| 24 February 2010
The Capitol Steps originated among staffers in the U.S. Senate.
Dealings in Washington have become so acrimonious lately, there seems to be nothing to laugh about as government grinds to a halt. But that has not stopped The Capitol Steps, which has been poking fun at federal machinations for almost 30 years, putting -- as the group likes to say -- “the MOCK in democracy.”
The Steps set up shop at the Kravis Center’s Rinker Playhouse on Tuesday for a three-week residency through March 14. Although there is not as much fertile material as there was during the election season of 2008, these genial satirists will never lack for inspiration as long as Sarah Palin remains in the limelight, health care disinformation proliferates, and sexual transgressors from Mark Sanford to Tiger Woods keep supplying comic ideas too delicious to make up.
Most of the Capitol Steps' 90-minute, intermission-less show consists of song parodies of familiar hits from the pop charts or Broadway. Timeliness can trump an obvious rhyme, as with the plea of Toyota executives, Help Me, Honda (to the tune of The Beach Boys’ Help Me, Rhonda) on the day that hearings were held on the Japanese automaker’s quality control woes.
Then again, Bill Clinton is old news, but his brazen frat-boy demeanor is still good for a few laughs. And Sarah Palin is apparently the gift that keeps on giving to political comedy writers. Her recent note scribbling on her hand inspired a joke that probably works wherever the Steps play, but when she delivers a welcome note to West Palm Beach, it contains an extra joke since she reads it off her west palm.
You have to admire the mind that came up with a skit on rampant obesity and capped it with a song that puns I Wrecked My Heart With Spam and Crisco. Or the one that overcame the somewhat stale idea of pitting President Obama against his campaign rival Hillary Clinton by using a Paul McCartney-Stevie Wonder tune, newly dubbed Ebony and Ovaries.
Not every sketch works, of course. There is a generic number called Oprahbama (to the tune of Oklahoma!) that seems to have been born because it has the right number of syllables rather than anything to say about Ms. Winfrey or the president. And it might be time for The Steps to retire its Lirty Dies sketch, an extended monologue of reverse-consonants spoonerisms. If the show were on television, the Lirty Dies scene would be a cue to head to the refrigerator knowing you would not be missing anything important.
The Capitol Steps never really go for the throat in its satire and they carefully calibrate their act to target both sides of the aisle with roughly equal disdain. They give the audience credit for being up on the news from Washington and, for the most part at the Rinker on Tuesday, that faith was well-founded.
THE CAPITOL STEPS, Kravis Center, 701 Okeechobee Blvd., West Palm Beach. Through Sunday, March 14. Tickets: $40. Call: (561) 832-7469 or (800) 572-8471.
| 23 February 2010
Matthew Korinko, Stephanie Simon, Rick Pena and Anne Chamberlain in Slow Burn Theatre's Bat Boy.
'Bat Boy' charms, but new company needs smaller space
Making its area debut, Slow Burn Theatre Company certainly fulfills its stated mission by selecting Bat Boy: The Musical, a quirky, cult show about, yes, a kid who is half-bat, half-human, based on the character immortalized in the pages of the tabloid Weekly World News.
With a clever, eclectic score by Laurence O’Keefe -- who went on, alas, to write the far less interesting Legally Blonde -- this could have been a hit on the level of Little Shop of Horrors, but it opened off-Broadway in 2001, a time when few were going to the theater in New York because of the aftershocks of 9/11, and those that were largely went to The Producers.
Slow Burn’s co-artistic directors, Patrick Fitzwater and Matthew Korinko, were involved with a successful production of Bat Boy in St. Louis, so they were hoping to jumpstart their new Boca troupe by resorting to the same offbeat material.
There is some talent, albeit non-Equity, in the production, but the performers are hampered by the cavernous West Boca High School auditorium and by a dreadful sound system that renders the show overly loud and shrill. In addition, money problems mid-rehearsals reportedly led to a switch from a live band to recorded music accompaniment, not the sort of decision that is going to gain friends and followers in this market.
The show itself is a light-hearted statement on prejudice against those who are different, or at least a send-up of such melodramatic Hollywood fare as The Elephant Man, Frankenstein and King Kong. Rick Pena is oddly appealing as the pointy-eared, pointy-toothed title character, Anne Chamberlain is convincing as the teen who falls in love with him, but it is Stephanie Simon who anchors the show as the Donna Reed-ish mom who is curiously conflicted over having a bat boy in the family.
