Theatre is a collaborative art form that touches not just the audiences who see our shows, but the people who work at the Theatre or partner with us. It’s incredible just how many local businesses, schools, and community groups walk through our doors and contribute in their own special way to the power of live performance.
In particular, founding board members Mr. and Mrs. Maltz have contributed tremendously to the Theatre’s lasting presence in the community. I’m thrilled to announce that Milton and Tamar, through The Milton and Tamar Maltz Family Foundation, have initiated a matching contribution towards the Believe Capital Campaign—their foundation will match every new dollar donated up to $5 million. They’ve set an example I’m sure the rest of the community will follow as we strive to reach our full potential through the Believe Capital Campaign. Once the match is completed we will be close to raising the funds to begin Act II which will make us ready to launch productions to Broadway.
Launching this campaign has gotten our creative juices owing, encouraging all of us at the Theatre to use creative thinking to ask ‘what if?’ What if by telling a story on a stage we could change the way we see the world? What if people of all ages and backgrounds had a shared space to come together to connect and learn? What if a new generation of dreamers found inspiration for their greatness in our hometown and then shared it with the world? We’ve asked ‘what if,’ and Milton and Tamar Maltz have answered. Their foundation’s gift will allow the Theatre to take its place as one of the vital building blocks of a remarkable community. We’re eager to carry out this expansion—not only in bricks and mortar—but in people, ideas, and passion. The following pages of Marquee Magazine are an illustration of the people who work tirelessly towards this dream. To them, ‘what if?’ is a challenge to dream bigger, work harder, and never stop believing.
Editorial Director Dana Munson
Creative Direction Todd Hilgert
Editor/Senior Contributor Cecilia Padilla
Contributing Writers Linnea Bailey, Graham Brunk
Contributing Designer Jeff Barry
Photography Jason Nuttle, Matthew Murphy
Styling Savannah Wyatt, Brittani Seach
Hair and Makeup Kasey Murphy, Michelle Winters, Savannah Wyatt
Production Christopher Flinchum, Kristen Kesonen, Shonna Rash, Brittani Seach, Chelsea Tuffy, Timothy Bowman, Janie Willison
Printing Preferred Printing & Graphics
Andrew Kato PRODUCING ARTISTIC DIRECTOR/ CHIEF EXECUTIVE
Andrew Kato, Producing Artistic Director/Chief Executive
Maltz Jupiter Theatre Board of Directors
Robert Sachs, Chair | Robin B. Smith, Vice Chair
Milton Maltz, Chair Emeritus | Martin Cohen, Chair Emeritus
Richard L. Barovick, Lynn Bovenizer, Doug Brown, Eileen Daly, Debra A. Elmore, Jack Farber, Isanne Fisher, Nancy Gilbane, Paul A. Goldner, Roberta E. Golub, Roe Green, Rodger H. Hess, Richard J Katz, Jr., Brett Langbert, Tamar Maltz, Karen T. Marcus, Hans Mautner, William I. Morton, Bonnie Osher, Alceste Pappas, Janis Ruan, W. Scott Seeley, Susan Namm Spencer, Salvatore A. Tiano, D’Vera Topol, Jeffrey P. White
Honorary Board of Directors: Susan Johnson, Ralph Saltzman
Pictured: Jim Schubin and Evy Ortiz as Tony and Maria in West Side Story Cover and inside cover photos by Matthew Murphy
The Maltz Jupiter Theatre Costume Shop reveals the power of storytelling through costume design. When a character makes a stage entrance for the rst time in a production, what do you see? A glittering ball gown or a tattered jacket? An apron covered in our or a denim shirt covered in grease? These details tell you a lot about a character: who they are, what they do, where they’ve been, where they’re going. For the Maltz Jupiter Theatre Costume Shop, costumes are a form of communication that weave thread rather than dialogue to create the fabric of a story. The Costume Shop team consists of the talents of Costume Shop Manager Brittani Seach, Wardrobe Supervisor Chelsea Tuffy, Shop Assistant Jayne Tidwell, and First Hand Tim Bowman. Together
THE FABRICATION OF A STORY
they co-write the subtext of our productions through each characters’ appearance. “My role as Costume Shop Manager,” says Seach, “is to work with the costume designers one on one, and then convey their ideas to the rest of the team so we are all on the same page in regards to design.”
