes and fun) in Burlington Gardens, England, that he can’t circumnavigate the globe in 80 days. Accompanying Fogg is his valet, Passepartout (Brad DePlanche). On Fogg’s trail is Detective Fix (Eric Hissom), who targets him as a bank-robbery suspect. Along the way, Fogg meets and falls in love with Aouda (Anita Vasan). Also along the way are 16 characters played by Christopher Patrick Mullen. ... The PSF production of ‘Around The World In 80 Days’ goes to funny and beyond.”

Original Play: “Journey From The East,” Touchstone Theatre. This was undeniably one of the most ambitious Lehigh Valley theater projects since, well, the last Touchstone Theatre ambitious Lehigh Valley theater project, “Journey From The East: Dream Of The Red Pavilion” (2014), and before that, “Steelbound,” “A Resting Place,” “Another River Flows,” “Steelbound” and “The Don Quixote Project.” The latest in Touchstone’s big-cast, large-scale, outdoor spectaculars was presented at the Chinese Harmony Pavilion and along the South Bethlehem Greenway. “Touchstone Theatre was at it again, challenging conventional theater wisdom with ‘Journey From The East’ ... What Touchstone co-founder Bill George and Touchstone Associate-Moravian College Director of Theatre Christopher Shorr, who cowrote ‘Journey From The East,’ did is a mash-up of eastern myths and western myths. ... Through time travel, role reversals and, essentially, two different plays, Touchstone Artistic Director Jp Jordan, who directed ‘Journey From The East,’ turned the theater-going experience on its ears and seats.”

Director, Play: Matt Pfeiffer, ”Henry V,” The Pennsylvania Shakespeare Festival. “There is nary an imperfection in the rock-solid, astounding, thoughtful production directed by Matt Pfeiffer, who tells the story in tableaus ... Pfeiffer stages the play as presentational, with the actors in direct address or stance. He allows, and provides, even insists upon, many nice moments for the audience. ... Pfeiffer relieves the seriousness with a delicate interpretation of the wedding scene. There’s charming rapport between Zack Robidas (King Henry V) and Marnie Schulenburg (Katherine), and hilarious looks askance by her assistant (Jane Ridley).”

Actress, Play: Elizabeth McDonald (Harper Lee), “A Moment With Nelle Harper Lee: A Theatrical Conversation,” Selkie Theatre at Moravian Book Shop, Bethlehem. George B. Miller directs Elizabeth McDonald in a note-perfect portrayal of the demure, genteel southern author who wrote the Pulitzer Prize-winning “To Kill A Mockingbird” and, after a 55-year hiatus, “Go Set A Watchman.” The staging is simple. The performance is powerful. The legacy is important. The one-woman show is contining to be presented and is available for bookings.

Actor, Play: Christopher Patrick Mullen (Pericles), “Pericles,” The Pennsylvania Shakespeare Festival. “‘Pericles’ ... provides Christopher Patrick Mullen a big canvas on which to paint the emotional nuances, vocal range (from confessional to triumphant), and steel-wire physicality of his estimable talent.” Shakespeare’s drama was a PSF debut that concluded the 2015 season in a production said to be similar to how plays were presented in Shakespeare’s day: no lighting designer, no set designer, no costume designer and no director. This was theater of the imaginaton: “Mullen and the other lead actors in ‘Pericles’ rise to the occasion and create the scenes, the travels and the emotional resonances in the imaginations of the audience.”