Ian T. Almeida’s scenic design is amusing and almost makes the huge West Boca stage seem workable, but Slow Burn really needs a more intimate playing space to succeed at the sort of theater they have in mind.
BAT BOY: THE MUSICAL, Slow Burn Theatre Company at West Boca High School, 12811 West Glades Road, Boca Raton. Through Sunday, March 7. Tickets: $25. Call: (954) 323-7884.
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Clockwise from bottom left: Christine Paterson, Christopher Vettel, Dara Seitzman, Lisa Estridge, Howard Kaye in Maltz Jupiter Theatre's 'Tintypes.'
'Tintypes' not very memorable, though cast works hard
Probably motivated by an urge to save some money, the Maltz Jupiter Theatre has been programming musical revues such as Smokey Joe’s Café or Beehive in its seasons, and they rarely live up to the increasingly first-rate execution of its book musicals. A case in point is its current songfest, Tintypes, a lightweight, nostalgic stroll through the pop songbook of the turn-of-the-20th-century.
Never a show that was destined to be on anyone’s “must-see” list, Tintypes works best when produced simply and delivered effortlessly, but that is not the approach that director J. Barry Lewis and his pleasant cast of five take. As they sprint through the three-and-a-half-dozen musical numbers, they seem to be pressing hard to entertain, presenting them so insistently that their natural joy drains away.
The show’s premise is that history is mirrored by the pop songs of a period, and that the early 1900s were a time of innovation and optimism, even if we can look back from today’s vantage point and see that era as mainly a preface to the First World War.
The show’s creators -- Mary Kyte, Mel Marvin and Gary Pearle -- do a credible job mixing the familiar and still popular (You’re a Grand Old Flag, Bill Bailey) with the deservedly obscure (Getting More Like the White Folks Ev’ry Day). There are social and political themes if you look hard, but the show is mainly a look back at a less hectic time.
In the five-member cast, standouts include Lisa Estridge, who handles such mournful ballads as Sometimes I Feel Like a Motherless Child and Nobody, as well as Christopher Veitel (I’ll Take You Home Again, Kathleen), even if his visual impression of Teddy Roosevelt is a stretch. Music director John Mercurio leads an onstage band that plays the score with vintage verve, even if they occasionally overpower the singers.
The title “Tintypes” refers to the early days of photography and the personal keepsakes that were generated, but the revue Tintypes does not leave enough of an impression to be preserved in a scrapbook.
TINTYPES, Maltz Jupiter Theatre, 1001 E. Indiantown Road, Jupiter. Through Feb. 28. Tickets: $40-$59. Call: (561) 575-2223.
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Actress Angie Radosh.
Grim 'Magical Thinking' doesn't succeed as a play
There is no denying the pain that shoots throughout the pages of Joan Didion’s essay on her close encounter with death and dying, The Year of Magical Thinking.
It chronicles in precise, brittle language what it was like to watch her husband of 40 years and longtime writing partner John Gregory Dunne expire unexpectedly in front of her and then go through a different torture of seeing her newly married daughter Quintana Roo mysterious slip into a coma and slowly die before her eyes.
It is a stunning essay to read because of the stark statement in it that, with some of the details changed, what Didion went through will happen to each of us someday. How I wish she had left well enough alone, though, and not adapted her prose into a one-woman show. Over the years, I concede that I have developed a knee-jerk aversion to monodramas, with their lack of dramatic context -- where is Didion speaking from and why in the world is she telling me these intimate details of her life?
At The Women’s Theatre Project, Angie Radosh is a stalwart stand-in for Didion, very restrained and under control, until the tears that she had been fighting all evening do eventually overtake her. But the thought occurs that this non-theatrical monologue, if it has to be recited at all, might as well be done as a radio play, since there is no action implied by Didion’s words.
Yes, director Genie Croft has Radosh rise from her chair and wander about the stage every now and again -- another one-person show cliché -- but the movement is as unmotivated as the unsubtle changes to Natalie Taveras’s lighting. Granted, it is nitpicking, but even Croft’s choice to insert an intermission in the 90-ish minute work seems detrimental to the cumulative power of the script.
As you would expect, The Year of Magical Thinking is no laugh riot, but it is not without its moments of humor. What it is not is a play, and it gains almost nothing being placed in an actress’s mouth and on a stage.