Seach and the team then meet to review the designer’s renderings, or costume sketches, to see what they have in stock that would achieve a character’s perfect look. “When you’re building a costume based off of a rendering,” notes Tuffy, “you’re essentially creating a persona from someone’s imagination. Before the designer even arrives, we’re gathering, collecting, and building the foundation of the cast’s wardrobe—it’s like a rst draft.” Mockups are a huge help in laying the
Pictured: Jayne Tidwell, Costume Shop Assistant
Photo by Jason Nuttle
foundation for the design. “Mockups,” explains Bowman, “are simpli ed structures of say, a dress or jacket, that are made out of muslin, a simple fabric that we can easily mold as if it were the real thing.”
This rst draft is then edited and nessed by Tidwell and Bowman, who work together on alterations that color in a character and plot. “For Beauty and the Beast for example,” describes Tidwell, “we are focusing on how to give the Beast a structure that is less humanoid and more beastlike.” They then need to construct clothes that t the Beast’s structure and re ect a prince that has been transformed into a monster—think gilded fabrics that are tattered and faded.
The costume staff not only work within the designer’s conventions, they also collaborate with the individual actors. Seach observes, “As the actor is going through the process of becoming their character, they’re coming up with different ideas about what they need to portray that persona. Someone might say ‘I need to have a mustache,’ so we provide them with that so they can develop into the character they are meant to be.” Tidwell adds, “Costumes become a part of the character so much that they tell as much of the story as the actor does. When the actors feel con dent in their physical representation of their character, it’s apparent to the audience and it makes for a fantastic show.”
By Cecilia Padilla
COSTUME RENDERINGS
Jen Caprio
A Plaything to be Admired
A toPlaything be Admired
Henrik Ibsen’s A Doll’s House (Part 1) is revisited in Lucas Hnath’s A Doll’s House, Part 2
Playwright Lucas Hnath’s A Doll’s House, Part 2 was a runaway Broadway critical success with its debut in April 2017. Since then, it has secured the rank of being the most produced play of 2018—a popularity not unlike its 1879 original counterpart by Henrik Ibsen. Hnath’s part 2, with its modern interpretation of gender roles and feminist ideals, stands on its own as a story about women’s place in society. We mustn’t forget, however, where these characters and themes originated. One hundred and thirty-nine years have passed since Henrik Ibsen introduced theatre-going audiences to Torvald and Nora Helmer in what is colloquially referred to as A Doll’s House (Part 1).
Henrik Ibsen was born in Norway and grew up in poverty after his father squandered away the family fortune—a theme Ibsen revisits in many of his works. He took an interest in painting and writing after not nding much success at university. He struggled with the release of his rst published plays, tragedies titled The Burial Mound and Catiline, which he wrote under the pseudoname Brynjolf Bjarme.
In the 1860s, a new genre of play emerged known as “the social problem comedies.” Plays of this genre generally followed a pattern where the protagonist comes to the realization that they must break their toxic past rituals in order to live a more meaningful life. Ibsen found success in the social problem comedies style, and gained the notoriety he sought with the release of his 1865 play, Brand, followed by Peer Gynt in 1867.
Pictured: Henrik Ibsen by Gustav Borgen, 1897
A Doll’s House made its debut in 1879, and was met with mixed reviews on its ‘appropriateness’ for audience viewing. The plot centers on Nora and Torvold Helmer. Torvald, a bank manager, has recently recovered from a serious illness. Nora, his wife, nursed him back to life by taking him to Italy to recover. Unbeknownst to Torvald, Nora took out a loan from the very bank her husband manages to nance the trip. Because women at the time were unable to take out loans, Nora forges her father’s signature with the aid of Krogstad, a fellow colleague of Torvald’s.
Nora later learns of her husband’s intention to re Krogstad simply because he doesn’t like the man. Krogstad blackmails Nora into convincing Torvald to keep him employed by threatening to write a letter detailing their illegal transaction. Nonetheless, Krogstad is red and follows through with his plan. Torvald is furious when he learns of Nora’s scheming, and he calls her a hypocrite and immoral. He even goes as far to say that she isn’t capable of raising her own children because she is so corrupt.
The argument subsides when a new letter arrives from Krogstad where he retracts his original claim and promises not to reveal the scandal to anyone. Torvald’s tune changes immediately and he dismisses his recent insults against Nora. At this point, Nora realizes she is nothing more than a “doll”—a plaything to be admired—used to complete Torvald’s life image. She makes the decision to leave her husband, and walks out on her family with a loud slam of the door. Theatre critics refer to this legendary ending as a slam that “reverberated across the roof of the world.”
