Monday, March 31, 2014

An Air of Mendacity at Palm Beach Dramaworks

 The Gorden Clan, Helpmates and Hangers-On

By Skip Sheffield

Houston is my least favorite city in one of my least favorite states.
Maybe that’s why I enjoyed the biting satire of “Dividing the Estate;” a play by Horton Foote about people behaving very badly, running through April 27 for Palm Beach Dramaworks, 201 Clematis St., West Palm Beach.
“Dividing the Estate’ is set in 1987 in the fictional Houston suburb of Harrison, Texas. The setting is in a big old house that 100 years ago was the center of a ranch of several thousand acres. Stella Gordon (Mary Stout) the octogenarian matriarch, lives with her daughter Lucille (Elizabeth Dimon) and Son (Gregg Weiner) with longtime family maid Mildred (Avery Sommers) and butler Doug (John Archie). A city has grown up around the ranch, which has been whittled down to 1,000 acres. The Gordon clan is eager to cash out before the real estate market crashes. As the family is introduced I was reminded of a play by fellow Southerner Tennessee Williams. “Cat on a Hot Tin Roof” had greedy, mendacious characters trying to cash in on the wealth of a patriarch called Big Daddy.
Stella Gordon could be called Big Momma as deftly portrayed by Broadway veteran Mary Stout. Stella is clearly the sharpest knife in the drawer of this clan, but she is reaching the end of the trail. No one knows this better than Mary Jo (Kim Cozort), the conniving wife of spineless Bob (Ken Kay). This is one of the funniest performances ever by Ms. Cozort, who can play high drama and low farce and sings like a bird in the bargain. She doesn’t get to sing in this role, but clearly she enjoys playing a mendacious, insincere schemer who has already wheedled a $300,000 advance from dear old mom.
Lewis (Rob Donohoe) is not much better. He is an unrepentant drunk who has also hit up mom for $200,000 and still needs more.
Lucille (Elizabeth Dimon) is not as overtly greedy as the others, but she clearly wants her fair share.
That’s enough for the plot, which has a gratifying twist at the end.
Director William Hayes wields a large cast of players that each adds their two cents to a satisfying whole. “Dividing the Estate’ is not as important as Foote’s most famous works “The Trip to Bountiful” or “Tender Mercies,” but it sure is a lot funnier. With so many wealthy older folks retired down here, with family members yapping at the family fortune as real estate fluctuates, I can see why Hayes chose this play. Good show.
Tickets are $60 with student and educator discounts available. Call 561-514-4042 or go to

Thursday, March 27, 2014

"American Idiot" at Broward Center


Insert Ear Plugs for “American Idiot”

By Skip Sheffield

Fair Warning: “American Idiot” is more rock concert than musical theater.
The management thoughtfully provides earplugs at Broward Center, where this rock opera by Green Day runs through April 6.
I give this warning for older theater-goers who may be unfamiliar with Green Day or the genre of punk rock. “American Idiot” is performed quickly without intermission in about 90 minutes, but some people bailed anyway.
On the other hand I was acquainted with Green Day and the concept album that inspired “American Idiot.”  Some of the tunes, all composed by guitarist Billy Joe Armstrong with additional lyrics by Armstrong’s band mates Mike Dirnt and Tre Cool, became big radio hits.
The original concept by Billy Joe Armstrong has been fleshed out by original Broadway director Michael Mayer ("Spring Awakening." Armstrong added additional songs from the Green Day catalog from “21st Century Breakdown” and a B side called “When It’s Time.”
The first thing you notice about the set is multiple television screens from floor to ceiling. That’s because the story is set in “Jingletown, USA,” where everyone watches TV incessantly. The frustration of the youth of Jingletown is expressed in the first song, “American Idiot.” Johnny (Jared Nepute) is trying to cheer up his buddy Will (Casey O’Farrell). They are joined by Tunny (Dan Tracy) to smoke dope and drink beer while they sing self-explanatory disaffected songs like “Jesus of Suburbia,” “City of the Damned” and “I Don’t Care.” A girl named Heather (Mariah McFarlane) joins the group to sing “Dearly Beloved,” and all join in on “Tales of Another Broken Home.”
Subplots, such as they are, involve Tunny’s ill-fated enlistment in the Army and his subsequent romance with Extraordinary Girl (Taylor Jones); Johnny’s coping with his drug-craving alter ego St. Jimmy (Carson Higgins); Johnny’s infatuation with a mystery girl he calls Whatsername (Olivia Puckett), and Will and Heather’s rocky transition to parenthood when she becomes pregnant.
Everyone’s dashed dreams are expressed in the tenderest ballad, “Wake Me Up When September Ends.”
The show features an onstage band led by a most animated conductor and keyboardist (including accordion), Evan Jay Newman.
While “American Idiot” does not have a conventional happy ending, don’t make the mistake of running out early, because the coolest guitar-intense number and best Green Day song are saved for a final encore.
Tickets are $34.50-$79.50, including earplugs, and you would be wise to use them. Call 954-462-0222 or go to


