The Rave Review Spring 2011

The

Rave Review

THE MALTZ JUPITER THEATRE

SPRING 2011

Spring comes alive with the sound of musicals!

Presenting Sponsors:

and

Presenting Sponsors:

and

Seven rambunctious children and the most irreverent nun ever to kick a habit welcome your family into theirs with The Sound of Music. The final musical written by Rodgers and Hammerstein follows the Trapp family as they leave Austria to escape Nazi persecution.

Featuring such musical favorites as “My Favorite Things,” “Do-Re-Mi,” “Edelweiss,” “Climb Ev'ry Mountain” and “Sixteen Going on Seventeen,” this heartwarming story is great for the entire family!

At the beginning of the 20th century, Al Jolson was the most famous entertainer in the world – singer, dancer, actor, comedian, impresario, rebel, businessman, and star! In this fascinating musical, Jolson at the Winter Garden!, we learn about his meteoric career that was created, lost, and reborn. Combining his hit tunes such as “Swanee,” “Toot Toot Tootsie” and “My Mammy,” with hilarious stories and touching memories, this will be a thrilling and unforgettable night in the theatre!

Crazy for You is a high-energy musical comedy packed with mistaken identity, plot twists and fabulous dance numbers that will keep you grinning from ear to ear. Overflowing with hit Gershwin songs, including “I’ve Got Rhythm,” “They Can’t Take That Away From Me” and “Shall We Dance,” this Broadway hit crosses good, old-fashioned entertainment with a feel-good message about being true to your dreams. Who could ask for anything more?

Onstage thru January 30

February 22 – March 13

March 29 – April 17

First Step to Stardom ................ page 1 Back Stage With Marc Robin .......page 1 Becoming Al Jolson......................page 3 Everything Old Is New Again........page 4 Something for Everyone...............page 5 Creation of a Season ...................page 6 A February to Remember .............page 7

THE MALTZ JUPITER THEATRE CONSERVATORY OF PERFORMING ARTS

Something for everyone The Maltz Jupiter Theatre Conservatory of Performing Arts has it all!

How is the stage version of The Sound of Music different from the movie version?

Harry Potter

Most people know the movie version of The Sound of Music because they know theSpring songs. ButBreak the stage version is different; the order of the songs is different, Camp who sings them is different, the reasons why they sing them is different, and thereUse is music in the stage show that Spring Break to enter doesn’t the exist in the movie.

The biggest difference between the stage version and the movie is that, in the movie, [producers] homogenized a lot wizarding world of the Conservatoryof the issues that surrounded the family.

They concentrated on making it a very saccharine sweet love story – and even though [of danger] througha threat our “Harry Potterexisted, Spring it certainly wasn’t to the extent that it’s Break Camp,” March presented in the stage play; specifically, in the songs that they cut. There’s one song in particular called14 “No– 18, Way2011.

To Stop It” that they cut from the movie that will –explore acting, is the ‘political agenda’ song that becomes the actual crux between the captain andStudents his country in support of hisvoice, country and against everything else. So the andproduction, movementwe’ve utilizing a do “Harry play has a little bit more meat in it than they allowed the movie to have. And in this tried to our best to bring out that meat even more.

Potter”bytheme andof culminate Hopefully, people will feel like they’re seeing the best of the movie, but will be surprised the heart the play. with a showcase for family and friends. open to students in grades For people who have seen this production before and thinkCamp thatisthey know it well, will there bestudent an element of Conservatory Michael Golden K – 5 and will be broken into the age as Harry Potter Cast members rehearse for the upcoming Conservatory production of Cats surprise? groups of K – 2 and 3 – 5. Camp Without question. The thing that was remarkable about watching the audiences in Lancaster the Fulton Theatre, which co-produced the also showavailable. with the Maltz hours are (at 9 a.m. to 3 p.m., with pre-care and after-care So Jupiter Theatre) is that over and over again, I heard people say, “I’ve seen this show, but I felt like I just saw it for the first time.”