THE YEAR OF MAGICAL THINKING, The Women’s Theatre Project, 505 N.W. 1st Ave., Fort Lauderdale. Through March 14. Tickets: $25. Call: (866) 811-4111.
| 16 February 2010
The cast of Les Miserables at Actors' Playhouse.
There was nothing miserable about the Actors’ Playhouse production of the epic musical Les Miserables, the nominating committee for the 34th annual Carbonell Awards said Tuesday as it showered the show with 12 nominations.
The adaptation of Victor Hugo’s novel led the field vying for bragging rights of excellence in professional theater in South Florida.
Les Miz, as the popular British show is nicknamed, was cited for best musical, director (David Arisco), actor (David Michael Felty), supporting actor (Gary Marachek), three supporting actresses (Gwen Hollander, Melissa Minyard, Margot Moreland), musical direction (Eric Alsford), and all four design categories: sets (Sean McClelland), lighting (Patrick Tennant), costumes (Colleen Grady) and sound (Alexander Herrin).
Musicals dominated the nominations, with the top four nod totals going to musicals. For the top award, Les Miz will be competing with: Barnum, Maltz Jupiter Theatre (8 nominations), Vices: A Love Story, Caldwell Theatre Co. (8) and Cagney, Florida Stage (7). The fifth show in the Best Musical category is Broward Stage Door’s A Little Night Music, with four mentions.
Best Play nominees include Broadsword at Miami’s Mad Cat Theatre Company and Why Torture Is Wrong and the People Who Love Them at Plantation’s Mosaic Theatre, tied with five nods each. Two Palm Beach County companies will go head-to-head with them, Palm Beach Dramaworks for Copenhagen and the Caldwell Theatre for The Whipping Man, along with GableStage’s Speed-the-Plow.
Palm Beach County theaters had the largest cumulative nominations total with 38. Boca Raton’s Caldwell Theatre led the way with 12, two each for The Whipping Man and The Voysey Inheritance, in addition to the eight for Vices: A Love Story.
The Maltz Jupiter Theatre was close behind with 11 nominations -- Barnum’s eight, plus three for Evita. Florida Stage scored nine nominations, the seven for Cagney and one each for Some Kind of Wonderful and The Storytelling Ability of a Boy. And Palm Beach Dramaworks’s six nominations were spread among four productions, Copenhagen (2), A Doll’s House (2), At Home at the Zoo (1) and Private Lives (1).
Nominations were distributed fairly evenly among the three counties of South Florida, though, with 37 going to Miami-Dade theaters and 25 to Broward. In all, 13 companies were recognized, with nominations going to 33 of the 75 eligible shows that opened during the 2009 calendar year.
Both actor Gregg Weiner and sound designer Matt Corey hit the trifecta, gaining three individual nominations each. In addition to Weiner’s nods for Dumb Show (Promenthean Theatre), A Doll’s House (Pam Beach Dramaworks) and Farragut North (GableStage), he is also up for the Best Ensemble award as a cast member of Mad Cat Theatre’s Broadsword and Farragut North.
The nail-biting officially begins now for the nominees and continues until Monday, April 12, at 7:30 p.m., when the winners will be announced in the Amaturo Theater at the Broward Center for the Performing Arts in Fort Lauderdale. Tickets to the ceremony are $25, or $20 apiece for a group of 10 or more. They go on sale this Friday at the Broward Center’s box office (954-462-0222) or by visiting www.browardcenter.org.