The play questions the traditional roles of men and women in 19thcentury marriage, and its themes remain relevant to audiences today. The idea of a woman leaving her family was so radical at the time that German theatres refused to produce the play, forcing Ibsen to write an alternative ending in which Nora changes her mind about leaving after Torvald forces her to look at her sleeping children. Ibsen hated this ending and later called it a “barbaric outrage.”
A Doll’s House is a timeless success. It was made into 7 lms, performed as a radio play, and is taught regularly in high schools around the world. Now, with the South Florida debut of Part 2, we will discover what Nora has been up to after 15 years of independence.
By Graham Brunk
OUR GOAL IN 3 ACTS
For more than a decade, the Maltz Jupiter Theatre has been a cultural hub of Palm Beach County. The Theatre is now positioned for growth, and stands ready to elevate its entertainment and cultural offerings. To ensure the future of the performing arts in our community, we have launched the Believe Capital Campaign which directly involves our mission principles to entertain, educate, and inspire our community. When contemplating what the Maltz Jupiter Theatre can be in the next five to ten years, we focused our strategic plan in these three areas. Here’s how...
Act I
April 2019 – October 2019
INCLUDES:
1.The re-design parking for improved traffic flow, resurfacing of the South parking lot, and curb cuts in the East parking lot.
2.Construction of a small utility building to house a new gear box.
3.Securing all building permits and contracts with selected architect and construction companies.
4.Installation of two modern show marquees
5.Construction-level, detailed plans for the entire buildout project.
Act II
INCLUDES:
April 2020 – October 2020
1.The re-design of the entire production area (widening of stage by six feet, deepening the stage by ten feet, and raising the fly tower by three feet).
2.The addition of new rehearsal halls and private vocal, rehearsal, and dance studios.
3.Scene Cafe where patrons can enjoy cocktails, hors d’oeuvres, and performances.
4.New production spaces including: an in-house costume shop, prop shop, rehearsal studio, more dressing rooms, and offices.
$35 million
Our Act II Goal will be achieved with $5 million in individual donations, which will be matched by The Milton and Tamar Maltz Family Foundation Matching Challenge Grant
$30 million
$25 million
ACT II Begins
Goal achieved with $5 million in matched donations
$20 million
The Milton and Tamar Maltz Family Foundation Matching Challenge Grant, $5 million
$15 million
Act III
April 2021 – October 2021 INCLUDES:
1. The creation of a second 199-seat flexible performance space, which will provide a stage for new works, Conservatory productions, and diverse programming.
2. Doubling size of the Goldner Conservatory for Performing Arts to include: two large dance studios, two acting studios, two piano rooms, a recording studio, library, and other facility expansions.
ACT I Begins Current Total
$10 million
$5 million
Maltz Jupiter Theatre founding board members and chief benefactors Milton and Tamar Maltz have graciously initiated a matching contribution towards the Believe Capital Campaign through The Milton and Tamar Maltz Family Foundation. They have committed to matching every dollar donated up to $5 million. Cumulatively, Milton and Tamar have donated $21 million dollars to the Theatre since its founding, including a $10,000 endowment that enabled new projects and Theatre initiatives. Their generous contributions over the years have left a lasting impact on the community and the arts, and we look forward to the Theatre’s bright future ahead.
Milton & Tamar Maltz, Maltz Jupiter Theatre Founding Board Member
Drawing by Currie Sowards Aguila Architects
Language of Dance The
Carbonel Award-winner and Emmy Award-nominated Director and Choreographer Al Blackstone reveals the storytelling of dance in West Side Story.
“West Side Story is my mom’s favorite movie,” says Choreographer Al Blackstone. “I remember watching it for the rst time when I was six years old, and it’s played such a big part in how I learned emotional dance and expressing character through movement.” Blackstone, well-known in the dance world for his unique narrative-style choreography, is ready to tell the infamous story of the Sharks and the Jets in the Maltz Jupiter Theatre production of West Side Story. Blackstone spoke about his creative process and the inspiration behind his vision for this timeless musical.
Pictured: Al Blackstone
Photo by Jeremy Davis
What is your process when choreographing a production?
“Although dance is a collaborative art, I spend a lot of time beforehand re ecting on the music alone. I ask myself, ‘What are the moments I’m excited about? What are the moments I’m afraid of?’ I try to connect emotionally to the material; that work happens between me and my headphones, usually on the subway. Then, about a week or two before rehearsals begin, I prepare with a few dance colleagues and just get moving. Dance is a language, and the rst step to telling a story through dance is guring out the characters’ vocabulary.”
What are you most looking forward to with this production?
