This production of Guys and Dolls, the musical based on a story by Damon Runyon, is being presented by the Cabot House Musical Theatre. The romantic comedy follows a cast of colorful characters in New York City as they weave in and out of one another’s lives, singing songs like “Luck be a Lady Tonight,” “Adelaide’s Lament” and “Rockin’ the Boat.” Tickets $7 regular, $5 students. Through May 1. Cabot House Junior Common Room. (SLS).

Theater | Crazy for You

This 90s reworking of the Gershwin classic Girl Crazy won rave reviews when it played Broadway a decade ago. Harvard STAGE and Galper & Rubins productions take the reins of this tale of everyman Bobby Child’s quest to find himself through music, which features several Gershwin favorites. Proceeds go to arts education for Boston Youth. Through Saturday May 8th. Tickets $10, $7 for students and seniors. 8 p.m. Agassiz Theatre. (NAS)

VISUALS | George Balanchine: Father of Modern Ballet

George Balanchine, the hugely influential Russian choreographer, left his unique touch on ballet throughout the 20th century, and is revered as one of the great masters of the art of dance. This centenary exhibit contains items spanning his entire career, and is drawn from the Harvard Theatre Collection. Free and open to the public. Through May 29. Pusey Library. (WBP)

Theater | Gasoline Rainbow

The Adams House Drama Society pulls another off-beat offering out of its hat with Gasoline Rainbow, a tale of fast-living and the Lower East Side. WIth an insight into the lives of the degenerate classes, Gasoline Rainbow follows anti-lovers Christine and Gabe in a journey through “squatters, ketamine…kidnapping, credit card fraud, urban decay and subversion.” The first rule of Gasoline Rainbow is….Tickets $2. Thursday and Friday, April 29 and 30 at 8 p.m. Saturday May 1 at 7 and 9:30 p.m. Adams House Kronauer Space. (NAS)

THEATER | Sunday in the Park With George

Although ostensibly a fictional account of legendary painter George Seurat’s attempts to create his classic large-canvas masterpiece “Sunday Afternoon on the Isle of La Grande Jatte,” composer and lyricist Stephen Sondheim’s Pulitzer-prize winning musical, featuring a book written by James Lapine, is about a whole lot more, particularly love and how you get it. Act One takes place in the 1880s and Act Two takes place in the 1980s. Through May 8 $12 Regular, Students (2 per I.D.) $8, Seniors: $8, Groups of 10 or more $7. Loeb Main Stage, Cambridge. (SAW)

THEATER | The Rainy Season

This performance, put on by the madcap AAA Players, tells the story of a thirty-year-old loser whose life changes after meeting a beautiful Brazilian. Erotic pastries are implicated in the affair. Through May 8. Tickets $5 General, $4 Harvard Students (2 per I.D.), $3 Adams House residents. 7:30 p.m. Adams House Pool Theatre. (WBP)

Films

BON VOYAGE

Jean-Paul Rappeneau’s latest film mixes the chaos in Paris just before the Nazi occupation with a hearty dash of scandal, intrigue and romance. Although Rappeneau’s recreation of this war-torn era is undeniably excellent, his grasp of plot and characters is tenuous at best and not enough to redeem the film’s many faults. Newcomer Gregori Derangere is the perpetually bemused Frederic, an impoverished writer still in love with his childhood crush. She’s now the popular actress Viviane Denvers (Isabelle Adjani, who looks like she’s been given a severe dose of Botox). So intoxicating is Viviane’s hold on Frederic that he doesn’t mind being imprisoned for a crime she committed, later following her across France to Bordeaux’s Hotel Splendide. A crop of rabid aristocrats have also gathered at the Splendide to escape the madhouse of Paris and badger the wait-staff nonstop for rooms—God forbid they sleep in their cars, with their suitcases and hatboxes! Serendipity and coincidences abound in Bon Voyage—but then everyone’s running around so frantically that it would be impossible for them not to bump into each other at the most opportune, or most inopportune, moments. So do subplots, many of which are left maddeningly unresolved. At times the film verges on self-parody—Viviane’s hammy, melodramatic antics, for example: the way she throws herself on her bed, her eyes oozing crocodile tears. Bon Voyage is not all bad—it’s just silly, unoriginal, and pointless. (TIH)

CONNIE AND CARLA