Cagney
The complete list of Carbonell Awards nominations follows:
COMBINED (plays and musicals)
Best New Work (award to author)
Peter Colley, Robert Creighton and Christopher McGovern, Cagney, Florida Stage; Mario Diament, A Report on the Banality of Love, The Promethean Theatre; Terry Lawrence, Speaking Elephant, The Women's Theatre Project; Carter W. Lewis, The Storytelling Ability of a Boy, Florida Stage; Susan Draus, Everett Bradley, Michael Heitzman and Ilene Reid, Vices: A Love Story, Caldwell Theatre Company
Best Ensemble Production (citations to cast and director)
Bombshells! A Musical Explosion of Life, Love and Telling It All!, Actors' Playhouse at the Miracle Theatre; Broadsword, Mad Cat Theatre Company; Farragut North, GableStage; Some Kind of Wonderful, Florida Stage; Viva Bourgeois!, Mad Cat Theatre Company
PLAYS
Best Production of a Play (award to producing organization)
Broadsword, Mad Cat Theatre Company; Copenhagen, Palm Beach Dramaworks; Speed-the-Plow, GableStage; The Whipping Man, Caldwell Theatre Company; Why Torture Is Wrong and the People Who Love Them, Mosaic Theatre
Best Director
Joseph Adler, Farragut North, GableStage; Joseph Adler, Speed-the-Plow, GableStage; J. Barry Lewis, Copenhagen, Palm Beach Dramaworks; Richard Jay Simon, Why Torture Is Wrong and the People Who Love Them, Mosaic Theatre; Paul Tei, Broadsword, Mad Cat Theatre Company
Best Actor
John Archie, The Whipping Man, Caldwell Theatre Company; Todd Allen Durkin, At Home at the Zoo, Palm Beach Dramaworks; Paul Tei, Speed-the-Plow, GableStage; Ricky Waugh, Reasons to Be Pretty, GableStage; Gregg Weiner, Dumb Show, The Promethean Theatre
Best Actress
Linda Bernhard, Playhouse Creatures , The Women's Theatre Project; Barbara Bradshaw, Why Torture Is Wrong and the People Who Love Them, Mosaic Theatre; Lela Elam, No Child, GableStage; Angie Radosh, Speaking Elephant, The Women's Theatre Project; Laura Turnbull, Rock 'n' Roll, Mosaic Theatre
Best Supporting Actor
Dennis Creaghan, The Voysey Inheritance, Caldwell Theatre Company; Todd Allen Durkin, Reasons to Be Pretty, GableStage; Erik Fabregat, Why Torture Is Wrong and the People Who Love Them, Mosaic Theatre; Gregg Weiner, A Doll's House, Palm Beach Dramaworks; Gregg Weiner, Farragut North, GableStage
Best Supporting Actress
Elena Maria Garcia, Summer Shorts: Signature Shorts, City Theatre; Patti Gardner, Defiance, GableStage; Erin Joy Schmidt, Viva Bourgeois!, Mad Cat Theatre Company; Deborah L. Sherman, Dumb Show, The Promethean Theatre; Miriam Wiener, In a Dark, Dark House, Mosaic Theatre
MUSICALS
Best Production of a Musical (award to producing organization)
Barnum, Maltz Jupiter Theatre; Cagney, Florida Stage; Les Miserables, Actors' Playhouse at the Miracle Theatre; A Little Night Music, Broward Stage Door; Vices: A Love Story, Caldwell Theatre Company
Best Director of a Musical
David Arisco, Les Miserables, Actors' Playhouse at the Miracle Theatre; Bill Castellino, Cagney, Florida Stage; Clive Cholerton, Vices: A Love Story, Caldwell Theatre Company; Gordon Greenberg, Barnum, Maltz Jupiter Theatre; Margaret M. Ledford, Cannibal! The Musical, The Promethean Theatre
Best Actor in a Musical
Matthew William Chizever, Cannibal! The Musical, The Promethean Theatre; Robert Creighton, Cagney, Florida Stage; David Michael Felty, Les Miserables, Actors' Playhouse at the Miracle Theatre; Mark A. Harmon, A Little Night Music, Broward Stage Door; Brad Oscar, Barnum, Maltz Jupiter Theatre
Best Actress in a Musical
Natalie Venetia Belcon, Vices: A Love Story, Caldwell Theatre Company; Misty Cotton, Barnum, Maltz Jupiter Theatre; Jodie Langel, Evita, Maltz Jupiter Theatre; Kimberley Xavier Martins, A Little Night Music, Broward Stage Door; Holly Shunkey, Vices: A Love Story, Caldwell Theatre Company
Best Supporting Actor in a Musical
Darrin Baker, Cagney, Florida Stage; Marcus Bellamy, Vices: A Love Story, Caldwell Theatre Company; Nathanial Braga, Barnum, Maltz Jupiter Theatre; Gary Marachek, Les Miserables, Actors' Playhouse at the Miracle Theatre; Rudy Martinez, Evita, Maltz Jupiter Theatre
Best Supporting Actress in a Musical