Monday, March 24, 2014

Slow Burn Theatre Makes a Bold Move with "Chess"


Slow Burn Puts the Moves on “Chess”

By Skip Sheffield

Hey kids, let’s put on the most difficult show possible!
That’s what I imagine artistic director Patrick Fitzwater said when he proposed tackling “Chess,” the short-lived Broadway musical, for Slow Burn Theatre Company.
I saw a national touring production of “Chess” back in 1990 at the Jackie Gleason Theatre in Miami Beach. I don’t remember much about the production, but I do know it looked completely different from Slow Burn’s take, which continues through April 5 at West Boca Raton High School Performing Arts Theater.
“Chess” is set during the Cold War at a grandmaster chess competition that is more than just a game. Frederick “Freddie” Trumper (Rick Pena) is the cocky American grandmaster and Anatoly Sergievsky (Matthew Korinko) is his reserved Soviet opponent.
The characters recall their real-life counterparts: bad-boy braggart American Bobby Fischer and the more refined and civilized Boris Spassky and their televised 1972 “Match of the Century.” The concept was originally a 1984 double LP record album, with songs by Benny Andersson and Bjorn Ulvaceus of Swedish pop group ABBA, with lyrics by Tim Rice (“Lion King”). The minimal book is by playwright Richard Nelson.
The entire production is “sung through,” like an opera, with no spoken dialogue. The story begins in the Italian town of Merano. The president of the International Chess Federation, known as The Arbiter (Conor Walton) explains the setup in “The Story of Chess.” As Freddie and Anatoly contemplate their moves surrounded by dancing players representing chess pieces, they are encouraged and advised by their seconds. Freddie’s is the Hungarian-born, English-raised beauty, Florence (Amy Miller Brennan). Anatoly’s is the scheming Molokov (Elvin Negron).
Watching a chess game is not very exciting, so a plot, such as it is, is added as a romantic triangle amongst Freddie, Florence and Anatoly. Anatoly is quickly smitten by the alluring Florence, and because Freddie has not been her ideal love mate, she is up for a swap. Anatoly is up for a major life change.
Rick Rena is an actor with dark Latin good looks. For this role he has chosen to bleach his hair an unnatural shade of orange. Because his character is not very pleasant or likable, perhaps this physical change is meant to underscore that.
In her auspicious Slow Burn Theatre debut, Amy Miller Brennan is far and away the best thing about this show, although in Act One she is saddled with a most unflattering outfit. She is beautiful and her singing voice is sensational; especially in a heart-wrenching duet “I Know Him So Well” with Anatoly’s estranged wife Svetlana (Carla Boronada, also in excellent voice).
Rick Pena is the costume designer, which brings us to another point. He has chosen a black leather and vinyl motif for both men and woman of the chorus, which casts the show in a completely different and darker light. If you are not into leather fetish fashion, you might consider it sinister.
There are only a few memorable songs in the score. Aside from the aforementioned “I Know Him So Well” there are “You and I,” “Someone Else’s Story” and the radio hit “One Night in Bangkok.”
The vocal harmonies are gorgeous and many Schvartzman’s band is again excellent. The raked, chess-themed set by Sean McClelland must be challenging for the performers. Additional visuals are provided by large video monitors.
I don’t know what happened to the 1990 national tour, but I can guarantee the budget must have been 100 times larger than Slow Burn’s. For that, this is another minor miracle for this fearless company.
Shows are 8 p.m. Friday and Saturday and 2 p.m. Sunday. The show goes on the road April 10-13 at the Aventura Center. Tickets are $40 adults, $35 seniors and $25 students. Call 866-811-4111 or go to

Friday, March 21, 2014

Jason Bateman Mouths "Bad Words"