And part of that is because grab your Hogwarts Express ticket at Platform Nine-and-Three-Fourths is tried coming to thethem Conservatory! we’veCats really to make all human. Based on the universally popular and join the fun at The Conservatory. poetry ofI T.S. the story, in song and dance, annual An example, triedEliot, not toCats casttells ‘musical comedy’ children.

I wantedof tothecast real kids that would be in a real situation, with real stakes. Music, also, is the thing gathering of Jellicle cats at which time one special cat is selected to most people don’t even think about that. Most people think it is a story about that ties everybody together. It’s called The Sound of Music for a reason, and ascend to the Heaviside layer.

A true musical theatre phenomenon, Cats Maria – but it’s a story about how music can transform lives. And literally, it is music that is her passion, it is music that she brings to the household, it is music will be directed by two of its Broadway cast members: Anna McNeely, the that tames the captain – and it is music that ultimately saves them in the festival. Kids aren’t the only ones who have fun in Conservatory classes; we have original Jennyanydots on Broadway, and Brian Andrews, a 10-year cast programs for all ages! From January through March, the Conservatory We’ve really tried to key in on all of the things that an audience doesn’t expect. Even in the relationship between the Mother Abbess and Maria – which in the member of the Broadway show. Anna and Brian’s incredible knowledge offers adults a full range of daytime seasonal classes ranging from song of the show and how it was brought to life will provide an educational and dance to tap, Broadway jazz and a senior chorus line, as well as a opportunity unlike any other in the area. Playing two performances only, memoir writing class and play-reading club. No experience necessary.

The Theatre’s December and Sound of Music in January.

May 20 and 21, you won’t want to miss this magical night atoftheAcademy Theatre. In the shows, the child performers January productions SEASONAL ADULT CLASS SCHEDULE: and The Sound of Music brought were given the opportunity to appear Song & Dance Mondays 12:30 – 1:30 dozens of professional performers in regional theatre productions Tap Mondays 1:30 – 2:30 to the stage. alongside professional actors. In The Broadway Jazz Tuesdays 1:30 – 2:30 But each show also brought 11 Sound of Music, the local children Sit to be Fit Fridays lucky students chosen from more play the family’s children. And the 2:30 – 3:30 Acting Mondays than 300 children and teens who opportunity has other benefits, as 1:30 – 2:30 Maltz Jupiter Theatre turns attended the Theatre’s unique “First well Musical Theatre Singing – in Academy, each child Mondays or teen 1:30 – 2:30 Opera Scenes Tuesdays 1:30 – 2:30 Classes in Acting, Step to Stardom” auditions in the performer was assigned a “mentor,” local kids into stars with spring. orMemoirs professional them 2:30 – 3:30 Improv and Tap are to theactor Pageto giveTuesdays unique auditions In free audition workshops, kids guidance and advice world 1:30 – 2:30 offered year round.

Play Reading Club about theTuesdays The next opportunity to learned a dance routine, received of professional acting.

Registration now open. Adult classes are $15 an hour, or acting lessons and practiced singing “Our First Stepfortoclasses Stardomis auditions take your First Step to Stardom $150 and up for the semester. in an ensemble in preparation for were a great success, and we are so will be this spring. auditions for the Theatre’s productions proud of our young stars,” said Andrew Visit www.jupitertheatre.org updates For information, call (561) 575-2672 or visit www.jupitertheatre.org.

Conservatory instructorsforAnna McNeely and Andrewsinwere members and of the The Kato, of Brian Academy December the Theatre’s artistic director.

Students at the 2010 First Step to Stardom

CATS

Adult Education

5 1

original Broadway run of Cats

Instead of feeling like they just saw a musical, I want people to feel like they’ve just seen a play that happens to be gorgeously sung – Marc Robin, The Sound of Music movie, is very static. In the play, we’ve worked very hard to give her a world of religion and a world of family, to realize that they both play together.

After (seeing) the show, there are a lot of things that will make people say, “Wow, I never realized,” “I never thought,” and most importantly, “I never felt,” which is the thing that makes me the happiest. It’s people who have seen this a thousand times and think, “Oh gosh, I really don’t want to see this again,” are dragged to it, and then walk away thinking “I had no idea I would feel.”

