Laughs and thrills

“The Campaign” Lampoons Dirty Politics

By Skip Sheffield

If you are as sick as I am about the vicious attacks on both ends of the political spectrum over the coming elections, you may appreciate as I did the crude, over-the-top R-rated satire “The Candidate.”

“The Candidate” does for politics what Austin Powers did for British secret agents: it’s a total spoof of what is worst about both genres. It is no small coincidence that director Jay Roach also directed “Meet the Parents’ and its sequel and “Austin Powers: International Man of Mystery” and its sequel.

Will Ferrell stars as Cam Brady, the smug, firmly-entrenched four-term Congressman from the diddly-squat 14^th District of North Carolina. Brady seems to be a shoe-in for a fifth term, but he screws up royally by leaving a salacious voice mail intended for his mistress on the home phone of a family of his pious, ultra-conservative constituents.

Seizing the opportunity, the ultra-rich, manipulative and amoral Motch (rhymes with Koch) brothers (Dan Aykroyd and John Lithgow) feel they can buy themselves a docile Congressman who will enable them to outsource local jobs to China for maximum profit. Marty Huggins (Zach Galifianakis), a meek tourism bureau guide, is tapped as the perfect patsy.

The Motch brothers hire the utterly ruthless Tim Wattley (Dylan McDermott) as Marty’s campaign manager, and the mud fights begin.

The script by Chris Hency and Shawn Harwell has a haphazard quality to it, but it does have some real zingers. It seems that everything political boils down to sex or money or a combination of the two, with both sanctimonious characters wrapping themselves in the cloak of professed religion.

Will Ferrell is a fearless farceur, and his slapstick gaffes are the hallmark of his performance. Galifianakis is more subtle as the fey, slow-to-burn Marty, but given enough humiliation he rises to the occasion and finally begins to fight.

Much of the movie is crass and cruel, making fun of fat people, religious hypocrites and devout people alike, but there are plenty of gross laughs. Sarah Baker should get some kind of reward for swallowing her pride so completely as Marty’s pudgy, gullible wife.

“It’s a mess!” is Marty’s campaign slogan. “The Campaign” is nothing if not messy, but it sure has some laughs.

“Bourne Legacy” Goes On With Mas Macho New Hero

Matt Damon is gone but his spirit lingers on in “The Bourne Legacy.” This is the fourth in a series based on Robert Ludlam’s Jason Bourne novels and the first not to star Damon as the intrepid super-agent. Bourne went MIA after dismembering the black op Operation Blackbriar in the last installment, but he is referred to and we even see a poster-sized picture of him. Returning in reduced roles are David Strathairn, Albert Finney, Scott Glenn and Joan Allen. Tony Gilroy wrote a new story with his brother Dan only just inspired by Ludlam’s characters. He also directs.

Aaron Cross is the new guy, played by Jeremy Renner. The movie opens with Aaron toughening up in Alaska in freezing cold. Like Bourne, Aaron is a special operative with the CIA, but it doesn’t take him long to realize they want him terminated after he narrowly escapes a missile that blows up the cabin he was in.

Then a doctor freaks out at a laboratory in Washington and begins to shoot fellow doctors.

Cowering in fear is Dr. Marta Shearling (Rachel Weisz), a research scientist who has worked on mind-altering virus drugs at the sinister Outcome labs.

Aaron happens to be on one of these drugs, and his supply is running out. Without the drug he will lose his mind, die or both.

In one of many spectacular escapes, Aaron is able to bust Marta out of the lab, and so begins a worldwide chase with CIA assassins in close pursuit. Marta tells Aaron the only was she can make an antidote is to go to the lab in Manila, The Philippines, where it was created.

Jeremy Renner is one fine physical specimen. The stunts he pulls off are amazing yet somehow believable. My favorite is the craziest, most thrilling motorcycle chase I’ve ever seen, filmed in the teeming streets of Manila, with Aaron and Marta astride an off-the-road dirtbike, chased at breakneck speed by a thug on a stolen police bike.

Renner and Weisz are an attractive couple and they have good chemistry. Weisz has a winning combination of brains, beauty and understated sexiness to match Renner’s brawn and bravado.

I have no doubt we’ll be seeing more of Mr. Renner as Aaron Cross. Whether or not he’ll be paired again with Ms. Weisz we don’t know, but it’s a strong bet it will be a good show.

