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When Mac Bradley was born, his father went straight from the delivery room to sign him up for Bright Ideas, the Spamalot seat of early-childhood education—and the poor kid still ended up on the waiting list. As the Didactic Theatre Comapny’s Bright Ideas opens, Genevra and Josh Bradley are searching for alternatives for their now-3-year-old offspring’s edification, only to find that if it ain’t Bright Ideas, you might as well put a dunce cap on his tiny head and a ticket to Loserville in his pudgy fist. Then Genevra’s annoying co-worker shows up for dinner, the couple realizes that Mac’s the next into the school if another student—say, the co-worker’s kid—drops out…and it’s Macbeth time. Director Christopher Carroll and his company have great fun staging this social-climbing fever dream, with special props (so to speak) going to Nathaniel Sinnott’s alphabet-block set design. The ensemble players—Marissa Molnar, Dana Edwards, and Linden Tailor—delightfully embody the putative grown-ups in the dysfunctional realm of yuppie child-rearing, with Edwards a standout: A Tracey Ullman lookalike, she shares that actress’s kooky charm and full-throttle energy, whether she’s hollering at her charges in one quickly rejected preschool, trotting sunnily along as a supermom so blessed by Bright Ideas that she has time to jog, or staggering through as a pasta-drooling ghost. Kristy Powers (Genevra) and Leo Goodman (Josh), on the other hand, haven’t found the middle ground between farcical comedy and whiskey-swilling, adulterizing kitchen-sink drama; they just veer from one to the other. Or maybe it’s playwright Eric Coble who hasn’t found it: It ought to involve some pointed social commentary, but he doesn’t know whom to blame. When Molnar’s Lynzie tells Josh of the importance of just holding his child, it’s a strange turnaround for a mom who’s groomed her little ones to garner two Golden Pony Excellent Merit awards and proclaimed, terrifyingly, that whoever your child is on his fourth birthday is who he’ll be for life. Further, although Carroll extols Coble’s “brilliantly interwoven Shakesperean elements” in his director’s notes, they come off as just one more tonal distraction. Still, Bright Ideas is a great opportunity to witness a young company still growing into its potential—and, unlike poor little Mac, relishing the time it has to do so. —Pamela Murray Winters