How does it feel to be working with the largest cast in the Maltz Jupiter Theatre’s history?

For me, it’s a huge honor to be entrusted with that. I came here and directed Evita almost two years ago, and I had such a wonderful experience and had been hoping that I’d get to come back. So for me personally, it’s a huge honor. Professionally, I don’t think of The Sound of Music as a big show because I think of it as an intimate story – it just has huge elements in it. So I just haven’t really allowed myself to think about it that way.

It is really exciting to be able to do this production for the Maltz Jupiter Theatre’s audiences. I grew up in South Florida, and there’s a huge Jewish community here. And even though the story takes place in Austria, the German invasion is still so prevalent – and so many of my ancestors and people in this area will really be able to relate to the stakes that this family has surrounding them. So I’m really excited to see how the ripples play in the water here.

How will you make this family classic your own?

For me, the biggest thing in making this my own is that I do not want it to be a musical comedy. Everybody has seen the show a million times; they’ve seen it in every high school, every community theatre, in some cases every professional theatre, and they know it. But instead of feeling like they just saw a musical, I want people to feel like they’ve just seen a play that happens to be gorgeously sung. And if I’ve achieved that, then that is my goal and thumbprint.

Is your approach different in directing children versus adults?

Children are easier than adults. It’s the truth; kids have a sense of wonderment and honesty that I find myself having to direct into an adult. Adults are old enough to question, and I don’t mean question as in “ask,” or “talk back,” I mean question as in, they process information differently. A child looks at a glass and says, “There’s water in it.” An adult decides whether its half-empty or half-full.

A child’s perception is that it’s “a glass with water.” They haven’t gotten old enough to determine where it’s empty or not, or full or not, or good or not, or good for you. So I love working with children – I do it all the time, and it’s one of my favorite things. They make me laugh, they keep me young, and there’s this sense of wonderment that they have about the theatre that adults don’t have. Sometimes adult [actors] see it as work, and when those adults are in a show with children, I remind them to look at the joy in a child’s face and try to remember that. I love working with kids.

How are you going to accomplish the different scenes this production requires?

The set designer Michael Schweikardt and I collaborated on a set that we think will maintain the elements that people expect, but still make it new and transferable enough quickly that we can have a seamless show, and I think our design accomplished that.

Having just directed the show at Fulton Theatre, are there any changes that you’ll be making?

Your space is more intimate than ours. I’m excited about the possibilities here at the Maltz Jupiter Theatre because the storytelling will be so much closer to the audience.

Big changes: all of the kids in the Jupiter production are from South Florida, so I’m switching out the family. I’m excited to see the changes that the local children bring out in the family around them, especially the Captain and Maria, because they’re the heart of the play. That’s a huge change.

The Sound of Music January, 2011

2

BECOMING

AL JOLSON

By Mike Burstyn

The star of Jolson at the Winter Garden! (Feb. 22 - March 13) discusses what it takes to portray the legendary entertainer

T

he first time I heard Al Jolson sing (on a recording, of course), I was captivated by his voice. I was 11 years old, and have been a fan of his ever since. I had most of his record albums, and I would sing along with every one of his wonderful songs – I knew them all by heart. Little did I dream that one day, I would have the privilege of portraying the “world’s greatest entertainer,” and get to sing all of those songs in his honor.

In 1998, I auditioned in New York to play Al Jolson in the national tour of the musical Jolson, then as now directed by Bill Castellino. It was the United States version of the smash London hit. I flew to Los Angeles while awaiting the results of the audition – and on my way into town from the airport, I passed by Hillside Memorial Park and decided to stop off and visit Jolson’s gravesite. It is a handsome memorial on a hillside, prominently visible from the 405 Freeway. I had a nice chat with “Jolie” (as people called him), promising him that if he helped me get the part, I would do him justice. And lo and behold, within a few days, I got the part. Thank you, Al! As the tour progressed from coast to coast, I began to sound more and more like the man I was portraying. I felt like I was almost channeling Jolie. One older gentleman even walked up to our sound engineer during intermission and asked which one of Jolson’s recordings I was mouthing during the show. The old gentleman was indignant when the engineer assured him that it was no recording but that I was singing live. “Don’t tell me that was no recording! I saw Al Jolson perform in person, and that was his voice up there!” the man said. The engineer couldn’t convince him otherwise, and that was the ultimate compliment for me.