Cathy Rigby Takes Flight in West Palm Beach

 

Cathy Rigby Flies High as “Peter Pan”

By Skip Sheffield

What an amazing phenomenon is the winsome little woman named Cathy Rigby.

Former Olympic gymnast Cathy Rigby is the star of a revitalized “Peter Pan,” playing just through Sunday, Aug. 5 at Kravis Center in West Palm Beach.

The petite (4-foot-11) nimble and ageless Rigby will turn 60 Dec. 12, but you would never know it. Rigby leaps, dances, aggressively sword fights and soars as Peter Pan. Rigby has been perfecting her performance as the orphaned little British boy who refuses to grow up since 1974 (since 1990 on Broadway). You could safely say she has it down, but what is most engaging about her performance is her sheer joy in bounding about the stage and flying through the air.

It’s a pretty good bet you already know the story of Peter Pan, as it has been an all-time children’s favorite since it was first published by J.M. Barrie in 1904. So let’s cut to the chase. This production, directed by Glenn Castle, is distinguished by amazing dance numbers (choreographed by Patti Colombo), hearty renditions of a beloved score and nifty stage tricks.

There is a touring stage orchestra in the pit that provides a full sound from a minimum of players, with new dance music by Keith Levenson.

This is most evident in the hilarious “Pirate March,” which is led by Captain Hook (Brent Barrett, who also plays Mr. Darling) in an all-male tango. Later there will be a pirate tarantella, complete with tambourines.

Speaking of dancers, special notice should be made of Jenna Wright, who plays the Neverland Indian maiden Tiger Lily. This is Jenna’s second national tour with the show. It is obvious why she was invited back. She is sensational.

In this compact travelling show, produced by Rigby’s own McCoy Rigby Entertainment, cast members play multiple roles. For example, Kim Crosby plays Mrs. Darling, a Mermaid and the gown-up Wendy (Krista Buccellato). Rod Roberts gets the all-purpose award for energetically portray the Darling family dog Nana, Capt. Hook’s nemesis the Crocodile, and male swing dancer and dance captain.

“Peter Pan” has earlier start times to accommodate a younger audience. Whatever you do, stay until the final curtain. If you leave early you will miss Cathy Rigby’s spectacular finale.

Tickets start at $25. Call 800-572-8471 or go to www.kravis.org.

Hope Springs, Total Recall & Farewell My Queen

 

“Hope Springs” a Funny, Serious Look at Marriage

By Skip Sheffield

Some comedies are a joke-a-minute laugh riots. Some comedies balance laughs with pathos and even pain. “Hope Springs” is that kind of comedy.

The title is a double entendre that cites the homily “Hope springs eternal in the human breast” and the fictitious Maine town of Great Hope Springs.

Meryl Streep and Tommy Lee Jones star as a middle-aged Omaha, Nebraska couple who has just celebrated their 31^st wedding anniversary.

“Celebrate” is not the right word, because there is no joy or zest in the relationship of Kay (Streep) and Arnold Soames. In fact there is hardly any affection or communication at all.

Fretting about what to do about her wilted romance, Kay happens upon an infomercial touting the book “You Can Have the Marriage You Want” and its author, Dr. Bernard Feld (Steve Carell), and his one-week “Intensive Couples Counseling” sessions in the seaside town of Great Hope Springs, Maine.

A no-nonsense accountant, Arnold wants no part of counseling, marriage or otherwise. Kay takes matters in her own hands, pays the $4,000 fee up front and tells Arnold he is going.

When you think of Tommy Lee Jones you don’t automatically think “barrel of laughs,” but Jones, with his creased, mournful hangdog face, has a wonderfully subtle touch at deadpan comedy.

Likewise Meryl Streep is best-known for her highly dramatic, tragic roles, but she too has a deft comic touch, as she proved in “The Devil Wears Prada,” directed by David Frankel, who also directs this film.

Steve Carell specializes in playing nice guys. It is unlikely there could be a nicer, more insightful psychologist than the Bernie Feld created by screenwriter Vanessa Taylor.

Dr. Feld has his work cut out for him with stubborn tightwad Arnold and repressed, emotionally frigid Kay. That where the laughs come, from the fumbling attempts of the couple to carry out Dr. Feld’s suggested “exercises.”

There is a very serious side of the story too. If you have been through the breakup of a marriage, you will know it only too well.
Parts of “Hope Springs” are awkward and uncomfortable. Some are downright painful.