Ensemble, Play: ”Henry V,” The Pennsylvania Shakespeare Festival. “Language wins the day, as, for example, ‘How you awaken our sleeping sword of war,’ spoken by King Henry V (Zack Robidas, forthright yet with calm authority). The Chorus, really an omnipotent narrator, could be no more formidable a choice than that of Greg Wood, a stalwart of the Pennsylvania Shakespeare Festival ... Wood sets the stage, literally and figuratively, his eyes dancing with the splendor of the story, his face set flint-like with earnest import, his presence downstage, drawing us in, placing before all a tabula rasa on a spare set by Scenic Designer Bob Phillips. ... Actors in supporting roles also regale in the rhapsody of the Shakespearean turn of the phrase: the Duke of Exeter (Wayne S. Turney, bringing just the right sense of gravity): ‘a crushed necessity,’ and the Archbishop of Canterbury (Anthony Lawton, a magnificent figure in wonderful raiments by Costume Designer Sam Fleming): ‘Therefore does heaven divide.’ Against the somber deliberations of war are balanced the comic figures Pistol (William Zielinski), Nym (Jacob Dresch) and Bardolph (Carl N. Wallnau, having a jolly old time), at once witty, bawdy and rollicking. ... The actors rise to the battle scenes, so much so you fear for their lives, thanks to Fight Director J. Alex Cordaro.”

Costume Design: Dustin Cross, ”Hello, Dolly!,” Muhlenberg Summer Music Theatre. “The costumes by Costume Designer Dustin Cross are stunning, including Dolly’s opening number pumpkin-colored outfit, to a lavender-themed frock to a fabulous gown for the finale. The female company is a confetti blast of pastel costumes, hats and umbrellas. The male company is outfitted in nifty vests.”

Scenic Design: Bob Phillips, “The Foreigner,” The Pennsylvania Shakespeare Festival. The production has a “detailed, lived-in looking set design by Bob Phillips ... The set is expansive and log-hewn, with an attention to detail, including a deer head above a stone fireplace, deer antler chandelier, spoon rack and quilt. It’s decorated in early knick-knack. Glimpse the kitchen through a doorway and an entrance hallway beyond the main ‘great room.’”

Lighting Design: Thom Weaver, ”Henry V,” The Pennsylvania Shakespeare Festival. The set is “shrouded in fog, at first, and then starkly lit.”

Sound Design: Alex J. Bechtel, ”Henry V,” The Pennsylvania Shakespeare Festival. “Splendid choral, acoustic and nary a microphone on the actors by Composer-Sound Designer-Music Director Alex J. Bechtel ... Bechtel’s score ... brings a Pink Floyd modernity, Moody Blues cosmology and Beatlesque enthusiasm to the proceedings ... The play concludes with a familiar Shaker hymn.”

Community Theater

Producer: “Voices Of Conscience.” As the United States and the world, it seemed, languished in a morass of hatred, revenge and finger-pointing, Ara Barlieb and Pamela Wallace, cofounders of Crowded Kitchen Players, along with Allentown Public Theatre Executive Director Anna Russell, Board President Susan Weaver and board member Rochelle Freedman, Doug Roysdon of Mock Turtle Puppets, George B. Miller and Kate Scuffle of Selkie Theatre, the Basement Poets, Lehigh Univeristy, Moravian College and representatives of other Lehigh Valley theater groups, banded together to forge a coalition to raise awareness of racial understanding as presented on the theater stage.

Musical: “[title of show],” Civic Theatre Of Allentown. “Behind all the laughter is a serious take on the aspirations of playwrights, songwriters, actors, directors and producers. ... There is, indeed, as that great song goes, no business like show business. William Sanders, Civic Theatre Artistic Director, the actors and all those involved in this wonderful Civic Theatre production know that all too well. ... Sanders knows the territory and pushes the play’s insider send-ups, the wink-wink, nod-nod asides, and the corny jokes to the edge. He pulls the actors back just enough before they go over the ledge” in the musical’s Lehigh Valley debut.

Original Musical: No ABE Award given.