Jason Bateman: No More Mr. Nice Guy

By Skip Sheffield

Jason Bateman stomps on his Mr. Nice Guy reputation with “Bad Words,” his directorial debut, and grinds it into the dirt.
With his hair shorn in an angry buzz cut, Bateman plays the thoroughly reprehensible Guy Trilbey, a 40-year-old sore loser. How sore? Because he did not win a spelling bee back in the eighth grade, thanks to a convenient loophole he has decided to sabotage the system and compete again as an adult against 12 and 13-year-olds.
“Bad Words” is rated R for the bad words that regularly issue from the lips of Guy Trilbey, who has contempt for just about everybody.
Bateman himself says that the script by Andrew Dodge does for spelling bees what “Bad Santa” did for Christmas.
The problem is it’s pretty much a one-joke idea except for Guy Trilbey’s inappropriate behavior toward everyone. Guy heaps his disdain on the journalist who is following him and likes him well enough that she is seduced by him.
Kathryn Hahn plays the journalist, Jenny Wigeon, who apparently feels bad sex is better than no sex at all.
Guy despises the Golden Quill National Spelling Bee director, Dr. Bernice Deagan, played by Allison Janney in condescending schoolmarm mode.
The biggest heap of contempt and blind hatred is dumped on the spelling bee’s founder Dr. Bowman, played by Philip Baker Hall. It would be a spoiler to reveal why Guy hates Dr. Bowman so strongly, so we’ll say no more.
The only person Guy seems to like, other than himself, is Chaitanya Chopra, a pint-sized, very bright 12-year-old boy of Indian parentage. Chaitanya is played by Rohan Chand, a very appealing young actor with huge brown eyes and a ready smile.
Yep, there is a moral to the story after all, and that what gives this otherwise vulgar movie “redeeming social value.” Yes it is quite funny, but there are as many groans as there are laughs. Jason Bateman is probably better off playing the good guy he seems to be.


Catherine Deneuve is "On My Way"


Timeless Beauty Catherine Deneuve is “On My Way”

By Skip Sheffield

In the constellation of beautiful movie stars, Catherine Deneuve has been one of the fairest of all for more than half a century.
At age 70 Deneuve is still quite beautiful. In her latest film, “On My Way,” she almost seems to be playing herself.
Bettie (Deneuve) is a former Miss Brittany who missed the Miss France finals because of a car accident. Widowed by a man she never really loved, Bettie has settled in the routine of running her family restaurant. The rather dull routine is spiced up by an ongoing affair with a married man her age. As we meet Bettie she has just learned her lover has jilted her for a 25-year-old chick.
Bettie lives with her crabby, domineering mother (Claude Gensac). Things are going none too well at the restaurant. Bills are piling up and creditors are threatening.
When Bettie’s estranged daughter Muriel (singer Camille) calls with an urgent request that would entail a road trip, Bettie figures what does she have to lose?
The assignment is to take her surly grandson, Muriel’s son Charly (Nemo Schiffman), to his grandfather’s so Muriel can interview for an internship that could turn her life around.
Bettie hasn’t seen Charly in several years, and he is not too keen on travelling with his grandmother. The relationship is rocky at first. At one point Charly tries to run away, but eventually a mutual bond develops, and it is sealed when Bettie decides to attend a reunion event of former Miss France candidates at a lakeside resort.
Director Emmanuelle Bercot was born three years after Deneuve shot to stardom in “The Umbrellas of Cherbourg” in 1964, but she is keenly in sync with the prospect of a woman whose life has been built upon her physical appearance and is facing the inevitable aging process.
There is an underlying melancholia to “On My Way,” adapted from a screenplay written expressly for Deneuve by Jerome Tonnerre, but it is never defeatist. It is often funny and yes, sexy. Bettie never gives in to self-pity or forces that would dominate her. Catherine Deneuve is a poster girl for women facing old age without fear or regret.