Mike Burstyn at the Al Jolson memorial.

Al Jolson passed away in 1950 – and now, on the occasion of the 60th anniversary of his passing, I am pleased to have the chance of bringing him back with a new musical – Jolson at the Winter Garden! – to where he always preferred to be: on stage, in front of his beloved audience, entertaining and singing his heart out, as only he could.

I’m sure Jolie would agree. He’d say, “Folks, you ain’t heard nothin’ yet!”

3

Al Jolson (Left) and Mike Burstyn (Right)

Director Mark Martino discusses what makes Crazy For You so timeless!

I

n February 1992, a new Gershwin musical comedy called Crazy For You opened on Broadway and was an instant hit, winning the 1992 Tony Award for Best Musical and lighting up the stage for a rollicking 1,622 performances.

In the 15 years since the show closed on Broadway, its popularity has not waned. Audiences around the country continue to enthusiastically embrace this story of a wealthy Manhattan “ne’er do well” of the Depression: the stagestruck song-and-dance man Bobby Child, who rescues a bankrupt theatre in a Nevada mining town and wins the local girl.

As I started my research and preparation to direct the show, I found myself asking, “What accounts for that enduring appeal? Why is this show so timeless?”

It starts with the incomparable music. The amazing songwriters responsible for the show weren’t around to accept any of those accolades at the 1992 Tony Awards. The composer, George Gershwin, died in 1937, and his lyricist brother Ira died in 1983. They had both been gone for years when Crazy For You thrilled audiences anew to their gorgeous melodies and fantastic lyrics. Timeless, indeed.

The enduring appeal of the show lies in that breathtaking score that preserves the best of the original numbers from the Gershwin’s 1930’s smash Girl Crazy (among them: “Embraceable You,” and “I Got Rhythm”), adds several of their later songs from Fred Astaire films (including “They Can’t Take That Away from Me” and “Someone to Watch Over Me”), and also adds some undiscovered Gershwin gems (“Naughty Baby”), resulting in musical riches.

Of course, a score alone can’t account for standing the test of time. For that to happen, a musical’s story and characters need to engage and delight us – and on that count, Crazy For You comes up a winner again. Playwright Ken Ludwig gives us a leading man (Bobby Child) who’s a charismatic combo of Gene Kelly’s athletic physicality and Fred Astaire’s stylish elegance, and a leading lady (Polly Baker) who’s an irresistible “cowgirl next door,” a Western mash-up of Judy Garland, Ethel Merman and Ginger Rogers.

Andrew Kato and Mark Martino

Polly can belt out a tune with gusto, break our heart with a ballad and make us melt with her dancing skills.

Surrounding these two are a hilarious collection of comic characters, including an uptight socialite, a blustering impresario, a domineering mother and a doting father – not to mention an all-singing, all-dancing ensemble of tapping New York follies girls and tumbling Nevada cowboys. The Gershwin songs are familiar and gorgeous, but in Crazy For You, it is the characters who reclaim those standards as fresh, thrilling moments of live theatre.

The follies girls’ infectious tap dancing in “I Can’t Be Bothered Now;” the cowboys’ laconic harmonizing in “Bidin’ My Time;” the roof-raising full-cast dancing in “I Got Rhythm;” all make you hear those familiar songs for the first time.

One other element that surely contributes to this show’s timeless qualities: the use of dance as a way to propel the plot and lift the show to giddy heights. Crazy For You takes infectious Gershwin melodies and creates dances that soar. Like all of the great (and timeless) movie musicals of the golden era, the dancing in Crazy For You is not only thrilling, but also revealing as we watch our leading couple fall in love, dancing cheek to cheek.

So how do you make a “timeless” musical? Take some of the greatest songs ever written for Broadway and Hollywood, and reinvigorate them with spectacular dancing, quirky and endearing characters, laugh-out-loud physical comedy, a swoon-worthy romance and a plot that taps into that uniquely-American “let’s put on a show” spirit. What you end up with is Crazy For You: a classic American musical that the Maltz Jupiter Theatre audience is sure to love!