Actress, Musical: Andrea Cartagena, “The Addams Family,” Civic Theatre Of Allentown. Is Andrea Cartagena the most committed actor in the Lehigh Valley? Cartagena, “who shaved her head for the role of Fester, is amazingly funny, and acquits herself well vocally in ‘Fester’s Manifesto,’ ‘But Love’ and ‘The Moon And Me’ (with wonderful vocal accompaniment by The Addams’ Family Ancestors ... “ And in the height of irony, the “Break A Leg” wish of good luck became all too real for Cartagena when she broke an ankle climbing down from the pipe organ chair as Ghost Of Christmas Present in “A Christmas Carol” at Civic Theatre. Cartagena completed the scene. “Christmas Carol” Associate Director JoAnn Wilchek-Basist filled in for Cartagena for the rest of the show’s run.

Actor, Musical: Rob Clausnitzer (Doctor Henry Jekyll-Mr. Hyde), “Jekyll & Hyde,” Notre Dame Summer Theatre. “Clausnitzer is a commanding presence on stage, playing the kindly Jekyll and his awakened, malevolent alter ego, Edward Hyde. He is able to switch from one extreme to the other with relative ease, which is no small task indeed. Clausnitzer is a powerhouse vocally and will leave you in goosebumps and chills as he performs several numbers, notably ‘Alive!’ ‘This Is The Moment,’ and during the riveting ‘Confrontation’ climactic scene where Jekyll battles Hyde to regain his soul. ... Proof that talent is often genetic, Clausnitzer starred with his wife, Beth Clausnitzer (Nellie) and their son, Christian Clausnitzer (Newsboy).”

Ensemble, Musical: “Jekyll & Hyde,” Notre Dame Summer Theatre. Elizabeth Marsh-Gilkeson (Lucy Harris) and Gwen Vigorito (Emma Carew) “have powerful vocal moments throughout the show. Vigorito has an operatic range and Marsh-Gilkeson can hold her own on stage with the best of them. The duet they perform, ‘In His Eyes,’ is an especially moving piece that showcases both performers’ strengths.” The cast included Rob Clausnitzer (Doctor Henry Jekyll-Mr. Hyde), Fred Broadbent (Bishop of Basingstoke), Cindy Ernst (Lady Beaconsfield), Trevor Colahan (Lord Savage), Jim Loftus (Simon Stride), J. Logan Keenhold (Sir Archibald Proops), Phil Markley (General Lord Glossop), Ted Williams (Sir Danvers Carew), Rody Gilkeson, who directed the show (Gabriel John Utterson), Don Swan (Poole) and Erik Modig (Bisset).

Director, Musical: William Sanders, “The Addams Family,” Civic Theatre Of Allentown. “In his inspired envisioning, Civic Theatre Artistic Director William Sanders, director-choreographer, with co-choreographer Gwen Swanson Vigorito and assistant director Giuseppina DeMatteo, stays true to the source material in Civic’s ‘The Addams Family,’” in its Lehigh Valley debut. “Not to diminish the importance of the superb production values (and they are) of the Civic show, but casting is all, especially with ‘The Addams Family,’ and Sanders nailed it, starting with Jarrod Yuskauskas as Gomez.”

Choreography, William Sanders, director-choreographer; Gwen Swanson Vigorito. “The cast vamps, stomps and dances with an energy and brio that is wonderful to behold.”

Original Play: Brian McDermott, “The Bartender Chronicles,” Crowded Kitchen Players. “The play is dialogue-centric with characters rarely interacting outside of their pairings ... In order to make a play like this work, the dialogue must be precise and playwright McDermott’s scripting is pitch-perfect. Each pairing is a mini-story within the overall performance. The major themes are interpersonal relations, communication, social media, trust, failures, economic inequality, indecision and jealousy.”

Actress, Play: Kendal Conrad, “Breakfast At Tiffany’s,” Civic Theatre Of Allentown. Holly Golightly is the ingenue who knew too much. “Fred (Will Morris in Civic’s production) is clearly taken with Holly. You will be, too, as embodied and voiced by Kendal Conrad. Every once in awhile, a new talent appears on Civic’s stage and captivates. Conrad is one. She sidles up to the role, seduces anyone within earshot with her every word and yet evokes a bare-naked loneliness underneath the bravado. ’You can’t give your heart to a wild thing,’ we’re warned. In Civic’s production, we think not of Hepburn, but of Conrad, who is the beating heart of the show,” which was a Lehigh Valley debut.

