Romantic Intrigue at Palm Beach Dramaworks

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Enjoy “A Little Night Music” at Palm Beach Dramaworks

By Skip Sheffield

“Stephen Sondheim is an acquired taste,” muttered the older gentleman at intermission of “A Little Night Music” at Palm Beach Dramaworks, 201 Clematis St., West Palm Beach.

Yes, Stephen Sondheim is not an “easy” composer-lyricist. “A Little Night Music,” which runs through July 19, was inspired by the Ingmar Bergman Swedish film “Smiles of a Summer Night” and adapted for the stage by Hugh Wheeler. Bergman is not easy either. The title comes from Mozart’s “Eine kleine Nachtmusik.” Are you still with me?

Palm Beach Dramaworks is performing the musical play as reader’s theater, concert-style, under the direction of Lynette Barkley. Some of the cast know their parts better than others. Kim Cozort, who has the lead role of Desiree, knows her role best of all. Desiree is a once-famous actress and daughter of Madame Armfeldt (Joy Franz), a wheelchair bound wealthy woman and owner of a country estate who looks after Desiree’s daughter Frederika (Catherine League). Characters are introduced Greek chorus-style in an overture featuring Mr. Linquist (Matthew Korinko, the strongest male voice in the cast), Mrs. Nordstrom (Georgia Mallory Guy, who also plays oboe in the band), Mrs. Anderssen (Britany Baratz), Mr. Erlanson (Alex Jorth) and Mrs. Segstrom (Angela Miller). The year is 1900 and romantic intrigue is in the air. The chief provocateur is Fredrik Egerman (William Michals), a successful lawyer who has married an 18-year-old “trophy wife” named Anne (Lillie Riccardi). Fredrik has yet to consummate his marriage to Anne after 11 months. This may be a good thing, because Anne secretly has the hots for Fredrik’s moody son Henrik (Clay Cartland), who is just a year older than Anne. Petra (Cristina Flores), the lusty maid of the house, has set her cap for Henrik, who is a seminary student and trying to keep his morals above board.

When Desiree performs in a nearby town, Fredrik and Anne take in the show. Fredrik and Desiree make eye contact, and as the saying goes, sparks fly. Fredrik was once Desiree’s lover, and it seems she wouldn’t mind rekindling that romance.

However, the amoral Desiree has been having a fling with the vain, ridiculous dragoon, Count Carl-Angus (Aloysius Gigi), who is married to Countess Charlotte (Ruthie Stephens). All these intrigues come to a head in “A Weekend in the Country,” with everyone together and at cross purposes in the same house.

The best and most popular song in the wordy, complicated score is “Send in the Clowns,” which is sung by a regretful Desiree and wonderfully realized by Kim Cozort.

While costumes are elaborate, sets are left to the imagination. It’s just as well, for it is the story and its players that enchant. Palm Beach Dramaworks is to be commended for putting on such a cerebral, complex show in the dead of summer.

Tickets are $55. Call 561-514-4042 or go to www.palmbeachdramaworks.org.

Eagles Fly to Miami for Perhaps the Last Time

Photo by Tom Craig

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The Eagles Wow South Florida, Possibly for the Last Time

By Skip Sheffield

The Eagles love Miami… at least they did on July 10, 2015 at American Airlines Arena, where they continued their “History of the Eagles” tour. The group made mention that Miami loomed large in their history, as they recorded at the famed Criteria Studios in 1975 and Bayshore Studios in 1978.

The Eagles’ history dates back to Los Angeles in 1971, when studio musicians Glenn Freyand Don Henley, who were in Linda Ronstadt’s band, and Bernie Leadon and Randy Meisner got together as a kind of supergroup of singers and musicians. Founding members Frey, guitar and Henley, drums and guitar, played the Miami concert with newer members Timothy B. Schmit on bass and Joe Walsh on guitar. Much to the delight of Florida fans, founding guitar, banjo and mandolin player Bernie Leadon paid a guest appearance. Leadon left the group in 1975, when the band moved more toward rock ‘n’ roll from their original country roots, but he has always remained a friend.

