Tackling Classic a a
On October 6, 1952,
Agatha Christie: The Mousetrap opened at the Theatre Royal in Nottingham. The Manchester Guardian called it “a middling piece,” having “less in it than meets the eye,” with characters that were built “entirely of clichés.” It moved to London in November, to only slightly more favorable reviews. Nonetheless, when it was suggested to Agatha Christie that it might run 14 months, she is said to have replied, “It won’t run that long. Eight months, perhaps. Yes, I think eight months.”
It is now 2015, and her beloved play is still running. Having played over 26,000 performances, it is the longest-running show in recorded history. Many critics and pundits have opined why, but my own take on it has to do with both intrinsic and extrinsic factors.
First, there’s the story on which the play is based: a 1945 murder. The case shook Britain to its postwar core and people were very curious to see what Agatha Christie would do with so horrifying a tale. And, speaking of the war, it had only been seven hard years since the end of the war, and Britain was still struggling to find its footing in the world. A juicy whodunit helped them to forget that struggle for a
Director Peter Amster discusses the secret to AgathaChristie:TheMousetrap’s record-breaking longevity
couple of hours: watching a mystery solved seemed, at least in microcosm, like seeing world order restored.
Of course that might account for the first few years of its run. But it has since become a London institution, like Harrod’s or the British Museum or the Changing of the Guard. This can only be explained by the fact that it’s a really good play. Its structure is sturdy. The characters are (in spite of the play’s early critic response) a satisfying combination of recognizable and complex, each carrying some hidden secret. The escalation of danger and suspense is meticulously plotted. And the twist ending is such a surprise that at the end of each performance, the audience is asked not to reveal the identity of the killer to anyone outside the theatre to ensure that the play isn’t spoiled for future audiences. In a way, seeing Agatha Christie: The Mousetrap is like joining a club with a secret handshake.
Considering that the play is as much an institution as it is a work of theatre, is there anything new to be seen in it? As director, I’m always looking for ways to “refresh” a period piece, to make it feel like a new play. Of course, the theatre world, like all of life, has made some astonishing technological advances in the past 60 years – so instead of a crank-driven wind machine
backstage, we’ll have a battery of speakers and digitally-manufactured sound effects that emanate from everywhere in the theatre. Not to mention computer-driven lighting, which will also focus the action with cinematic precision.
But The Mousetrap is what I would call a “conservative” play; one with rules that must be obeyed if it is to work at all. Most murder mysteries are like that: start messing around with the plot or the period or the setting (or taking the characters too far into the realm of parody or caricature) and the experience collapses upon itself. It must feel real. So this “new” play will still take place in 1952 at Monkswell Manor outside of London. But the fun part will be exploring Christie’s collection of interesting characters as if they had never been seen before; to find out what aspects of their behavior can reveal about the human condition, 63 years later.
See you at the Theatre!
– Peter Amster
OCTOBER 25 – NOVEMBER 8
A NEW TAKE ON
Director Matt Lenz,
Choreographer Greg Graham and Scenic Designer Rob Odorisio discuss their reimagined vision for
regional premiere
Ithe Florida
of the beloved musical
t’s a story about a boy’s extraordinary journey of discovering what makes him special.
That will be the focus of the Maltz Jupiter Theatre’s much-anticipated Florida regional premiere of Billy Elliot The Musical, set to soar this December at the award-winning not-for-profit theatre.
For those who’ve seen the Tony Award®-winning musical on Broadway, be prepared to be inspired; this version will be completely new and unique from other stage productions of the show, said the show’s director, Matt Lenz, who directed the Theatre’s Carbonell Award-winning production of The Foreigner last fall.
“I saw and admired the Broadway production, and I had already fallen in love with the story from the film,” Lenz said. “The film kept the focus more on Billy’s story, and I wanted to shift the balance a bit and return to that: a story of a boy, his family, how he affects his community and how they affect him.”
The electrifying blockbuster follows the story of Billy, the youngest child of a blue-collar family who discovers his unlikely and extraordinary gift for ballet. Set during the UK miners’ strike of 1984, Billy’s only escape may be the prestigious Royal Ballet School, a place no working-class boy has ever gone.
The Theatre’s version will feature a representational set designed by Carbonell-nominated scenic designer Rob Odorisio, featuring bursts of color to contrast the harsh brick industrial world.
“I think one of the things we wanted to do is really bring out the excitement of Billy,” Odorisio said “The story is enveloped in a climate of political turmoil, but
more than that, it’s a universal story about a kid trying to fulfill his dreams. We wanted to bring the story back to a more intimate, personal experience.”