Actor, Play: Will Alexander, “The Fall Of Heaven,” Crowded Kitchen Players. “As the protagonist in Walter Mosley’s agitprop drama-comedy, Will Alexander held it all together with a performance that combined anger, disappointment, tenderness and humor while all the while imbuing the role, that of Tempest Landry, with a nobility beyond reproach.” Director Ara Barlieb’s casting of Alexander was a match made in “Heaven,” which was not only a Lehigh Valley debut, but believed to be only the second-ever production of the play.

Ensemble, Play: “November,” Pennsylvania Playhouse. “The performances are very believable. Pat Kelly (Charles Smith) handles the dialogue effortlessly, making it sound like off-the-cuff remarks. Eric D. Hersh (Archer Brown), the president’s advisor, is an effective brooding presence. Laura Sweeney Riker (Clarice Bernstein), the president’s speech writer, is sweetly determined. Joseph Klucsarits (Turkey Guy) is engagingly abrasive. Jerry Brucker (Native American Chief Dwight Grackler) nicely underplays a dangerously stereotypical part. ... Playwright David Mamet (‘Glengarry Glen Ross,’ ‘Speed-The-Plow’) spares no political targets in a comedy that is at once thoughtful and hilarious. ... Director Ralph Montesano hits all the right talking points in the script, which takes no political prisoners and is an equal-opportunity offender to the left and right of the spectrum.”

Director, Play: William Sanders, “Breakfast At Tiffany’s,” Civic Theatre Of Allentown. “The stage adaptation by Richard Greenberg hews to Capote’s darker intent, which under Civic Artistic Director William Sanders’ shrewd direction, develops, deepens and resonates as a tragic-comedy of unsettling proportions” in the Lehigh Valley debut of the stage version based on Truman Capote’s 1958 novella. “Civic’s production of ‘Breakfast At Tiffany’s’ champions the primary source material, not director Blake Edwards’ 1961 movie that gleefully turned the Oscar-nominated George Axelrod screenplay into a Doris Day-Rock Hudson-style romantic comedy.” The film classic, “Breakfast At Tiffany’s,” starred Audrey Hepburn as Holly Golightly.

Costume Design: Will Morris, Nina Reilly, Tim Danish, “The Addams Family,” Civic Theatre Of Allentown. The musical stays true to the source material in costuming (Will Morris and Nina Reilly) and wigs (Kim Danish).

Scenic Design: Ralph Montesano, “November,” Pennsylvania Playhouse. “The impressive and handsome set design by director Ralph Montesano conveys the grandeur of the Oval Office. Set Construction is by Brett Oliveira. Set Painting is by Mickey Brown. ... The high walls, complete with detailing and tan and cream vertical wall paper; the Presidential Seal on the floor; desk, sofa and mementos, is presidential. The oval office is the arena, not unlike a bull ring, with the actors pacing to and fro.”

Lighting Design: Dan Lewis, “November,” Pennsylvania Playhouse.

Sound Design: Helena Confer, “The Addams Family,” Civic Theatre Of Allentown. The musical included an 11-piece orchestra, conducted and with music direction by Steve Reisteter.

Tim Roche Memorial “Meanwhile” Award: “The Full Monty,” Pennsylvania Playhouse. “Director-Choreographer Bill Mutimer has done a fabulous job in ensuring the characters have heart. The audience will laugh at this band of underdogs as they come together to perform an unlikely task. The audience will also cheer for them and see perhaps a bit of themselves in one or more of the main players. ... So, in the end, regardless of the answer to that nagging question, ‘Will they or won’t they?,’ Pennsylvania Playhouse and ‘The Full Monty’ deliver ‘The Goods.’”