See you at the Theatre. I’ll be the one humming “They Can’t Take That Away from Me” in the back of the house.

George Gershwin

4

THE MALTZ JUPITER THEATRE CONSERVATORY OF PERFORMING ARTS

Something for everyone The Maltz Jupiter Theatre Conservatory of Performing Arts has it all!

Harry Potter How is the stage version of The Sound of Music different from the movie version?

Most people know the movie version of The Sound of Music because they know theSpring songs. ButBreak the stage version is different; the order of the songs is different, Camp who sings them is different, the reasons why they sing them is different, and there Use is music in the stage show that Spring Break to enter doesn’t the exist in the movie. wizarding world of the Conservatory The biggest difference between the stage version and the movie is that, in the movie, [producers] homogenized a lot of the issues that surrounded the family. througha threat our “Harry Potterexisted, Springit certainly wasn’t to the extent that it’s They concentrated on making it a very saccharine sweet love story – and even though [of danger] Break Camp,” March 14 – 18, presented in the stage play; specifically, in the songs that they cut. There’s one song in particular called “No Way2011.

To Stop It” that they cut from the movie that will –explore acting, is the ‘political agenda’ song that becomes the actual crux between the captain andStudents his country in support of hisvoice, country and against everything else. So the andproduction, movement utilizing “Harry play has a little bit more meat in it than they allowed the movie to have. And in this we’ve tried toa do our best to bring out that meat even more.

Potter”bytheme andof culminate Hopefully, people will feel like they’re seeing the best of the movie, but will be surprised the heart the play. with a showcase for family and friends. open to students in grades For people who have seen this production before and thinkCamp thatisthey know it well, will there be student an element of Conservatory Michael Golden K – 5 and will be broken into the age as Harry Potter Cast members rehearse for the upcoming Conservatory production of Cats surprise? groups of K – 2 and 3 – 5. Camp Without question. The thing that was remarkable about watching the audiences in Lancaster the Fulton Theatre, which co-produced the show with the Maltz hours are(at 9 a.m. to 3 p.m., with pre-care and after-care also available.

So Jupiter Theatre) is that over and over again, I heard people say, “I’ve seen this show, but I felt like I just saw it for the first time.”

And part of that is because grab your Hogwarts Express ticket at Platform Nine-and-Three-Fourths is tried coming to thethem Conservatory! we’veCats really to make all human. Based on the universally popular and join the fun at The Conservatory. poetry of T.S. Eliot, Cats tells the story, in song and dance, annual An example, I tried not to cast ‘musical comedy’ children.

I wantedoftothecast real kids that would be in a real situation, with real stakes. Music, also, is the thing gathering of Jellicle cats at which time one special cat is selected to that ties everybody together. It’s called The Sound of Music for a reason, and most people don’t even think about that. Most people think it is a story about ascend to the Heaviside layer. A true musical theatre phenomenon, Cats Maria – but it’s a story about how music can transform lives. And literally, it is music that is her passion, it is music that she brings to the household, it is music will be directed by two of its Broadway cast members: Anna McNeely, the Kids aren’t the only ones who have fun in Conservatory classes; we have that tames captain – andonit is music thatand ultimately saves them in the festival. originalthe Jennyanydots Broadway, Brian Andrews, a 10-year cast programs for all ages! From January through March, the Conservatory We’ve really tried to key in on all of the things that an audience doesn’t expect. Even in the relationship between the Mother Abbess and Maria – which in the member of the Broadway show. Anna and Brian’s incredible knowledge offers adults a full range of daytime seasonal classes ranging from song of the show and how it was brought to life will provide an educational and dance to tap, Broadway jazz and a senior chorus line, as well as a opportunity unlike any other in the area. Playing two performances only, memoir writing class and play-reading club. No experience necessary.

The thisTheatre’s December and Sound of Music in January.

May 20 and 21, you won’t want to miss magical night at the Theatre.