The concert began with the two main guys, Glen Frey and Don Henley sitting down for an acoustic set and playing “Desperado.” The duo got the first of many standing ovations for that wistful ballad about a man who "ain't gettin' any younger." Leadon, who now lives in Gainesville, Florida, then joined in, followed by Timothy B. Schmit, who replaced founding bassist Randy Meisner in 1975. Schmidt is the singer who put the sky-high notes in the group’s harmonies. Frey mentioned Meisner, who sang lead on the group’s first gold record, “Take It To the Limit.” “I hope he’s OK” said Frey of Meisner, who has been facing some personal challenges. Finally out came guitarist Joe Walsh, who was already famous for his own hard rock trio, The James Gang, when he signed on in late 1975. Henley moved from guitar to his drum kit. The only “persona non grata” was Don Felder, whom Walsh replaced. Witty Walsh has always been the life of the party, and he added much-needed comic relief to the group’s live performances.

After the acoustic set and an intermission, the Eagles stood up and strapped on their electric instruments to rock the 20,000-seat arena, adding their five backup touring musicians. If you missed the concert you can still catch the Emmy Award-winning film documentary “History of the Eagles” on DVD, Blu-Ray and streaming on Netflix. For more information about the Eagles, go to their web site www.eaglesband.com.

A Yankee Doodle Dandy at Wick Theatre

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“George M!” Struts His Stuff at Wick Theatre

By Skip Sheffield

You’ve got to hand it to Marilynn Wick for giving work to so many performers and technicians in a slower time of year. “George M!” is a whopper of a show, with at least 20 people onstage and more behind the scenes.

“George M!,” which continues through July 19, is a 1968 musical about “The man who owned Broadway,” George M. Cohan. The lead role calls for a feisty fireplug of a guy. James Cagney played him in the movie. Joel Grey played him on Broadway. Here in Boca Raton Scott Leiendecker fills the bill in his Wick Theatre debut. The role calls for singing, dancing and playing a supremely confident little Irishman who won’t take no for an answer.

The script, by Michael Stewart and John and Fran Pascal, covers the life of George M. Cohan from his 1878 birth to 1937, when he finally hung up his tap shoes. He died just five years later, and he is often acknowledged as the “Father of Musical Comedy.”

Susan Powell, who was Miss America in 1981, is top-billed. This is a bit curious, because her main role is narrator. There is a lot of biographical stuff; probably more than we need to know. “George M!” is distinctly a period piece, and that period is long-gone. His greatest contributions are the American standards “Give My Regards to Broadway,” “You’re a Grand Old Flag” “Over There” and “Yankee Doodle Dandy.” The rest of the Cohan catalog is forgettable, with the exception of “Mary,” which is given a lovely rendition by Susan Powell as Fay Templeton, with music director Michael Ursua playing piano live onstage. The rest of the backup music is recorded.

The cast is notable for its pint-sized singing, tap-dancing performers. Megan Sell is only 15, but she performs like a pro. Her even smaller younger brother Ryan is a hoot as Young George Cohan and a ventriloquist’s dummy.

Older pros are James Young as Cohan patriarch Jerry; Aaron Bower as his mother Nellie and Eliza Maher as his sister Josie. All were part of a vaudeville family performing quartet, “The Four Cohans.”

“George M” is not often performed, perhaps because it is so dated. This is your chance to see and hear a notable part of American history live and onstage.

Tickets are $55 and may be reserved by calling 561-995-2333 or by going to www.wicktheatre.org.

Music More Than Minions

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Music the Best Thing About “Minions”

By Skip Sheffield

The best thing about “Minions” is its musical soundtrack. If you dig American and British classic rock from the 1960s, this is the soundtrack of your life. As for the Minions, they are mildly amusing, but they are one-joke wonders. Minions are metaphors for sheepish followers of despots, dictators and bullies everywhere. In case we don’t get it, it is spelled and acted out for us in a mini-history preface of Minions from prehistoric times when they followed the bloodthirsty Tyrannosaurus Rex, to 1966, where Brian Lynch’s (“Puss in Boots”) script is set. The Minions have wound up in frigid Antarctica without a despicable leader to follow. Kevin, the brightest of the lot, has a plan: Let’s go out into the world and find a new despicable villain to adore.

