MALTZ JUPITER THEATRE
VOLUME 1 – ISSUE 1 FALL/WINTER 2022
ENTERTAIN, EDUCATE,
AND INSPIRE...OUR COMMUNITY
It is a great pleasure to welcome you back to the magnificent Maltz Jupiter Theatre. As we celebrate our reopening, we recognize the significant contributions made financially, artistically, and emotionally by so many people who saw this project through. Let’s be honest, this was not an easy lift. Balancing both a pandemic and building delays over the past two years was not for the faint of heart, but the results are spectacular. Each day as I drive up to our stunning building, I am reminded of the progress that we have achieved.
My heartfelt thanks to Milton and Tamar Maltz for their initial vision of our organization, and for also supporting the Theatre through all of its iterations, including our Endowment and new facilities. As Tamar recently joked, “It’s just money, Milton.” But it is truly an investment in our future. We are establishing a home for future artists, audience members, staff, students, and volunteers to enjoy for decades to come. To the thousands of you who have joined their journey, we tip our hats to you too.
The “pause” we all went through was undoubtedly painful. We all share in the trauma that we’ve experienced through this unprecedented time. But these moments have also brought about kindness, beauty, reflection, and grace. May we all put these moments in our back pocket and hold onto them as we begin our return to some sense of normalcy.
At the end of the day, a building is just bricks and mortar. It’s the people within that truly make it great. I have reflected on our mission statement and what it means to “entertain, educate, and inspire” a community, our community. Everyone is welcome at the Maltz Jupiter Theatre. As we write the next chapters of our organization’s history, we will strive to be a beacon for all to assemble and grow together, to share diverse stories, and to be a place that everyone is proud to call home.
We have more to accomplish. We have always had big dreams and that will certainly continue. Today, though, we take a deep breath, look around, and acknowledge the job well done.
With gratitude,
Andrew Kato
PRODUCING ARTISTIC DIRECTOR/ CHIEF EXECUTIVE
Creative Direction - Jamil Jiron
Editor - Diane D’Amico
Contributing Writers - Linnea Bailey, Kim Cozort Kay, Andrew Kato, Nora Minichino, Kelly Morgan, Kelsey Peterson
Photography - Jason Nuttle, Jamil Jiron
Makeup - Michelle Winters-Palm Beach Makeup Hair Styling - Kacey Murphy-Le Shoppe Coiffures
Andrew Kato, Producing Artistic Director/Chief Executive
Maltz Jupiter Theatre Board of Directors
W. Scott Seeley, Chair | Robin B. Smith, Vice Chair
Milton Maltz, Chair Emeritus
Doug Brown, J. Philip Clark, Eileen Daly, Janene Edlin, Debra A. Elmore, Jack Farber, Maxine Poole Farrell, Linda M. Flynn, Paul A. Goldner, Roberta E. Golub, Roe Green, Rodger H. Hess, Jeffrey R. Hoops, Martha Ingram, Peggy Katz, Brett Langbert, James M. Li, Tamar Maltz, Karen T. Marcus, Hans Mautner, William I. Morton, Sally B. Neff, Alceste T. Pappas, Ph.D., Amit Rastogi, MD, Janis Ruan, Robert Sachs, Avery Sommers, Susan Namm Spencer, John A. Stevens, Jay M. Wilson
From left to right – George Horrocks : Director of Production, Stephen Royal : Video Designer
BRIGHT STARS AN
ELECTRIFYING TEAM
BY: ANDREW KATO
Technology and theatre make the perfect pair. As technology evolves, so do the ways artists tell stories. As LED lights have made significant advances in the past few decades, live theatre venues have another tool in their design toolboxes to whisk audiences away on new journeys. Stephen Royal, Video Designer for Jersey Boys and Sweet Charity, will be the first to utilize the Maltz Jupiter Theatre’s new LED video panels. This $210,000 technological investment is one of the showpieces of the Theatre’s newly renovated facilities.
“Video panels are the ultimate theatrical device,” said Royal. “Physically, they can define space and they can produce light—they are light! They possess the maximum potential of theatrical magic. In addition, they can be used to mimic physical sets, extending the stage or space infinitely.”