January productions of Academy InSEASONAL the shows,ADULT the child performers CLASS SCHEDULE: and The Sound of Music brought were the opportunity to Mondays appear 12:30 – 1:30 Songgiven & Dance dozens of professional performers inTapregional theatre productions Mondays 1:30 – 2:30 to the stage. alongside professional actors. In The Broadway Jazz Tuesdays 1:30 – 2:30 But each show also brought 11 Sound of Music, the local children Sit to be Fit Fridays 2:30 – 3:30 lucky students chosen from more play the family’s children. And the Acting Mondays than 300 children and teens who opportunity has other benefits, as 1:30 – 2:30 Musical Theatre Singing Mondays Maltz Jupiter Theatre turns attended the Theatre’s unique “First well – in Academy, each child or teen 1:30 – 2:30 Opera Scenes Tuesdays 1:30 – 2:30 Classes in Acting, Step to Stardom” auditions in the performer was assigned a “mentor,” local kids into stars with Memoirs to the Page Tuesdays spring. or professional actor to give them 2:30 – 3:30 Improv and Tap are unique auditions Play Reading Club about theTuesdays In free audition workshops, kids guidance and advice world 1:30 – 2:30 offered year round.

The next opportunity to learned a dance routine, received ofRegistration professionalfor acting. classes is now open. Adult classes are $15 an hour, or acting lessons and practiced singing “Our First Step to Stardom auditions take your First Step to Stardom $150 and up for the semester. in an ensemble in preparation for were a great success, and we are so will be this spring. auditions for the Theatre’s productions proud of our young stars,” said Andrew For information, call (561) 575-2672 or visit www.jupitertheatre.org.

Visit www.jupitertheatre.org updates Conservatory instructorsforAnna McNeely and Brian Andrews were members of the of Academy in December and The Kato, the Theatre’s artistic director.

Students at the 2010 First Step to Stardom original Broadway run of Cats

CATS

Adult Education

5 1

The Conservatory is the place for budding stars of all ages to get a start

The Creation of a successful season...

For younger students, the Conservatory continues to offer a range of ballet, jazz, tap and hip hop dance classes, as well as courses in playwriting, improv and audition techniques.

“The Theatre is committed to providing high-quality arts education in a positive, safe and supportive Conservatory environment,” Rowe said.

“Students theatre professionals and gain months,” helearn says. from “With Broadway-caliber these musicals costing hundreds of thousands self-confidence, leadership and of dollars to produce, we need to team-building make sure thatskills.” our base group is here toThe support us.” connection to the Theatre allows students the opportunity to perform In planning the season, the organization must also working alongside professionals both onstage andmanage off, withresources master classes carefully.

As a not-for-profit regional theatre and member taught by renowned performers and choreographers. of Actors’ Equity Association, there are minimum numbers professional union contractshit Cats Under the guidance of two original castofmembers of the Broadway that must be used. Most seasons have approximately fifty union contracts – Anna McNeely and Brian Andrews – students in the Musical Theatre that are spread out over the year, with additional non-union contracts Production class will perform in Cats on the Maltz Jupiter Theatre stage in making up the difference.

May. How and where the actors are housed also influences which shows are The Theatre provides a variety of the community outreach programs, including chosen.

For example, most seasons, Theatre rents five three-bedroom the Conservatory’s Youth Touring Company performance troupe, Page to condos to accommodate its actors.

Stage program, musicals student matinees and the Theatre’s PNC “If thereclassroom are two large-scale in our season, it’s helpful to put a Kids Korner smaller show play orseries. musical in between them, or to spread them out over an additional week,” Kato says. “This prevents us from spending more to put our artists in hotels.”

However, the most important element of creating a season is the mix of shows, he says. “Our audiences are sophisticated patrons who are eager to revisit classic plays and musicals, but also support new work,” says Kato.

“When audiences leave happy, that is our greatest joy.”

There’s more to putting together a memorable season than meets the eye

A

an audience member, you have probably enjoyed one of the Maltz Jupiter Theatre’s five season shows. But have you ever thought about what it takes to plan for a successful The Theatre’s of Performing Arts offers year-round theatre Conservatory season? learning, including fall semester withdirector, musical theatre, acting The Maltza Jupiter Theatre’sfilled artistic Andrew Kato, has –and and dance classes.