“Minions” is actually a prequel to the 2010 original “Despicable Me.” Once again co-director Pierre Coffin provides the voices of the principal Minions Kevin, Stuart and Bob. It is this trio that journeys to New York City at the peak of Flower Power and thence to Orlando, where a Villain Convention is being held. Conveniently Orlando is also home to the Universal Studios theme park, where no doubt Minions will be a new attraction.

It is in Orlando the Minions meet the world first female super-hero, Scarlet Overkill, voiced by Sandra Bullock. Scarlet’s fondest ambition is to steal the crown of Queen Elizabeth II and crown herself the new Queen of England. This is a good excuse to switch the classic rock from American to British. More stuff happens, but no point in spoiling what little plot there is.

One piece of advice: stick around to the very end of the credits at you will be treated to an all-star version of the Beatles “Revolution.” Yes, another sequel is in the works.

A Devastating Portrait of Amy Winehouse

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A Sad, Tragic, Brilliant “Amy”

By Skip Sheffield

Alas poor Amy Winehouse, we hardly knew ye. Thanks to the new documentary “Amy” we understand better the pain behind your songs.

“Amy” is a documentary film by Asif Kapadia, who grew up in the same unfashionable north London neighborhood as Amy Winehouse. He previously collaborated with James Gay-Rees (producer) and Chris King (editor) on the acclaimed 2010 sports documentary “Senna,” about F1 driver Ayrton Senna. Using archival footage, “Amy” depicts the award-winning singer-songwriter from childhood to her untimely death of acute alcohol poisoning at age 27 on July 23, 2011.

Amy Winehouse was not your typical British schoolgirl. Born into a blue-collar Jewish family, her parents split when she was just 9. From a very early age Amy showed she was special. One of the first clips shows her singing “Moon River” at age 16, accompanying herself on guitar. She was already an accomplished performer, but “Amy” is not as much about the artist as it is about an abused, tortured soul, much like Janis Joplin in America. Perhaps it is not a coincidence that both died at age 27, as did fellow tortured artists Jimi Hendrix, Jim Morrison and Kurt Cobain.

It seems like Amy was abused and taken advantage of by everyone close to her. The worst offender was her own father Mitch, who neglected her as a child and cashed in on her when she got famous. There were other villains, particularly her boyfriend Blake, who became her husband and codependent drug addict.

“We were like twins,” Amy muses. “We were in love. Love is a real drug.”

 The hard part of making this documentary was getting people close to Amy willing to talk about her. Tenaciously Asif Kapadia stayed on the case and got people to open up. In some cases I am sure they regret being so candid. While she was a brilliant songwriter with a rare and beautiful voice, Amy was emotionally damaged before she ever was famous. She was rebellious and unruly. She also was a rare and wonderful artist

As her fame grew, alcohol became a favorite escape. It is a cruel irony that her first worldwide hit was the “Rehab Song,” with its chorus of “No, no, no.” Her 2008 album “Back to Black” won a stunning five Grammy Awards, tying the record for female artist and making her the most successful female British singer-songwriter in history. If there is anything to be learned from “Amy” it’s that certain people just can’t handle extreme fame. Sadly Amy Winehouse was such a person, and no one did enough to prevent her self-destruction. The great Tony Bennett, who recorded duets with Amy, provides a beautiful, regretful tribute to a once-in-a-lifetime talent that provides a fitting finale to the film.

An Indie Romantic Comedy From Each Coast

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Screwed-Up in New York City “In Stereo”

By Skip Sheffield

“In Stereo” and “The Overnight” are two small independent films about male-female relationship set on opposite coasts of the USA.

“In Stereo” is very much a New York City film. Set in Manhattan, it is about a volatile photographer, the actress-model he loved and lost, and a new, younger woman in his life who turns out not to be the dream girl he envisioned.