Outside of the expense of the equipment, installing this major addition to the Theatre’s storytelling arsenal was no easy feat. George Horrocks, Director of Production, worked closely with Theatre Design Consultant, Stephen Placido, building construction managers, and electricians to create the electrical and physical infrastructure to support the video wall. According to Horrocks, the equipment used to create the magic includes: “2,000 feet of data cable to carry the signal from the video processors, 500 feet of power cable, 5 motorized hoists (each rated at 1 ton) to fly the video wall in and out, a Disguise media server, and lots of 5-foot patch cables (typically for both power and signal) to attach the panels to each other.”
Horrocks explained, “It works like a monitor for a PC. The biggest difference is that everything is much more spread out and on a larger scale. This video wall is broken up into 216 individual panels which all have a power input and a video signal (or data) input.”
Royal will use LED panels differently for each of the shows he’s designing. He shared, “The ways theatres can use LED technology is only limited to the creativity of the designers! There are infinite ways the LED tiles can be physically configured (they snap together like expensive LEGOs) to create all kinds of set pieces like back walls, portals, signs; the possibilities are really endless. There are some shows and stories that can benefit from more traditional settings and some that benefit from more modern settings. Especially as sensibilities become more cinematic, technology can often come to the rescue.”
For Jersey Boys, Royal will be using the LED panels to create a concert inspired theatrical production to transport audiences back to the fifties and sixties. In Sweet Charity, those same LED panels will be employed to transition the unit set from scene to scene with a “classic Broadway feel.”
Given all these advancements, what’s next? Royal believes, “As we add technology like LED walls, we’re going to start seeing more hybrid type performances like live theatrical movies or some mix of cinema and theatre together.”
Until then, we look forward to soaking in the bright future of LED innovation.
Laughing out Loud
WHY DO PEOPLE GO BANANAS FOR SLAPSTICK HUMOR?
BY: NORA MINICHINO
We’ve all seen it - the timeless joke of someone walking along, without a care in the world, and all of a sudden, they step on a random banana peel, only to go flying into the air feet-over-head, falling directly on their bottom with a bamboozled look on their face.
(Maybe you are smirking right now just thinking about it?)
The first known person to use a banana peel as a physical comedy instrument was “Sliding” Billy Watson. Famous for his sliding entrances from the wings of the stage, Watson was one of the most widely recognized vaudeville performers of his day. He came up with the gag after he witnessed someone trying, and failing, to keep their balance after stepping on a banana peel. Watson found the action so amusing, he incorporated it into his act, ultimately making theatergoers and movie enthusiasts break out in laughter for years to come... and giving banana peels a bad rap forevermore.
But objectively, why is it funny? The answer comes down to science. Slipping on a banana
peel is entertaining because it is dependent on schadenfreude. Derived from the German words Schaden (harm) and Freude (joy), schadenfreude is the ability to derive pleasure from the misfortune of others. This type of “pleasure” is more like an embarrassment spasm of relief or gratitude a person may feel when something bad happens to someone else instead of the bad thing happening to them.
A tumble over a funny fruit was just the beginning of schadenfreude-esque entertainment. As time went on, slapstick became a mainstay in vaudeville performances, where the most popular acts were comedy based. Performers slipping, smacking, and falling across the stage made audiences go, well, bananas. Eventually, the advent of film perpetuated the very visual gags of physical comedy and the likes of Buster Keaton, Harold Lloyd, and Charlie Chaplin all incorporated various versions of this classic joke into their work. In later years, Laurel and Hardy, Woody Allen, and the stars of Jackass: The Movie, all capitalized on this type of humor by entertaining audiences through their pain.
While the reality of why we find humor in this type of comedy may catch you off guard (...dare we say, similar to the feeling of slipping on a banana peel?), it is worth noting that most people find these mishaps funny only while being entertained. For example, you may not laugh at someone falling over “in real life” (well, at least not before you confirm they are ok) but there is certainly a greater chance of laughter if you witness a fall by a comedic performer because clear signals have been given that laughter is the desired response.
This season’s performance of the vaudeville classic, A Funny Thing Happened on the Way to the Forum, is an ideal performance for all the schadenfreude fans out there. Just remember, if you want to avoid becoming a punchline, it’s probably best to sidestep any random banana peels lying around.