In the end this is a thoughtful if idealized adult romantic comedy performed by professionals who know their business.

"Total Recall" Remake

For get a trip to Mars. The new “Total Recall” finds plenty of trouble right here on Earth.

Like the 1990 original, this is based on a 1966 Philip K. Dick short story and set in the future in 2084. Even the names are the same. Colin Farrell has taken over the Arnold Schwarzenegger role of factory worker Doug Quaid, who also becomes known as Hauser. Kate Beckinsale plays his wife Lori, formerly played by Sharon Stone. Alluring Jessica Bale plays the feisty freedom fighter Melinda, previously essayed by Rachel Ticotin.

The setting is completely different. Instead of a real or imagined trip to Mars through an artificial memory implanted by a sinister company called Rekall (Slogan: "We can remember it for you”), the hero stays on Earth, which has been ravaged by chemical warfare with only two population centers remaining: United Federation of Britain, which looks like a futuristic, post-holocaust London, and The Colony, which looks like the worst rotting slums of Hong Kong.

A critic friend of mine asked me when I thought “Total Recall” went over the top.

“The first few frames,” I replied, and it stayed that way.

“Total Recall” is even noisier and more bullet and explosion-ridden than the earlier summer reboots “Spider-Man” and “Batman: Dark Knight Rises.” What the three films have in common is a doomsday, totalitarian scenario. The message seems to be you can’t trust the government, the police or the armed forces.

Hmm, are the movie-makers trying to tell us something?

What director Len Wiseman lacks in subtlety he makes up which sheer action and mayhem. I get a little tired of hearing the rat-a-tat-tat of automatic weapons firing bullets that just miss the mark every time, and action heroes that take pounding after pounding with no broken bones. Ah, but Colin Farrell is a much better actor the Schwarzenegger ever was. We really do believe he is either losing his mind or the victim of some wickedly sinister plot. The sets and gadgets are incredible and the ladies are nice to look at as they go through their gymnastic action scenes. Sometimes that’s all you need ask of a summer action flick.

"Farewell My Queen"

For this week’s “Masterpiece Theatre” kind of historical film we have “Farewell My Queen,” set in the last days of the French monarchy at the Palace of Versailles.

It’s ironic that this film comes out at the same time as “Queen of Versailles,” a contemporary American documentary about the let-them-eat-cake moral bankruptcy of the super-rich and the gaudy mansion they intend to construct.

The year is 1789 and Paris is in turmoil, but debauchery and excess continues as usual at the court of Marie Antoinette (Diane Kruger) and King Louis XIV (Xavier Beauvois).

Based on a novel by Chantal Thomas, “Farewell” is told from the point of view of Sidonie Laborde (Lea Seydoux), one of the Queen’s “readers.” Why the Queen can’t read for herself is just one of the questions about an indolent, indulgent, indifferent ruling class.

Yet Marie Antoinette is not totally indifferent. She is passionately in love with one of her ladies-in-waiting, Gabrielle (Virginie Ledoven). We get the feeling she wouldn’t mind a fling with young Sidonie, who is not as innocent as she presents itself.

Acting as the voice of reason and reality is the elderly cleric Jacob (Michel Robin), who knows exactly what is coming to pass.

Yes there is intrigue in Versailles, set against the gathering storm of revolution. As with the contemporary American documentary, it is hard to feel sorry for these privileged, selfish people. If you know your history, these figures paid a most terrible price. In this sense this is a melancholy portrait of a bygone era that fascinates, but should not be mourned.

Wretched Excess in Orlando

“Queen of Versailles” a Materialistic Horror Show

Wretched excess: we see a lot of it in South Florida in tasteless, oversized McMansions with expensive cars in the garages and pushy, pretentious people in residence.

There is no wretched excess quite like that depicted in “The Queen of Versailles,” a film documentary by Lauren Greenfield, shot largely on location in Orlando, Florida.

It is there that David Siegel and his former beauty queen wife Jackie plan to build the largest private residence in the USA. Versailles is what this 90,000 square-foot, 30 bedroom 19-bath monster is called. It is about as genuine as the ersatz Eiffel Tower on the Las Vegas strip.

“Queen of Versailles” is not just about a giant house. It is about the vacuous, disgustingly materialistic people who would be its inhabitants.