“I’m thrilled to be working with Marcos Santana [Director] and Andrew David Sotomayor [Musical Director] again. Working on Newsies together was an incredible process. It’s a team I know and trust, so there’s already a rapport there—our own language so to speak. If I need help, Marcos is able to help me nd the answer. We all know that it’s not just about the singing, it’s not just about the dancing, it’s not just about the acting. It’s about incorporating all of it into a uni ed vision to tell the story.”
What inspires your vision for the choreography?
“One of the challenges of this production is that the choreography is so iconic. You can’t think about this show without thinking of Jerome Robbins’s choreography. So I spoke to Marcos to see what the overall direction was for the production as a way to get fresh direction. Through our initial conversation, it was clear just how emotionally connected he is to the show as a native Puerto Rican. In talking to him—hearing the passion in his voice—I’m able to zero in on those visceral feelings. The work will really ow when I get in the rehearsal room with Marcos. Overall, we don’t have to reinvent West Side Story because it’s still so relevant and fresh. It could have been written now, taking place in America today.”
Pictured: Al Blackstone Photos provided by Al Blackstone
Al Blackstone
Do you have a favorite dance number?
“The prologue is my favorite dance number. It scares me because there aren’t any lyrics to follow, just dance telling a story. The prologue is when we are introduced to the characters and their world and the movement is really life or death; it’s about surviving and standing up for what you believe in.”
What do you think makes West Side Story a mainstay in the world of musical theatre?
“The music is one of the most beautiful scores of all time. The songs are thrilling, touching, romantic, dangerous—it manages to capture all these feelings at once. The story is based off of Shakespeare’s Romeo and Juliet; what’s more timeless than a story about young love that persist in the face of adversity?”
By Cecilia Padilla
Newly commissioned by the Maltz Jupiter Theatre, The Curious Case of the Curse of Count Dracula will be the focus of the ARC New Works Theatre Festival for April 2019. This new work features a comedic twist on the wellknown story of Dracula and the vampire myth, and will be workshopped over the course of a week as part of the festival’s events.
Following a reading in New York in midFebruary, the play will be developed into a fully-realized production and open the Theatre’s 2019/20 Season on Halloween, a spooky touch to the play’s haunting atmosphere. The creative team will be led by longtime Maltz Jupiter Theatre director Gordon Greenberg (Broadway’s Holiday Inn), who co-wrote the original script with partner Steve Rosen (Off-Broadway production of The Other Josh Cohen). Skylar Fox—the current illusionist for Broadway’s latest hit, Harry Potter and the Cursed Child—will design the play’s magical effects. Sound Designer and Composer Victoria Deiorio’s unique soundscape will enhance the play’s style modeled after the comedic 39 Steps by Patrick Barlow and John Buchan.
By Cecilia Padilla
Pictured: Taylor Jackson and Jonah Robinson
Photo by Jason Nuttle
The 2019 ARC New Works Theatre Festival will showcase The Curious Case of the Curse of Count Dracula by Gordon Greenberg and Steve Rosen.
Fright! Choose Passion!
This world premiere crosses the epic horror story of Count Dracula with a dash of Mel Brooks and Monty Python for a lightning-fast, laugh-out-loud comedy.
Fright! Choose the Who! Passion! Coming-of-Age!
Based on Charles Dickens’ unfinished novel of the same name, The Mystery of Edwin Drood is a hilarious whodunit mystery where the audience chooses the murderer.
Vaudevillian murderesses Velma and Roxie turn their incarceration into a media frenzy, but soon learn that fame only lasts 15 minutes.
Set in 1937 Brooklyn, Neil Simon’s Brighton Beach Memoirs follows 15-year-old Eugene Jerome as he navigates the waters of adolescence.
J. Pierrepont Finch discovers a handbook that shows him how to climb the corporate ladder from lowly window washer to high-powered executive.
Pictured: Emily E. Tarallo
Photo by Jason Nuttle
The Maltz Jupiter Theatre is one of Florida’s preeminent not-for-pro t professional theatres, whose mission is to entertain, educate, and inspire our community. Currently the state’s largest award-winning regional theatre, the Theatre draws nearly 100,000 people annually, serves a subscription base of more than 8,000 and has world-class facilities in support of its Goldner Conservatory of Performing Arts, which serves hundreds of youth and adults. The Theatre is a member of the prestigious League of Resident Theatres and has earned numerous Carbonell Awards, South Florida’s highest honor for artistic excellence, and the prestigious Bill Von Maurer Award for Theatrical Excellence.