SUMMER CAMPS A LOOK BACK
BY: KIM COZORT KAY AND KELLY MORGAN
The Goldner Conservatory at the Maltz Jupiter Theatre welcomed the beaming young faces of students participating in the summer camp program during the months of June and July. One of the key elements of the Theatre’s expansion is the new stateof-the-art rehearsal studios. Conservatory campers were the first to experience these new additions. The two performance camps lasted three weeks and culminated in a live musical performance on the last day of camp. With close to 80 children enrolled from Grades 3-12, students learned singing and choreography and worked with professional instructors on scene work, improvisation, and storytelling. The immersive camp experience also afforded children the opportunity to learn the production side of the performance, so students submitted costume renderings for the production of Grease and, in collaboration with Karen Nobel from Kids Need More Art, painted sets and made props for Willy Wonka
The two summer programs provided students an innovative and intimate theatre-in-the-round, on-stage experience surrounded by the audience. This concept allowed students to experience storytelling at its roots, with audiences embracing them as they shared music, dance, and scenes. The productions of Grease and Willie Wonka were so well received by the community that additional performances had to be added to accommodate the sold out shows.
Families registering for fall classes will be treated to a tour of the newly renovated Theatre along with a “sneak peek” of the planned expansion of the Conservatory’s future home. The Goldner Conservatory is celebrating its return with new faces, brave new artistic concepts and professional instruction under the guidance of new Director of Education, Kim Cozort Kay. The Maltz Jupiter Theatre is excited about its future plans for the Goldner Conservatory and looks forward to cultivating learning and artistic development for many students within the community to help them dream, imagine, and create.
Willy Wonka, a musical world of “pure imagination” was performed live by students.
Grease, the full length musical sold out three performances.
UNREQUITED LOVE, SPANNING 50 YEARS
BY: NORA MINICHINO AND
SO SHE LIVED...
HOPEFULLY...EVER AFTER
It’s safe to say that at one point in our life, most of us could relate to Charity Hope Valentine’s idea of romanticism and unfailing optimism about not only love, but what life itself could be like. Then, as it happens, we experienced heartbreak, were blindsided by loss, or shaken by disappointment which ultimately jaded our outlook. Perhaps doubt set in about ever truly finding that soul-shaking love or experiencing the dreams we dared to dream at one time.
And yet, more often than not we kept getting up, out of the proverbial lake just as Charity does at the end of the show, to continue the search to find what we want most in this life.
Sweet Charity was written over 50 years ago, when life and love were seen through a different lens. But this is still a relevant story to tell of how we transcend difficulty, show resilience, persevere through hardship and heartbreak, and believe that some good will come of our lives if we keep putting energy in a positive direction.
In today’s age of instant gratification, social media highlight reels, and the heavy weight of negative news in the media, it can be easy to feel lost or hopeless. So it is arguable that Charity’s example of positivity, confidence, and optimism is needed now more than ever. The truth is, life will knock you down at some point and everyone faces adversity in some way, but choosing to live with love in your heart and desire in your soul will always help you get back on your feet.
And so, just as Charity, we continue to choose to live HOPEFULLY ever after.
CHRISTINA APPLEGATE
Charity Hope – Sweet Charity 2005
DEBBIE ALLEN
Charity Hope – Sweet Charity 1986-1987
SHIRLEY MACLAINE
Charity Hope – Sweet Charity 1969
GWEN VERDON
Charity Hope – Sweet Charity 1966-1967
BUILDING A DREAM
The Maltz Jupiter Theatre used the downtime created by the pandemic to complete the construction of a renovated and expanded 60,000 square foot building. To accomplish this project phase, we combined Act II (the production center/new stage) and Act III (the exterior of the Goldner Conservatory and Second Space). But there is still some work to be done.
To complete the theatre. we must complete our fundraising to finish the interiors of the Second Space, the Goldner Conservatory, and Scene.
SCENE
This 40-seat dining experience will be an impressive amenity for donors and patrons that will include a catered tasting menu and bar. We will also have the opportunity to present cabaret performances in this show-themed venue.
If you would like to support the completion of any of the final phases of our facilities, please contact Brett Wilson, Major Gifts Officer, at: bwilson@jupitertheatre.org or (561) 972-6124. She will arrange a special tour of the spaces. Major high visibility naming opportunities are still available.
COSTUME SHOP
This unique second floor location was chosen so guests arriving to the Maltz Jupiter Theatre can see our artists creating the costumes for the next production. The glass windows serve as a way to peer into the “soul” of the organization as we are creators of all our productions… exclusively for our audiences.
GIFT SHOP
A new gift shop featuring theatre-themed trinkets and Maltz Jupiter Theatre branded apparel will open for arts lovers and supporters alike. All proceeds will be used to underwrite special theatre programs to benefit our community.
CONSERVATORY
Education is a key element of the Maltz Jupiter Theatre’s mission. Doubling the size of the facility will allow us to engage more students in our community in after school, weekend, and summer classes and productions.