David, 74, and Jackie Siegel, now 43 were riding high when filming began in 2007.

David is founder and CEO of Westgate, the largest timeshare company in the world. Timesharing, which some prefer to call interval ownership, allows people of lesser means to at least temporarily live out their vacation fantasy dreams. Founded in 1980, the cornerstone of Westgate is easy credit. Siegel learned of the timeshare concept and perfected it into an art of high-pressure convincing ordinary people to live beyond their means. David Siegel actually brags that it was he who got George W. Bush elected President in Florida, and not necessarily by legal means.

It was that administration’s loose credit policies that lead to a day of reckoning and the crash of 2008. Credit dried up. Adjustable-rate mortgages adjusted upwards and banks called in debts.

David Siegel was caught in the crosshairs of the credit crisis. While his wife and eight kids blithely went about their free-spending ways, David worked overtime trying to salvage his empire.

Much of “Queen of Versailles” plays like a dark comedy as we watch this once super-rich family squirm and try to adjust to a more ordinary reality.

To me it is more of a horror movie about what is worst about America.

David Siegel sued the filmmakers for defamation of character because the film implied his organization was in dire straits and his dream mansion in foreclosure.

Siegel did lose his flagship timeshare, PH Westgate in Las Vegas, but evidently his company has rebounded and construction has allegedly resumed on Versailles.

I don’t care. It would be hard to feel sorry for the Siegels, even if they lost everything. Versailles is not a place I would want to live in or even visit. But if you view this as a real-life cautionary tale, I think you will see a lot of familiar, unflattering things, and it may give you pause to realize the emptiness of life based only on the accumulation of material wealth.

A Star Ballerina Returns to Boca

By Skip Sheffield

Welcome back Sarah Smith!

Sarah is a professional dancer with New York’s American Ballet Theatre (ABT) but she got her start in Boca Raton at Boca Ballet Theatre (BBT) and Harid Conservatory.

Sarah has returned to guest a number of times with BBT. Most recently she was in the annual production of “The Nutcracker.” Sarah has also guest-starred in “Giselle,” “Romeo & Juliet” and “La Bayadere” at BBT.

She is back this weekend to star as Swanhilda in E.T.A. Hoffman’s “Coppelia.” Playing her boyfriend Franz is fellow ABT professional, Gary Davis.

Directed by BBT co-founder and co-artistic director Dan Guin, “Coppelia” will be performed at 7 p.m. Friday, Aug. 3, 8 p.m. Saturday, Aug. 4 and 2 p.m. Sunday Aug. 6 in the Florida Atlantic University Theatre.

Based on Hoffman’s “The Sandman,” “Coppelia” is a light-hearted tale of a boy, a girl, and a girl who is actually a doll miraculously brought to life. BBT co-founders Dan Guin and Jane Tyree danced the roles of Franz and Swanhilda a number of times in their dancing career.

Tickets are $35 adults and $25 for seniors and children. Call 561-995-0709 or visit www.bocaballet.org.

Unforgettable “Fantasticks” at Palm Beach Dramaworks

By Skip Sheffield

There is a reason why “The Fantasticks” is the longest-running musical of all time: it is as close to perfection as you’ll ever find in a small-scale musical.

Palm Beach Dramaworks is presenting their take on this timeless classic through Aug. 5 at 201 Clematis St., West Palm Beach.

“The Fantasticks” is simplicity itself. It requires bare-minimum sets, costumes and orchestration. Creators Tom Jones (books and lyrics) and Harvey Schmidt (music) borrowed from a number of traditions, including commedia ‘dell arte, Rosand’s “Les Romanesques,” Wilder’s “Our Town,” Japanese Noh Theater and historical American frontier traveling tent shows for the story.

Dramaworks’ production is surely and sensitively directed by J. Barry Lewis, with musical direction by Craig Ames, who performs onstage at the grand piano, with Kay Kemper on harp.

Ames knows the score like the back of his hand, which allows him to keep in constant touch with the actors for every subtle (and not so subtle) nuance of the script.

“The Fantasticks” is a parable of romantic first love, subsequent disillusionment and ultimate maturation.

Luisa (Jennifer Molly Bell) is a dreamy 16-year-old girl who readily admits she is “insane.”

The object of her affection is next-door neighbor Matt (Jacob Heimer), an “older man” of almost 20. He in turn is mad about Luisa. They express their love in the beautifully harmonized “Metaphor,” which rhapsodizes about every sappy cliché of first-time love.