The colorful touches will also serve to remind audiences of a presence felt but missing: Billy’s late mother. Flourishes of wallpaper and tone throughout the family’s apartment will hint of an absent female presence and the world that once belonged to her.
The film kept the focus more on Billy’s story, and I wanted to shift the balance a bit and return to that: a story of a boy, his family, how he affects his community and how they affect him.”
- Matt Lenz
Choreographer Greg Graham – who served as dance captain and later the resident choreographer for the Broadway production of the musical – will be creating all-new ballet, jazz and tap choreography tailored to the Theatre’s cast.
Casting was extremely important when mounting the Theatre’s production. Unlike the Broadway production (which took years to develop), Graham will have only three weeks of rehearsals before preview performances begin.
OCTOBER 25 – NOVEMBER 8
well-trained dancers, and we found them,” Graham said. “They’ll need to fit a mold that has an audience expectation attached to it, which is difficult. But we’ve cast wonderful young dancers who are incredible actors, and I know they’re going to be fantastic.”
While the Theatre’s production will be new, there’s one iconic element audiences can expect: flying.
“Flying will absolutely be a part of our production,” Lenz said. “It is one of the most spectacularly beautiful poetic moments, and our audiences are in for a treat.”
And the chance to create the show for the Maltz Jupiter Theatre is a gift, Lenz added.
“The intimacy of the Theatre provides us with the opportunity to tell the story in a truthful way,” he said. “We don’t have to telegraph anything to the back of a 2,700-seat house. We can really explore the relationships and emotional values of the show.”
SPONSORED BY:
“We were looking for young performers who were already
Photo by Alicia Donelan
P OW ER THE AR TS! OF THE
IN EARLY JUNE 2015, JEVORN
HENRY, 20, WAS ON
THE VERGE OF ENLISTING IN THE ARMY.
Arecent graduate of Palm Beach Lakes High School, he didn’t feel ready. In fact, he wanted to pursue a performing arts career. But he was out of options; he’d moved to the U.S. alone three years ago from Antigua and didn’t know where to start. Military service would at least help him pay for an arts education, he rationalized.
But that was when he got the phone call: his high school theatre teacher was on the line, encouraging him to apply for a scholarship to the Maltz Jupiter Theatre Paul and Sandra Goldner Conservatory of Performing Arts’ three-week Senior Conservatory.
So on the very day he’d planned to meet with military recruiters, he instead walked through the doors of the Conservatory – and everything changed.
Within months, Jevorn had performed one of the lead roles in Hairspray and become one of 10 students selected for the Conservatory’s prestigious new Professional Training Program, a two-year certificate program designed to prepare young performers for a career in performing arts. The 2015/16 program is sponsored by Roberta and Harvey Golub.
“This experience has completely changed my life,” Jevorn said. “I’m happier than I ever imagined I could be. Being part of the Professional Training Program has taught me that I can pursue my dreams and still be successful.”
DiD You Know?
4
statistics show that arts eDucation americans for the arts, stu times more likely elected to class within their schools
times more likely to be recognized for academic achievement
3
Jevorn Henry performing in Hairspray The Musical
Photo by Jen Vasbinder
THE CONSERVATORY
Jevorn isn’t alone. Over 600 students per year come from as far as Miami, Wellington and Fort Pierce to study at the Conservatory. The unique connection to the popular not-forprofit Theatre allows students the opportunity to perform on the Theatre’s stage and work alongside professionals both onstage and off. Students are never turned away due to financial need, and approximately 25 percent of the Conservatory’s students receive scholarships.
Directly connected to the Theatre, the Conservatory is a premiere professional Conservatory that offers a challenging, innovative and quality theatre experience to students of all ages and abilities. In addition to full-scale professional family shows and year-round classes, the Conservatory’s hands-on workshops and master classes offer students an opportunity to learn first-hand from nationally known directors, choreographers and dance captains, as well as Broadway performers, agents and local instructors.
“Participating in the Conservatory’s programs is wonderful for students who appreciate having a live stage experience, versus strictly a classroom and recital setting,” said Palm Beach Gardens resident Emily Gough, 15, who recently performed the role of Charity in the spring musical Sweet Charity on the Theatre’s stage. “I love it when the orchestra joins in with live music and spotlights hit the stage. We work very hard on all of our productions, and it’s so rewarding to show audiences what we’ve accomplished.”
MASTER CLASSES AND WORKSHOPS
A unique offering is the Conservatory’s In the Style Of workshop series, which offers an exclusive opportunity for students to be selected for free, unique dance workshops with cast members from the Maltz Jupiter Theatre’s musicals. Attendees are selected via lottery, open to all currently enrolled students.