Conservatory’s signature Musical Wheelit a when itThe comes to putting together the season lineup,Theatre he considers teaches students the individual elements voice dance and multi-faceted process that deservesoftoacting, be taken veryand seriously. combines “The them planning to tell a process story, culminating in a a“Best Broadway” revue begins almost year ofand a half before the season starts,” Kato, who on the Theatre stage on says December 22.uses his years of theatre experience to artisticadults futureofof all South Florida’s largest regional theatre. in And for lay theout firstthetime, ages can participate year-round One of the first rules of producing is to “know your audience,” Kato says. acting, tap dancing and improv classes. The classes, which premiered He often engages ticket holders to hear their feedback.

He also works during the 2009/2010 spring season, now will be offered in the evening to closely with the Theatre’s artistic advisory committee, led by Broadway accommodate adults with busy schedules. producer Rodger Hess, and works with the Theatre’s marketing “In addition to our topopular programming, we have our department identifyfamily the productions ticketholders mayexpanded want to see. class offerings to adults, with the opportunity to learn and grow at times “I look for balance that serves the community’s needs,” Kato says. “This that arepast convenient for them,” saida younger Julie Rowe, the base, Conservatory’s year, we hoped to engage audience so we added DirectorAcademy of Education.

“Local residents can build confidence and The Sound of Music to our season titles.” and receive training Through from the world-class, who teach our special ticket offerstalented directed professionals to younger theatergoers, the Maltz classes.”

Jupiter Theatre has been successful in bringing family audiences – a only through possible March, becausethe theConservatory Theatre’s programming wasa full strategic From feat January offers adults rangein recognizing the need, he says. of daytime seasonal classes ranging from song and dance to tap, Duejazz to theand seasonal nature of South is also everything, Kato Broadway a senior chorus line, Florida, as well timing as a memoir writing class adds.

“January brings an influx of seasonal theatergoers, giving and play-reading club. cause to schedule the large-scale musicals in the winter

6

A February to Remember

7

with

Shows to love A Tribute to

Louis Armstrong In Concert!

“Come A Little Bit Closer” “She Cried” “Tonight”

.”

y imagine uld possibl than you co– Spin Magazine “FUNNIER

ring

an

Star

one-m

star wars

Ben

gy

T r ilo

pm 5 – 8:00 February portrays all of the

ic ss Charles Ro, sound effects, mus he as characters hts with himself . fig ies en and ev es all three mov explor

s $30 All ticket

STAR ONE-MAN

r

e Tedd

February 13 – 8:00pm

7:30pm February 9 – 7:30pm – February 10

ash Comedy Broadway’s Sm Women Relate. and About How Men

All tickets $4

0

February 11 – 5:00 & 8:00pm A high-octane mix of music, song and dance.

All tickets $35

Music pioneer Louis Armstrong is celebrated in this evening of Jazz.

ADMITAll ONE tickets $40 A TRIBUTE TO LOUIS ARMSTRONG

BARRAGE

February 14 – 7:30pm The ’60s pop legends sing there most sucsessful hip songs.

VIP tickets $65 All other tickets $50 JAY AND THE AMERICANS

N THE CAVEMA DEFENDING

ILOGY WARS TR

www.jupitertheatre.org

Join our E-club to receive our 2011/12 season announcement this February at www.jupitertheatre.org

– 7:30pm

st Comedy Troupe

All tickets $3 5 THE SECOND CITY

!

March 1 6 March 1 – 7:30pm 7 – 7:30 pm Just in tim e for St

your roots

. Pa with a mix trick’s Day! Celebrat of Irish, fol e k and pop.

All ticket

s $40 IC TENO RS

THE CELT

Pick a date to celebrate!

1001 E. Indiantown Road Jupiter, FL 33477

(561) 575-2223

February 28 America’s Greate

NON-PROFIT ORG U.S.Postage PAID West Palm Beach, FL Permit No. 4760