SECOND SPACE
This 199-seat flexible theatre space will allow us to diversify the types of work the Maltz Jupiter Theatre can present. Our plans include producing dramatic plays and new work that are better suited for intimate spaces instead of our larger stage.
TAKE FLIGHT
HONORING MILTON AND TAMAR MALTZ
This art installation celebrates Milton and Tamar Maltz for their significant vision, leadership and generosity to the Maltz Jupiter Theatre.
These stunning blue butterflies take flight above the halls of the theatre and shine as a beacon of gratitude and beauty. Blue butterflies are often associated with the joy of a wish being granted and the appreciation of new beginnings.
Artist: Eli Cecil
The Benzaiten Center for Creative Arts
A THEATRE FOR ALL
REDEFINING THE THEATRE’S MISSION TO SUPPORT OUR COMMUNITY
BY: LINNEA BAILEY
When the global pandemic hit in spring 2020, performances across the world suddenly stopped — and the Maltz Jupiter Theatre was no exception. Staff members were furloughed. Artists were suddenly out of work. There was a lot of time to think.
Then a letter circulated across the nation’s performance spaces. Signed by 300 theater professionals who identify as Black, Indigenous, and People of Color (BIPOC), the open letter pointed out flaws in the theater world and called upon institutions to create real change to support artists and employees of color.
And that was when a shift began. Against the backdrop of the Theatre’s $36 million expansion, producing artistic director and chief executive Andrew Kato built a small, diverse committee comprised of staff members of various ethnicities and backgrounds. Together, the group began to reimagine an inclusive future for the Theatre where all in the community are welcome.
“The pandemic gave our entire industry an opportunity to pause and reflect on who we are serving, both from an audience perspective and those who perform on our stage,” Kato said. “Our mission statement promises to entertain, educate and inspire our community — so we started by focusing on those last two words: ‘our community.’ And we realized we had work to do.”
The Theatre joined the six-month Palm Beaches Diversity Challenge (led by the Cultural Council for Palm Beach County and Discover The Palm Beaches), added practices to curb biases in hiring and expanded opportunities for artists of color.
“I’m really proud that our Theatre is beginning to look more like our world,” said committee member Brett Wilson, the Theatre’s major gifts officer. “It’s
truly diverse in terms of race, ethnicity, gender and ability. Now when we reach out to members of the local community, they see people who look like them, which is invaluable.”
With guidance from Barbara Cheives, President and CEO of Converge & Associates Consulting, Inc., the committee began a series of outreach initiatives to underserved groups such as those at Jupiter’s Edna W. Runner Tutorial Center and Lake Worth Beach’s Compass LGBTQ+ Community Center, as well as solo patrons, those with cognitive and physical disabilities and more.
“Theater is for everyone,” said committee member Kesley Peterson, the Theatre’s executive assistant. “We’re so grateful to have the opportunity to expand accessibility and let everyone in the community know that there is a place for them here at the Theatre.”
Space at the Theatre is now being offered for free to members of the community who need it, such as music therapy classes for children with disabilities from West Palm Beach-based Whole Vibes Music Therapy (the first minority-owned business to utilize the Theatre, brought on board by Wilson), or board meetings for Jupiter’s El Sol Neighborhood Resource Center.
“Seeing the faces of families who’ve never been inside a theater before is really magical,” said committee member Eloisa Ferrer, the Theatre’s company manager and producing assistant, who recently led a group of residents from El Sol on a backstage tour. “Being able to offer our space to those in need has really been rewarding. It creates countless opportunities for the residents of our community to thrive.”
Committee member Christina van Vliet Rynasko, the Theatre’s development events and special projects manager, has been working with The Els Center of Excellence in Jupiter, The Hope Center for Autism and The Christopher and Dana Reeve Foundation to ensure that the Theatre is accessible for people who are differently abled.
“We are making sure that everyone has the opportunity to work or visit here,” she said. “We’ve added an elevator that leads to the Theatre’s orchestra pit and upstairs rehearsal spaces, and we’re working on initiatives to benefit the neurodivergent community, such as dedicated performances and sensory bags containing items such as noise-cancelling headphones.”
The Theatre’s marketing focus has also improved with the renewed perspective. Committee member Jamil Jiron, the Theatre’s graphic designer, has overseen efforts to increase diversity in the Theatre’s brochures and collateral, and additions have been made to the Theatre’s lobby gallery and signage. A high-level internship program for students from all backgrounds is also in the works, Jiron said.