“The In the Style Of master classes are incredible because we learn choreography that’s currently being performed onstage,” said Conservatory student Vincent Bolchoz, 17. “It’s really amazing to be able to talk to the cast members and get their personal feedback in a class setting.”
And the In the Style Of workshops aren’t the only opportunity to study with Broadway’s best, with master classes offered throughout the year under the guidance of visiting professionals. Recent master classes have included a class with performer Callan Bergmann (Lewis in the First National tour of Pippin), a tap
master class with tap legend Debbi Dee and an audition workshop with Ian Coulter-Burford, seen on the Theatre’s stage in the musical The Wiz.
CAREER PREPARATION AND STUDENT SUCCESS
Since its inception in 2007, many of the Conservatory’s students have gone on to successful performance programs and universities upon graduating, including The Boston Conservatory, New World School of the Arts, Florida School of the Arts, Florida State University, Northwestern University and more. Others have performed on Broadway, on regional theatre stages (including in the Theatre’s professional plays and musicals) and on television.
Conservatory alumnus Justin Savage, 18, didn’t discover the Conservatory until his junior year of high school when he decided to enroll in dance classes – and he overcame all odds to succeed. Without transportation, Justin would ride public busses two hours each way and walk several blocks to make it to dance classes every day. Within a year, he auditioned for Palm Beach Atlantic University’s highly-selective dance program and became one of only nine students accepted. He is currently completing his freshman year.
“The Conservatory taught me the true meaning of determination and family. Everyone was so supportive that I thought, ‘I can do this,’” Justin said.
KIDS KORNER MATINEES
In addition to a wide range of after school classes and vacation camps at its Conservatory, the Theatre’s educational offerings also include its popular Kids Korner matinee programs, in which students attend professional productions during the school day as part of their curriculum.
Jupiter Elementary School teacher Julie Giddens said her first graders love the Kids Korner performances. As a Title I school, many of her students come from low-income households and have never seen a theatre production before. Her students qualify to attend at no cost, transportation included.
“We’re very fortunate to have a theatre that offers this kind of option for local children,” she said. “Last year, all of the students at Jupiter Elementary School were able to see at least one performance at the Maltz Jupiter Theatre. This is a very exciting trip for them and it’s always a wonderful experience.”
YOUTH TOURING COMPANY
The Theatre’s community outreach efforts stretch across the region. Sponsored by Bebe and Joe Riccardo, the Youth
Touring Company performs throughout South Florida at outdoor festivals, community events and more. Made up of students in grades 5-12, the Company does not charge a fee for its performances, and its calendar books up fast: during the 2014/15 season, its students performed more than 90 shows throughout the community.
One loyal fan is Miriam Pereira, memory care program manager of Brookdale Tequesta (formerly Clare Bridge of Tequesta). The Youth Touring Company has spent the past two years performing once a month for the residents of the senior living facility’s memory care facility. It’s an event that all of the residents and their families look forward to, Pereira said.
“When the students are performing, our residents are completely engaged; all eyes are on the group and they are all following the action,” she said. “The students mingle with our residents, and I’ve seen some of our more reserved residents smiling from ear to ear. It’s always a wonderful, positive experience.”
YOUTH ARTISTS’ CHAIR PROGRAM
The opportunities for youth involvement at the Theatre are endless. Since 2011, the Theatre has offered a specialized free summer mentorship program for students interested in the behind-the-scenes work of theatre.
Known as the Youth Artists’ Chair, the project aligns middle high school students with individual Theatre staff members for one-on-one mentoring and guidance during the creation process of the show. Through the project, students have produced the dramas The Glass Menagerie, The Crucible, Hamlet, The Laramie Project and The Good Times are Killing Me since 2011.
“I’ve learned so much from my involvement in the Youth Artists’ Chair program,” said Kara Grozan, 17, who directed this season’s production of The Glass Menagerie. “It’s been such a gift to be able to work with industry professionals who are working in the field. I definitely want to pursue a career in theater, and it’s given me true insight into the way the business works.”
hen Carbonell Award-winning choreographer Shea Sullivan received the call from producing artistic director Andrew Kato inviting her to choreograph The Will Rogers Follies, she didn’t have to think twice.
“Andrew didn’t even have to finish saying the words – I was already saying yes,” Sullivan said.
Kato had offered her the opportunity for a reunion with two of her favorite artists: director Mark Martino and Broadway performer Matt Loehr, who will be portraying Will Rogers. The high-energy trio previously worked together on the Maltz Jupiter Theatre’s Carbonell Award-winning productions of Crazy for You and The Music Man.