Katherine Amadeo, Cannibal! The Musical, The Promethean Theatre; Miki Edelman, A Little Night Music, Broward Stage Door; Gwen Hollander, Les Miserables, Actors' Playhouse at the Miracle Theatre; Melissa Minyard, Les Miserables, Actors' Playhouse at the Miracle Theatre; Margot Moreland, Les Miserables, Actors' Playhouse at the Miracle Theatre
Best Musical Direction
Eric Alsford, Les Miserables, Actors' Playhouse at the Miracle Theatre; Helen Gregory, Barnum, Maltz Jupiter Theatre; Helen Gregory, Evita, Maltz Jupiter Theatre; Christopher McGovern, Cagney, Florida Stage; Jon Rose, Vices: A Love Story, Caldwell Theatre Company
Best Choreography:
Chrissi Ardito, Bubbling Brown Sugar, Broward Stage Door; Chrissi Ardito, Cannibal! The Musical, The Promethean Theatre; AC Ciulla, Vices: A Love Story, Caldwell Theatre Company; Joshua Rhodes, Barnum, Maltz Jupiter Theatre; Jeff Shade, Cagney, Florida Stage
DESIGN (plays and musicals)
Best Set Design
Antonio Amadeo, Macon City: A Comic Book Play, The Naked Stage; Michael Amico, Private Lives, Palm Beach Dramaworks; Joe Kimble, Broadsword, Mad Cat Theatre Company; Sean McClelland, In a Dark, Dark House, Mosaic Theatre; Sean McClelland, Les Miserables, Actors' Playhouse at the Miracle Theatre
Best Lighting Design
Suzanne M. Jones, In a Dark, Dark House, Mosaic Theatre; John Manzelli, Macon City: A Comic Book Play, The Naked Stage; Jeff Quinn, No Child, GableStage; Jeff Quinn, Why Torture Is Wrong and the People Who Love Them, Mosaic Theatre; Patrick Tennent, Les Miserables, Actors' Playhouse at the Miracle Theatre
Best Costume Design
Alberto Arroyo, The Voysey Inheritance, Caldwell Theatre Company; Danielle Campbell, Viva Bourgeois!, Mad Cat Theatre Company; Colleen Grady, Les Miserables, Actors' Playhouse at the Miracle Theatre; Brian O’Keefe, A Doll's House, Palm Beach Dramaworks; Alejo Vietti, Barnum, Maltz Jupiter Theatre
Best Sound Design
Matt Corey, Broadsword, Mad Cat Theatre Company; Matt Corey, Cannibal! The Musical, The Promethean Theatre; Matt Corey, Macon City: A Comic Book Play, The Naked Stage; Alexander Herrin, Les Miserables, Actors' Playhouse at the Miracle Theatre; Steve Shapiro, Summer Shorts: Signature Shorts, City Theatre
| 15 February 2010
Ted Deasy, Scott Parkinson, Eric Hissom and Claire Brownell in The 39 Steps.
So many shows on Broadway these days stem from movies, productions that get slapped onstage, bypassing any new injection of imagination.
And then there is Alfred Hitchcock’s The 39 Steps, a frantic, frisky adaptation of a 1935 spy thriller from the master of suspense, reduced -- or possibly elevated -- to a sly comic romp by four actors sprinting through the film’s plot, pausing for plenty of tongue-in-cheek humor, and impersonating the scores of characters in this stiff-upper-lip tense tale.
Having already had a healthy run on Broadway, The 39 Steps is currently on hiatus there before returning for a further run off-Broadway. Meanwhile, the show is on tour, spreading its infectious silliness across the country, including Fort Lauderdale’s Parker Playhouse, where is plays through Feb. 28.
Picture a cut-rate theater company that cannot afford the payroll this convoluted yarn would normally require. Nor do they seem to have the means to construct the sets that the film’s numerous locations would require.
So the parts are dealt out among the four members of the troupe, particularly Eric Hissom and Scott Parkinson, the two hardest-working actors around, who switch costumes and characters with abandon, while occasionally lugging onstage a stray piece of furniture or scenic element.
Under Maria Aitken’s direction, The 39 Steps thumbs its nose at the commercial theater’s penchant for spectacle, preferring instead to draw on the audience’s imagination with shadow puppets and atmospheric lighting. With those puppets, for instance, the Loch Ness monster can materialize and Hitchcock himself can make his signature cameo appearance. (At the 2008 Tony Awards, the show won for outstanding lighting and sound.)
The plot concerns one of Hitchcock’s iconic innocents on the run, a mustachioed Canadian named Richard Hannay (Ted Deasy), who becomes implicated in a murder and forced to flee across the United Kingdom, chased by the police and by espionage agents.