Check-In Time at Grand Budapest Hotel


The Mad Fantasies of Grand Budapest Hotel

By Skip Sheffield

Wes Anderson lives in some kind of parallel, crazy, beautiful universe.
His latest fantasy is “The Grand Budapest Hotel,” and it is his grandest vision to date.
Even more than “The Life Aquatic with Steve Zissou,” Anderson’s surrealistic take on Jacques Cousteau, “Grand Budapest Hotel” is a strange and wonderful creation, filled with one-off characters that seem vaguely familiar yet distinctly artificial.
The pink wedding cake hotel of the title is obviously not real, but enchanting just the same. The story begins in 1932 in the fictional Republic of Zubrowka- not Hungary- in mountains that look vaguely like the Alps.
At the center of the story, inspired by Viennese author Stefan Zweig and fleshed out by writer-director Wes Anderson, is a prissy, fastidious and somewhat androgynous concierge named M. Gustave H.
This role is perfect for Ralph Fiennes, a delicate-featured actor who can be effeminate, manly, refined and sexy all in the same character.
Gustave, a “most liberally perfumed man,” is a by-the-books perfectionist at the complete service of his oddball guests- especially the wealthy older women he often seduces.
Gustave’s boy Friday is a novice Lobby Boy named Zero (wide-eyed newcomer Tony Revolori). Zero has zero education and zero family, but he is eager to please.
Plot is the least important part of “Grand Budapest Hotel,” but the main device is the theft of a priceless painting called “Boy with Apple.” The painting had been owned by dowager and hotel guest Madame D (Tilda Swinton), who expires with a hotly-contested will.
The large cast of characters is familiar to Wes Anderson fans, because most of them have been in his previous seven films. F. Murray Abraham is the mysterious hotel owner Mr. Moustafa. Adrien Brody is the weasely Dmitri. Willem Dafoe is the violent, dangerous Jopling. Jeff Goldblum is the officious Deputy Kovacs. With shaved head, Harvey Keitel is a tattooed inmate known as Kovacs. Edward Norton is Police Inspector Henckls and Bill Murray makes the most of a brief appearance as M. Ivan.
New to the Anderson ensemble is Saoirse Ronan, baker of the delectable pastries that figure prominently in the plot and a love prospect for Zero.
There is a little bit of everything: a tense stalking scene, an intricate prison break, chases, a runaway sled, a crowded, noisy gunfight and a funicular that provides the only transportation to the hotel, yet looks like a child’s toy.
“Grand Budapest Hotel” is heavy with nostalgia and movies of the 1930s. It had a special resonance for me, because much of the first seven years of my life was spent in grand hotels and resorts not unlike the Budapest. Seeing “Grand Hotel Budapest” was like awaking to a dream sad and sweet, accompanied by an indescribable sense of loss.

Thursday, March 13, 2014

Have Sex, Feel Better


“Better Living” at Living Room Theaters

By Skip Sheffield

“Better Living Through Chemistry” is a rather racy offering for FAU’s Living Room Theaters. It will be interesting to see how this modern sex farce goes over with an older audience.
Actually “Better Living” is a bit more subversive than just a sex farce. If you were to take it seriously you might think the best thing to spice up a stale marriage is a wild extramarital fling, powered with drugs and alcohol followed by a plot to murder an annoying mate.
But you can’t take this movie, written and directed by Geoff Moore and David Posamentier, too seriously because it is played as a bawdy comedy with a wink and a nod.
Sam Rockwell is Douglas Varney, a meek and mild pharmacist in the small town of Woodbury in Anywhere, USA (but suspiciously like Southern California).
Doug works for his father-in-law Walter Bishop (Ken Howard). Walter is a loutish, domineering blowhard who thinks he knows everything.
His daughter Kara (Michelle Monaghan) also has a domineering streak, which has kept wimpy Doug in a submissive state. Doug and Kara’s 12-year-old son Ethan (Harrison Holzer) is out of control; insolent and uncommunicative at home and disruptive in middle school.
When Doug’s delivery man Noah (Ben Schwartz) fails to deliver a prescription on time, Doug decides to deliver it himself.
Elizabeth Roberts (Olivia Wilde) answers the door clad in a silky slip with a drink in one hand and cigarette in the other. The bill is $180 but Elizabeth has only $20, and her rich husband is out of town.
It begins with a lingering kiss on the lips. Mrs. Roberts is one seductive babe and Doug is vulnerable.
This is a sex farce, not a morality play. Elizabeth is fond of mind-altering, sex-enhancing drugs, and Doug has the ingredients at the ready. As Doug becomes more reckless, he takes up smoking and paradoxically decides to challenge his fitness-freak wife to a bicycle race.
When by chance Doug meets Elizabeth’s husband Jack (Ray Liotta) it dawns on him maybe Jack isn’t the unreasonable ogre Elizabeth painted him.
Then DEA Agent Andrew Carp (Norbert Leo Butz) pays a visit to the pharmacy. Doug’s situation becomes uncomfortably serious.
Sam Rockwell is a versatile actor who can play both milquetoast and wild man in the same role, which serves him well here. Olivia Wilde has the right combination of raw sex appeal and covert menace, while Michelle Monaghan’s good girl learns a satisfying life lesson.
Stick around for the end and enjoy a famous person cameo that reassures everything is all in good fun.