What the couple doesn’t know is that their respective fathers have been conspiring to bring them together through reverse psychology. The girl’s father Bellomy (Barry J. Tarello) and the boy’s father Hucklebee (Cliff Goulet) have hired a mute man (Cliff Burgess) to construct a wall to separate the would-be lovers. The dads express their reasoning in “Never Say No,” which is exactly how they plan to bring the kids together.

To seal the deal, they hire a mysterious man who calls himself El Gallo (Jim Ballard, who also serves as narrator) to stage an abduction of Louisa so that Matt can intervene to save the day and be Louisa’s hero. To pull off the scheme, El Gallo hires two old, decrepit and inept traveling actors to play all additional roles.

Because “The Fantasticks” is so syrupy sweet on one hand and bitterly disillusioned on the other, it needs the slapstick comedy of these actor buffoons.

Dennis Creaghan has played many distinguished roles in the theaters of South Florida, but for his Shakespeare misquoting Old Actor, he throws all caution to the winds in a hilarious caricature of all pretentious actors.

His bogus Indian cohort, Mortimer (Tangi Colombel, overstuffed with huge belly) specializes in the art of dying, even if it is not called for.

“The best-laid plans of mice and men aft gang agley (go awry)” Robert Burns wrote in 1785. “And leave nothing but grief and pain.”

“The Fantasticks” is not so harsh, but it reminds us nothing worthwhile is achieved without struggle and suffering. This is expressed in the score’s best-known song, “Try to remember,” beautifully sung by baritone Jim Ballard.

I first saw “The Fantasticks” when I was the age of Matt in the original run of the show at Sullivan Street Playhouse in NYC in the summer of 1967. It couldn’t have been more magical. I saw it with the girl I loved.

That is a distant memory, but it is lovingly revived by this lovely production of an evergreen classic.

Tickets are $55 ($10 students) and may be reserved by calling 561-514-4042 or visiting www.palmbeachdramaworks.org.

Jesus Christ Superstar Resurrects Theater

------------------------------------------------------------------------------------------------------------

A Lively, Young “Jesus Christ Superstar” at Caldwell Theatre

By Skip Sheffield

There is an infusion of new life into the former Caldwell Theatre Company- at least through July 15.

That’s how long the Entre’Acte Theatrix production of “Jesus Christ Superstar” is scheduled to run.

Revolutionary when it was first presented as a rock opera concept album in 1970 and a stage production in 1971, it remains revolutionary today. In essence, “Superstar” is a passion play set to rock music by Andrew Lloyd Webber with lyrics by Tim Rice. The play is different from traditional passion plays before it for its emphasis on Jesus as a man, and its take on his traitorous apostle Judas as a tragic, even sympathetic character. Some conservatives condemned the show as “blasphemous.” In South Africa it was banned outright. Now it is a staple of theater companies all over the world.

The Entre’Acte cast, directed by Jessica Kris, is young and fresh and more age-appropriate to the historical characters. In this show the strongest singer is Anthony Nuccio as Judas, which adds even more impact to the character. Nuccio has phenomenal range, flexibility and power in his voice and as actor he has a convincing ability to express his character’s torment.

John Parker is perfectly fine as Jesus, but his unruly wig gets a thumbs-down. It actually becomes a distraction from an otherwise moving performance.

The third most important character in this concept is Mary Magdalene, played by Val Roche. A “fallen woman” who sees Jesus’ divinity, Mary also grows to love him as a man, as is expressed in one of the show’s most popular songs, “I Don’t know How to Love Him.”

There were some recurring technical problems with the sound amplification system which unfortunately detracted from some of the show’s more dramatic moments. The vocal harmonizing by the cast is uniformly good, and the costumes are colorful and funny.

The fate of the beautiful Count deHoernle Theatre, as the building is called, remains clouded. It is laudable that producer Vicki Halmos and the Vicki and Peter Halmos Foundation have stepped up to make use of the facility, but it is doubtful any individual or foundation alone could assume the enormous debt that has accumulated since the opening of the new facility.

If you value live theater, and if you love to see talented young performers giving their all, I urge you to see “Jesus Christ Superstar” while you can. You might be reminded of the show’s timeless message and feel uplifted.

Reserved seats are $25; $15 for groups and children under 12 and $10 student rush (with ID). Call 877-710-7779.