“Sometimes minorities don’t always get the same opportunities that other students do,” he said. “Being in the design field, I’m often the only Latino in the room. I look forward to an internship program that will help elevate the possibilities for local young people.”
And many of the committee’s objectives for the Theatre are ongoing, Kato said.
“The changes we are making will take time to accomplish, because this isn’t about checking boxes,” he said. “This is about a real, cultural shift and how we can make our community a better place for everyone.”
PUTTING THE FUN IN FUNDRAISING
THE GIFT OF FRIENDSHIP
BY: KELSEY PETERSON
Purpose. Commitment. Fun. Words to describe the Maltz Jupiter Theatre Development Department from three women with a unique journey to getting there.
Christina van Vliet Rynasko has been the Development Events and Special Projects Manager for five years, while Charla Sramowicz and Liz Friedman both joined the team in 2021. Charla as Development Events and Special Projects Associate, and Liz as Development & Donor Database Associate. However, this is not their first introduction to the Maltz Jupiter Theatre, or each other.
15 years ago their daughters were amongst some of the first Goldner Conservatory students. Christina, Charla, and Liz crossed paths at Conservatory events and shared rides to Youth Touring Company performances. But the three truly bonded when their kids were cast as von Trapps in the Maltz Jupiter Theatre’s production of The Sound of Music
As if being a parent to a young performer isn’t already a full-time job, the three found
ways to also give back to the Theatre, whether by painting sets or stuffing envelopes. All of this experience laid a strong foundation for how they approach their current roles. Liz’s daughter used to say that the Conservatory was her “second home” which made a lasting impact on Liz. She explained, “I have great admiration and gratitude for the Conservatory and the Theatre, which has cultivated a desire within me to see the Theatre as a whole succeed.”
With an ever-revolving selection of office treats and occasional “bring your dog to work” days, there is never a dull moment in the Development office. “Vivacious” some days, “chaotic” other days, depending on who you ask. The most special part of their jobs, however, is sharing the work together. “I think us coming back together after all these years is a gift,” said Charla.
Christina added, “I get to go to work with some of the most creative individuals around, and as a bonus I get to have fun while doing it.”
MOLLI SRAMOWICZ (AGE 9)
Marta von Trapp – Sound of Music Season 2010/2011
SKYE ALYSSA FRIEDMAN (AGE 9)
Gretl von Trapp – Sound of Music Season 2010/2011
EMILY VAN VLIET PEREA (AGE 12)
Brigitta von Trapp – Sound of Music Season 2010/2011
CONSERVATORY MOMS
From left to right – Liz Friedman (Skye’s Mom), Charla Sramowicz (Molli’s Mom), Christina van Vliet Rynasko (Emily’s Mom)
Susan Damon : Proprietor of Tux Shop
DRESSING OUR SUCCESS
THE PERFECT FIT FOR OUR COMMUNITY
BY: ANDREW KATO
This January, the Tux Shop in Palm Beach Gardens will be celebrating its 50th Anniversary. Current owner Susan Damon has been at the helm for 36 years, but has upheld the original owner’s “blueprint for business and community.” Susan has carried that torch supporting the Maltz Jupiter Theatre and other charities in Palm Beach County. For over a decade, the Tux Shop has donated its services to the Theatre’s annual galas, photoshoots, and other major events including the Grand Reopening Celebration.
“If I expect the community to support my business, I must support them too!” said Susan. “Giving is the generous way of meeting people with adding value to them and their goals.”
Susan’s philanthropy is only matched by her expertise. As someone who “enjoys seeing a well-tailored tux or suit,” Susan uses her talents as a tailor to always achieve the perfect fit. And the community that she loves so dearly loves her back.
“Customers that I began dressing for their prom are now having their own children and going to their weddings! Talk about full circle!” she shared.
When asked what she attributes to her achievements, she explained, “I’ve enjoyed the success over the years as vibrant as the season. Seasons of God’s favor, seasons of recession and pandemics. One of my favorite pastors and authors recently shared to ‘get ready for a miracle if you have a problem. No problem, no miracle!’ I’ve enjoyed the success because of my location [at] PGA Commons. Over the years, I’ve also been blessed with exceptional staff.”
Susan Damon and the Tux Shop are “honored to be dressing those for their life’s greatest moments” and the Maltz Jupiter Theatre is honored to have a treasured community partner.
Please support small businesses that do good in our community.