Along the way, he encounters a succession of women -- a Germanic Mata Hari, an archetypal alluring Hitchcock blonde and a rural farm girl -- all played by the versatile Claire Brownell.
Do not be concerned if you are unfamiliar with the film of The 39 Steps, for plot is not this show’s strong point and there is plenty of fun to be had enjoying the moment-to-moment jokes. At just under two hours, the comic conceit is probably stretched to its limit, but the performers are so deft that they hold our attention beyond the point of diminishing returns.
The central joke is that a movie like The 39 Steps cannot possibly be replicated live and contained on a stage. Fortunately, no one told adaptor Patrick Barlow or these four nimble, puckish actors.
THE 39 STEPS, Parker Playhouse, 707 N.E. 8th St., Fort Lauderdale. Continuing through Sunday, Feb. 28. Tickets; $15-$50. Call: (954) 462-0222 or (800) 982-2787.
| 11 February 2010
The members of Rain, in full Sgt. Pepper regalia.
Just because you cannot afford to book a band, or the members have long since stopped talking to each other, let alone playing together, that should not stop a performing arts center from presenting the group anyway. Or at least a reasonable facsimile.
That is the rationale behind the tribute band phenomenon, which has seen the likes of Led Zeppelin and Pink Floyd on the Kravis Center stage in the past two years and now, on Friday evening, you can meet the Beatles.
Well, sort of.
Liverpool’s Fab Four have inspired a raft of tribute bands, all approximating the look and sound of what is generally acknowledged to be the greatest collection of rock songwriters/performers ever assembled. The band's career had many distinct periods, from the Ed Sullivan Show days through their musical and psychedelic experiments to their bitter break-up, and a group called Rain, which will be performing at the Kravis Center on Friday, is able to render them all.
But their specialty is reproducing the complex, overdubbed tracks that even the Beatles never performed live.
“The Beatles stopped touring in ‘66 and our show just starts to heat up around that time,” says Joey Curatolo, who plays Paul McCartney in Rain. “They started into the studio around ‘Rubber Soul’ or 'Revolver,' and we play all that music till the end of their career. With today’s technology, we can sample, recreate and reproduce and emulate all the [engineer] George Martin productions and scoring.”
Most of the members of Rain came from a 1970s Broadway show about the group, Beatlemania. Originally, they were called Reign, as in royalty, but after enough reporters misspelled it, they switched to Rain, which also happens to be the name of a Beatles song.
Rain was playing cruise ship and casino gigs when Canadian producer Jeff Parry saw them, saw the potential in their musicianship and took the act to a new, more theatrical level that now plays performing arts centers.
“We added the video elements, the historical references in the video, so it’s more of a show than just a bunch of guys playing music,” Parry says.
Still, getting presenters to take a look at Rain was not easy. “We had to convince people that this was something special, not just another Beatles tribute show. When people see it they understand,” insists Parry. “Critics come to rip it apart and in a half an hour, they’re sucked right into this thing.”
Any four guys can call themselves a Beatles tribute band. What further sets Rain apart is the high-level endorsements they have received. “We are licensed by Sony now, the only people licensed to have grand rights for a Beatles show, except for Cirque du Soleil. It’s a stamp of approval of the quality of our show,” beams Curatolo.
Rain can play most of the 200 or so songs in the Beatles catalog, and their show can vary, night to night. But some numbers are virtually required by the fans. “You have to play ‘Yesterday’ in a Beatles show, you have to play ‘Hey Jude,’ you have to pay ‘I Want to Hold Your Hand,' ” explains Curatolo.
He claims to not be bothered by the many other Beatles tribute bands running around. “The good thing is that they’re out there and everybody is bringing this music to the younger generation and keeping the spirit of the Beatles alive.”
Not surprisingly, Curatolo thinks you need to see Rain, no matter what your age.
“For Baby Boomers, it’s a religious experience. For young people, it’s what all the excitement was about for their older siblings or mother and father. For younger people, it’s a must to be introduced to this music.
"And it’s the quickest two hours they’ll ever sit through.”
RAIN: A TRIBUTE TO THE BEATLES. Kravis Center, 701 Okeechobee Blvd., West Palm Beach. 8 p.m. Friday. Tickets: $25-$95. Call: (561) 832-7469 or (800) 572-8471.