The photographer is David Gallo (Micah Hauptman), who has a confrontational approach to provoke dramatic photographs. His gorgeous new babe Jennifer (Melissa Bologna) has moved into his posh apartment, but David has cause to believe Jen may be cheating on him, and not with just anyone, but David’s best friend from childhood, Greg (Gary Hilborn).

David does some comical sleuthing to confirm his worst suspicions. Meanwhile a show of his radical new work is scheduled for an opening. David invites his former flame Brenda (former Guess Jeans model Beau Garrett) to the reception. Brenda has been having a meltdown of her own which threatens her acting and modelling career.

“In Stereo” has lots of hip, clever dialogue by first-time writer-director Mel Rodriguez III. It has plenty of casual profanity and sex talk too, but overall it seems pretty accurate in its portrayal of young, screwed-up urban types.

Startling Revelations in “The Overnight”

“The Overnight” is set on the other coast in Los Angeles. Ever heard of “Bob and Carol and Ted and Alice?” This is a contemporary take on that swinging 1969 Paul Mazursky comedy.

Alex (Adam Scott of “Parks and Recreation) and Emily (Taylor Schilling of “Orange is the New Black”) and their young son RJ (R.J. Hermes) are recent arrivals to Los Angeles from the relative peace and quiet of Seattle. Eager to make new friends, after they have a chance encounter with a friendly, eccentric artist named Kurt (Jason Schwartzman), they accept his invitation for a pizza party and play date at Kurt’s home with his wife Charlotte (Judith Godreche) and their son Max.  Alex and Emily are a bit naïve. You could call them clueless, as Kurt and Charlotte send distinct signals they are not your ordinary homebodies. “The Overnight” becomes cringe-worthy at times, especially when Alex, at the encouragement of Kurt, goes Full Monty in the family pool. Adam Scott is certainly one brave actor, and he must really have faith in writer-director Patrick Brice’s project, because he is executive producer. To each his own.

A Magnificent "Testament of Youth"

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World War I Seen Through the Eyes of  Grieving Woman

By Skip Sheffield

“Testament of Youth” is one magnificent movie. That’s not an adjective I often use, but “Testament of Youth” is something special. A movie this grand, this epic, this sweeping and emotionally engaging does not come along often. The clincher is the story is real; based on the autobiography of Vera Brittain as adapted by Juliette Towhidi (“Calendar Girls”).

Vera Brittain is played by Alicia Vikander, the gorgeous Swedish actress who was so haunting as the robot girl in “Ex Machina.”

Vikander is 27, but with her slim, slight figure she is quite believable as the headstrong teenager she plays as the story begins in 1914 at the outset of World War I.  Vera comes from a wealthy, upper-class British family. Her father (Dominic West) has bought her an expensive grand piano. When he asks her to play something on it she plays a few bars then abruptly stops and storms out. Vera doesn’t want to be “bullied” by performing for her family on command. She is more focused on getting into Oxford University. Dad is not keen on the idea, but Vera has a way of getting what she wants.

Director James Kent begins the story Nov. 11, 1918 during the tumultuous celebration of Armistice Day signaling the end of World War I. The character we come to know as Vera seems deeply troubled, but we do not know why. The scene then immediately flashes back to an idyllic summer day in the countryside four years previous, when Vera and the three boys closest to her are frolicking by a lake. The boys are her brothers Edward (Taron Egerton) and Victor (Colin Morgan) and family friend Roland Leighton (Kit Harrington). Despite vowing she would never be controlled by a man, Vera falls in love with Roland and they become engaged to be married.

Meanwhile World War I is raging in Europe, and all three boys volunteer for military service. Vera does her part by dropping out of Oxford and volunteering as a Red Cross nurse in France.

World War I was a horrific bloodbath, with an estimated 10 million killed, 20 million crippled or severely injured, 9 million children orphaned and 5 million women widowed. Despite the claim it was going to be “The War to End War,” the lesson was not learned. It still has not been learned.

Vera Brittain went on to become a leading British author, feminist and pacifist. This is her story, wonderfully conveyed.