New Spider-man Pretty Amazing

------------------------------------------------------------------------------------------------------------

By Skip Sheffield

------------------------------------------------------------------------------------------------------------

“The Amazing Spider-Man” is more than just a reboot of a beloved comic book super hero. It’s a massive infusion of steroids into a faltering 40-year-old fable.

It was just ten years ago that Marvel Comics’ Spider-Man cinematic franchise was rebooted by director Sam Raimi, with Tobey Maguire as Peter Parker and Kirsten Dunst as his girlfriend Mary Jane Watson. They went on to star in two sequels.

Andrew Garfield, who was so terrific in “Social Network,” is even better as this year’s Peter Parker.

Though he is thin and slight like Tobey Maguire, there is something manlier about Andrew Garfield. He has an air of anger and danger, underscored with deep sorrow.

The story begins with a prologue that explains more about Peter than we previously knew. Peter evidently idolized his father (Campbell Scott), but one day when he was about 6 Peter’s parents left in a big hurry and dumped him off with his Uncle Ben (Martin Sheen) and Aunt May (Sally Field).

Peter, now 17, is in his senior year at a Forest Hill, Queens science high school. He is bullied by Flash (Chris Zylka) the football hero, and he is in awe of Gwen Stacy (Emma Stone), a beautiful but seemingly unobtainable classmate.

In the course of masquerading as an intern at the humongous Oscorp headquarters, Peter is done a favor by Gwen, who covers for him, and he goes off to do a little investigating on his own.

Dr. Curt Connors (Rhys Ifans) was the research partner of Peter’s father and he is now the chief research scientist at Oscorp. Connors is missing his right arm, and he has become obsessed with the idea of regeneration. If a lizard can grow back a severed tail he reasons, perhaps a human could do the same thing with a limb.

Prowling in one of the laboratories Peter encounters a mass of spiders and one gives him a painful bite.

It was no ordinary spider but one charged with radioactivity. Suddenly Peter develops spider-like abilities to snatch things out of mid-air, crawl up walls and stick to ceilings upside down.

Garfield’s Peter has a lot more fun than Maguire ever had with his newfound powers. Furthermore he has a much stronger romantic chemistry with his leading lady than his predecessor.

Emma Stone is wide-eyed adorable, but she is also feisty and a fitting match for her super boyfriend, who ironically becomes a target of her protective father, police Captain Stacy (Denis Leary).

There are some goofy things about this movie, not the least of which is the mutant monster villain. Director Marc Webb has the good sense to laugh at the sillier aspects of the plot. Webb directed the bittersweet romance “(500) Days of Summer,” and he is equally at home with action and the ways of the heart.

Yes, Hollywood seems to be bankrupt of original ideas, but in this case they have improved on a tried-and-true formula. Welcome back Spidey!

 ------------------------------------------------------------------------------------------------------------ 

Shakespeare in Key West

------------------------------------------------------------------------------------------------------------

FAU is offering a buy-one, get-one-free deal on the rest of its Summer Rep Shows through July 28. If you like the music of Jerry Herman (“Hello Dolly,” “Mame,” “La Cage aux Folles,” etc), you’ll appreciate “Showtune: A Jerry Herman Musical Revue,” which showcases Herman’s best-known and some little-known gems in the FAU Theatre.

In the Studio One Theater, director Jean-Louis Baldet has come up with a goofy take on Shakespeare’s romantic romp “Love’s Labour’s Lost.” The setting is Key West in the year 1947. Why, I don’t know, but it gives the cast a chance to wear exaggerated 1940s attire, which is fun. So is the kazoo chorus.

Ferdinand, the “King of Key West” (Darrick Perry), is from Jamaica, mon, with accent to match. The pint-sized “Princess of France” (Lynn Wilhite) seems to be enjoying things more so than her court.

One of the drawbacks of pairing professional actors with students is that you can really tell which is which when the actors simply open their mouths to spout Elizabethean English. Holofernia (Equity actress Kathryn Lee Johnston), a “professor of etymology and philology,” has so much better enunciation and projection she seems to be out of another play.

But any show that has the entire cast join in on the 1938 Sammy Fain classic “I’ll Be Seeing You” is OK in my book.

Tickets are $20 general admission; $14 group and $12 students. Call 800-564-9539 or go to www.fau.edu/festivalrep.