Monday, March 10, 2014

Laugh with the "Kick-Ass Wit of Molly Ivins"


A Red-Hot, Very Funny Show

By Skip Sheffield

Barbara Bradshaw made her Boca Raton debut in 1975 in the inaugural season of Caldwell Playhouse for its very first show. She was the title character in the Neil Simon comedy “Star-Spangled Girl.” It was not a very good play, but Barbara was the best part of the show. Michael Hall obviously recognized talent when he saw it. Bradshaw became the resident leading lady at Caldwell and even taught Theater 101 at College of Boca Raton (now Lynn University).
Barbara is no longer an ingénue, but as an actress she is busy as ever and taking on new challenges.
Barbara Bradshaw makes her Women’s Theatre Project debut in the one-woman show “Red Hot Patriot: The Kick-Ass Wit of Molly Ivins.” The show continues through Sunday, March 16 at the Willow Theatre of Sugar Sand Park, 300 S. Military Trail, Boca Raton.
Born in California, Molly Ivins had the misfortune to be raised in Texas in an ultra-conservative suburb of Houston. Her father James, an oil executive known as General Jim or Admiral Jim, was a staunch authoritarian right-winger. Of course his rebellious daughter would grow up to be a “bleeding-heart liberal.”
Throughout her career Molly Ivins would insist she was not a liberal, but on the other hand she was contemptuous of lock-step conservatives who trampled human rights and kowtowed to big business.
The script, created by Margaret and Allison Engel, is lifted directly from Ivins’ satirical columns in the Minneapolis Tribune, where she was the first female police reporter; the Texas Observer magazine, New York Times, Washington Post and finally Fort Worth Star-Telegram.
As the title indicates, Molly Ivins was very witty. She was also laugh-out-loud funny as quoted by Bradshaw.
“Red Hot Patriot” is performed without intermission in less than 90 minutes on a spare set resembling a newsroom. There is one wordless walk-on role of “copy boy,” performed deadpan by Joseph Franklin.
Genie Croft directed the show, but the major lifting is done by Barbara Bradshaw, memorizing a complicated, diverse monologue. I left the Willow Theater with renewed respect both for Bradshaw and for courageous Molly Ivins, who died prematurely at age 62 of breast cancer in 2007.
Tickets are $25, but you can get a discount through the Cultural Connection. Call 561-445-9244.

Thursday, March 6, 2014

Set the WABC Machione for "Mr. Peabody and Sherman"


Mr. Peabody and Sherman” Finally Hits the Big Screen

By Skip Sheffield

“The Rocky and Bullwinkle Show” aired from 1959-1964 and continues to this day in television re-runs. The crudely-animated show featured corny puns, satire and self-referential humor aimed more at adults than children.
“Peabody’s Improbable History” was a regular segment of the show. In it a dog named Mr. Peabody and his adopted human boy Sherman would journey back to key moments in a time-travelling device known as the WABAC (pronounced “Way-Back”) Machine.
Now “Mr. Peabody and Sherman” is a 3-D animated feature movie. It is bigger, longer but not necessarily better than the more sarcastic black-and-white original.
Still, “Mr. Peabody” is a lot of nostalgic fun for Baby Boom era adults. I imagine the 3-D special effects have been added to appeal to a younger generation. It was a 12-year effort for director Ron Minkoff (“The Lion King”) to make “Mr. Peabody” a reality.
Tiffany Ward, daughter of “Rocky & Bullwinkle” creator Jay Ward, served as executive director and creative consultant for the script, based on her late father’s characters and expanded by screenwriter Craig Wright.
An all-star cast of voices was recruited, topped by Ty Burrell as Mr. Peabody, the world’s smartest dog, and Max Charles as Sherman, his adoptive human son.
The setup comes when Sherman gets in a conflict with snobby Penny Peterson (Ariel Winter) at school and Mr. Sherman tries to mediate with her parents (Stephen Colbert and Leslie Mann) when social worker Mrs. Grunion (Allison Jenney) threatens to remove Sherman from Mr. Peabody’s custody.
Sherman has been forbidden from using the WBAC machine without Mr. Peabody, so of course Sherman does so in an effort to impress Penny.
Sherman and Penny travel to ancient Egypt, revolution-era France and ancient Troy, where they experience misadventures with historic characters.
The relationship between Mr. Peabody has been expanded and deepened for the movie. This adds sentimentality that was not in the original, but in aiming the movie at a family market it is smart to emphasize family values.

