That’s right. In Cast ‘n’ Crew’s production of “The Mystery of Edwin Drood,” the audience members don’t just guess how everything turns out, but they actually get to vote on who should have done it. The first act of the show is a musical performance of Charles Dickens’ final work, but unfortunately, Dickens died suddenly without finishing his mystery and without leaving any notes about how it would have ended. Thus, during intermission, the audience gets to decide three things: the true identity of a mysterious detective who appears in the second act; which pair of characters should become lovers; and, most importantly, the murderer of Edwin Drood.

Altogether, this means there are more than 840 possible combinations of endings, which virtually guarantees that each audience will get a unique viewing experience. Even the actors haven’t rehearsed every possible ending. According to director Marley Teter, “What we do is rehearse each candidate for detective as the detective and each candidate for murderer as the murderer. It’s tricky, of course, because the murderer’s confession song is the climax of the show, and no single candidate for murderer will ever have rehearsed his or her song even a fraction as much as the rest of the show has been rehearsed, since he/she has to trade off at rehearsals with the other candidates. But isn’t that what makes it exciting?”

So if, like me, you read choose-your-own-adventure books as a kid and wished that concept applied to more than just books; if you crave control over your theater-going experience; if, in short, being a part of “The Mystery of Edwin Drood” sounds like an exciting way to spend an evening, then get your ticket now. They are available for $5 at the DUC from 11 a.m.-1 p.m. all this week. Performances are at 8 p.m. Thursday through Sunday, with 2 p.m. matinees on Saturday and Sunday.

Located near Saint Louis University, the theater is accessible by car or by the Grand Metro stop, which is about a 15-minute walk away. There are plenty of restaurants at various price points located on the same block as the Fox, giving you countless dinner and show options.

Aside from offering wonderful performances, the Fox is also an amazingly beautiful building. The entire theater is designed with an Indian sultan feel. There are golden elephants, lushly colored carpets and walls, and ornate decorations everywhere. No matter how much time you spend in the theater, you can always find some new, breathtaking detail.

But while every inch of the building is beautiful, it is not acoustically equal in all sections. Considering my several visits to the theater and the various places I’ve sat, I’d recommend getting seats as close to the center as possible. The music and lines tend to be garbled and more difficult to understand in the seats along the sides. As for viewing ability, there’s really no difference between the Fox and other theaters; the further back you get, the smaller the actors will look to you.

Being in St. Louis does not have to close you off to Broadway, especially if you’re a lover of all things created by Andrew Lloyd Webber or sung by Kristin Chenoweth. The Fox Theatre provides you with quality shows and an overall beautiful experience. Upcoming performances include “In the Heights,” a hilarious, Tony Award-winning musical (Nov. 10-22) and the classic “Little House on the Prairie” (Nov. 24-29). So get tickets to a show this year because we could all use a little more choreography and harmony in our lives.

The project is unique because the medium of radio theater or “movies for the mind,” as audiotheater.com calls it, has been practically lost since the height of its popularity in the 1940s. KWUR is among a small number of college radio stations and other groups worldwide that plan to bring it back.

Shows titled “Sky Pirates,” “Simon Colt” and “The Human Chord,” along with miscellaneous sketches and improvisation, will air on Tuesdays at 7 p.m. beginning next semester on the KWUR show Theater of the Air.

The shows are meant to appeal to “anyone with half an imagination,” according to senior and KWUR member Alex Jensen. But, because radio theater has never been attempted at the University, the members of Theater of the Air are not entirely sure how students will receive the show.

That uncertainty coupled with the work involved means that the endeavor carries a great deal of risk, according to junior David Rheinstrom, the producer of all three shows and lead writer of “Sky Pirates.”

“If we’re going to fail, we’re going to fail huge. If I’m going to die, I’m going to die on fire,” Rheinstrom said. “This project is very impressive, because we’re writing three first seasons of three different shows and using campus-grown talent to write and staff our shows.”

However, the whole show is practically “a gamble,” Rheinstrom said.

According to Jensen, the idea first came to KWUR as the group was working on a past radio show.

“It started off as something small, cute and fun, and we took it to the next level and the level after that until we had this huge backlog of great plays,” he said.

The shows toy with the conventions of classic serial drama. Rheinstrom described “Simon Colt” as “an old-fashioned occult western, with a cowboy that fights zombies and deals with banshees in the wild spaces of the Americas.”

“‘The Human Chord’ is a funky superhero action comedy about a superhero who uses funk to fight crime in the city of Harmonious,” Rheinstrom said.

According to sophomore Tim Lemieux, “Sky Pirates” is “like a crappy movie from the ’30s” with roots in ‘Rocky and Bullwinkle’ and ‘Freakazoid.’”

Despite the uncertainty of the show’s reception, the group is aiming for top-notch production quality.

Senior Robert Panico is writing and conducting the scores for the shows, as opposed to using canned music.

“It’s been demanding because we’re trying to avoid synthetic [music]. We have string players from all over campus,” Panico said.

KWUR’s new recording space in the Danforth University Center (DUC) has served as a great contribution to the group’s production quality.

“We have this beautiful resource in the recording studio in the DUC,” Rheinstrom said.

According to KWUR, the only easy aspect of planning Theater of the Air is actually paying for the show. One of radio theater’s biggest advantages is that it is cheap.

“The beauty of it is, you don’t need expensive sets to create zeppelins from 1933,” junior KWUR member Evan Kuhn said.