“We’re getting the gang back together,” Sullivan said. “We all have very similar styles and a similar approach to storytelling, and it’s one of those unions that just ‘works.’ They’re both a joy to work with.”
And Sullivan has big plans for The Will Rogers Follies. With 22 musical numbers to choreograph, she’ll be working with songs that include several roping numbers, a Wild West dance, a classic Ziegfeld Follies number and a 10-minute tap extravaganza that opens the show.
“I’m looking for this production to be the danciest, sparkliest, most magical show that I’ve ever choreographed –and possibly the danciest show that’s ever been on the Maltz Jupiter Theatre’s stage,” Sullivan said.
“I approach choreography from a storytelling point of view, so each number will definitely be crafted to continually move the story forward.”
Sullivan spent two decades as the protégé of Tony Award-winning choreographer and “Master of Tap” Henry LeTang, assisting him on many projects and teaching alongside of him until his passing in April 2007. She was the assistant choreographer to Mr. LeTang for the showtime movie Bojangles starring Gregory Hines, and credits her understanding of the work of a choreographer to the unique working relationship that she had with Mr. LeTang.
“I grew up in the land of big Broadway tap extravaganza shows, and that’s what people can expect from me,” Sullivan said. “Also, because many of the numbers in The Will Rogers Follies are very tap heavy, it will be a great opportunity for me to combine all of my tap vocabulary with styles that include show tap, rhythmic tap and classical tap.”
An especially unique tidbit: Sullivan recently
became a board member of the newlyrelaunched Ziegfeld Club in New York, which houses a vault containing all of the Ziegfeld archives.
“The Will Rogers Follies is a love letter to the Ziegfeld Follies, and this is a great opportunity for me to be able to bring all of the firsthand knowledge I have learned about the Ziegfeld era through my affiliation with the club to the stage,” Sullivan said, who credits the Ziegfeld-themed musicals Crazy for You and The Will Rogers Follies with inspiring her to become a choreographer.
And she can’t wait to get started in Jupiter and return to South Florida, where she was
Andrew Kato and Mark Martino changed my career by allowing me to take on an iconic show like and trusting me to do my own thing,” Sullivan said. “I’m so excited and ready to get started on The Will Rogers Follies. I love the Maltz Jupiter Theatre and am proud to be a part of such a stellar theatre under the direction of a first-rate producing artistic director!”
ELEGANT EVENINGS
on’t miss two-time Tony Award® winning “Best Actress” Christine Ebersole (for Grey Gardens and the revival of 42nd Street) on stage at the Maltz Jupiter Theatre for a spellbinding and humorous one-night-only benefit concert on Saturday, November 21.
Star of stage, screen and television, this high-octane superstar will be backed by a ten-piece orchestra and will enchant audiences with her glorious voice, performing songs from Broadway classics and standards from the great American songbook.
Take a journey through the greatest love songs of all time! Get ready for A Love Affair, the most spectacular evening of the year.
Held at the legendary resort The Breakers Palm Beach on Saturday February 20, 2016, this elegant evening will honor longtime supporter and donor Jane F. Napier. Led by gala chairman Michele Jacobs and honorary chairman Gil Walsh, the celebration will include cocktails, hors d’oeuvres, a three-course plated dinner, entertainment, an orchestra, dance and a live auction.
JANE F. NAPIER Gala Honoree Gala Chairman MICHELE JACOBS
Checkoutourall-newRawnHardingGalleryHallforabehind-thescenespeekatthemakingoftheTheatre’sseasonproductions!
The Theatre’s Rawn Harding Gallery Hall is open before each performance and at intermission. the mAltz JuPiter theAtre welcomes its newest boArd member:
f you love learning about the creation of the Maltz Jupiter Theatre’s magic, you’re in luck: the Theatre has renovated and reimagined its popular Rawn Harding Gallery Hall, which offers theatregoers the opportunity to sneak a peek at the making of each of its productions.
Located just off the side of the Theatre’s stage and audience chamber, this rotating display will change with each show and offers audience members an interactive experience with touch screen monitors and museum-quality displays that showcase how each production is created. The exhibit brings to life the many months of dreaming and developing of ideas that the Theatre’s directors, choreographers, designers and other artisans envision and build to bring each of the Theatre’s productions to life.
Sponsored by John Osher and Barbara Congemi, the exhibit is a collection of pictures, models, drawings, thumbnail sketches, ideas, blueprints, plots, diagrams, samples and elevations, among other elements.
If the Maltz Jupiter Theatre played a role in your past, you can play a role in our future. Your gift or bequest will guarantee a legacy of artistic excellence and ensure our work will continue for generations to come.
www.jupitertheatre.org