"The Wind Rises" a Class Act
For a sheer class act, you won’t go wrong with “The Wind Rises,” which is billed as the last animated film by Japanese writer-director master Hayao Miyazaki.
Jiro (voice of Joseph Gordon-Levitt) is a Japanese boy who aspires to be a pilot, but because of poor eyesight he settles on a career of aircraft design instead. Jiro joins the aircraft company that designed the famed Japanese Zero in 1927. The chief designer, Italian Caproni (Stanley Tucci), becomes Jiro’s mentor and inspiration.
The story also illustrates the Great Kanto Earthquake of 1923, the Great Depression, a major tuberculosis epidemic and Japan’s entry into World War II. A romantic side plot has Jiro falling in love with Nahoko (voice of Emily Blunt).
Like his earlier works "Spirited Away" and "Howl's Moving Castle," “The Wind Rises” is majestic, lyrical and beautiful.

More West Bank Violence in “Bethlehem”

Hard on the heels of “Omar” comes the similarly-themed “Bethlehem,” co-written by Israeli director Yuval Adler and Arab journalist Ali Waked, who spent years on the West Bank.
Shadi Mar’i plays Sanfur, the 17-year-old younger brother of Abu Ibrahim (Tarik Kopty), a notorious Palestinian guerrilla fighter. Like “Omar” there is an Israeli Shin Bet (secret police) officer, Razi (Tsahi Halewi) who is pressuring Sanfur to give up terrorist secrets. Unlike “Omar” there is no romantic angle.
“Bethlehem” is a grim, gripping thriller set in one of the most violent, dangerous places on earth.

Monday, March 3, 2014

It's Never To Late to Declare Your Love


"Fighting Over Beverley"

By Skip Sheffield

How lucky are we that an internationally-acclaimed playwright has taken a personal interest in a local theater company?
The playwright is Israel Horovitz. The company is Theatre at Arts Garage and the play is “Fighting Over Beverley,” running through March 23 at 180 N.W. First St., Delray Beach.
Arts Garage theater artistic director Louis Tyrrell first became acquainted with Israel Horovitz when his Florida Stage performed his work in Manalapan.
Horovitz visited Delray Beach last year when his “Gloucester Blue” was staged.
Set in Gloucester, Mass. in the winter of 1997, “Fighting Over Beverley” is a romantic comedy triangle with a twist: the characters are all but one senior citizens.
Archie (Dennis Creaghan) is a 70-year old British veteran of World War II. When he was 20 he fell madly in love with 18-year-old Beverley (Sandra Shipley. Instead of marrying Archie, Beverley jilted him and was swept away by a heroic American pilot who lost his leg when his plane was shot down.
Zelly (Paul O’Brien) whisked Beverley back to America, leaving Archie to stew ever after. Archie, who lived with his mother until her death, never married. Now that mom is gone he has embarked on a quixotic quest to win back Beverley.
Zelly is understandably upset when he discovers the true nature of Archie’s visit to their Gloucester home. Emotions rise through the first act and peak in the second act when Beverley and Zelly’s daughter Cecily (Erin Joy Schmidt) makes her appearance.
Cecily has just left her abusive husband. Through Cecily’s eyes we see a marriage that is not exactly made in heaven.
Director Tyrrell has cast first-rate professionals, including the locally-based Creaghan and Schmidt; O’Brien, who is an Israel Horovitz specialist who has acted in 14 of his plays, and British born and bred Shipley, who also has numerous Horovitz credentials.
It is quite a treat seeing such polished pros parrying Horovitz’s clever banter. While there is a serious side to the subject, “Fighting Over Beverly” is never a downer. This play has special meaning for someone who loved, lost and mourned at a young age. I did and I do still.
Tickets are $30-$45. Call 561-450-6357 or go to