Spring comes alive with the sound of musicals!
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?
Something for everyone
The Maltz Jupiter Theatre Conservatory of Performing Arts has
How is the stage version of The Sound of Music different from the movie version?
Harry Potter
Spring Break Camp
Most people know the movie version of The Sound of Music because they know the songs. But the stage version is different; the order of the songs is different, who sings them is different, the reasons why they sing them is different, and there is music in the stage show that doesn’t exist in the movie.
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. They concentrated on making it a very saccharine sweet love story – and even though a threat [of danger] existed, it certainly wasn’t to the extent that it’s presented in the stage play; specifically, in the songs that they cut. There’s one song in particular called “No Way To Stop It” that they cut from the movie that is the ‘political agenda’ song that becomes the actual crux between the captain and his country – in support of his country and against everything else. So the play has a little bit more meat in it than they allowed the movie to have. And in this production, we’ve tried to do our best to bring out that meat even more. Hopefully, people will feel like they’re seeing the best of the movie, but will be surprised by the heart of the play.
For people who have seen this production before and think that they know it well, will there be an element of surprise?
CATS
Without question. The thing that was remarkable about watching the audiences in Lancaster (at the Fulton Theatre, which co-produced the show with the Maltz 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 we’ve really tried to make them all human.
Cats is coming to the Conservatory! Based on the universally popular poetry of T.S. Eliot, Cats tells the story, in song and dance, of the annual gathering of Jellicle cats at which time one special cat is selected to ascend to the Heaviside layer. A true musical theatre phenomenon, Cats will be directed by two of its Broadway cast members: Anna McNeely, the original Jennyanydots on Broadway, and Brian Andrews, a 10-year cast member of the Broadway show. Anna and Brian’s incredible knowledge of the show and how it was brought to life will provide an educational opportunity unlike any other in the area. Playing two performances only, May 20 and 21, you won’t want to miss this magical night at the Theatre.
Use Spring Break to enter the wizarding world of the Conservatory through our “Harry Potter Spring Break Camp,” March 14 – 18, 2011. Students will explore acting, voice, and movement utilizing a “Harry Potter” theme and culminate with a showcase for family and friends. Camp is open to students in grades K – 5 and will be broken into the age groups of K – 2 and 3 – 5. Camp hours are 9 a.m. to 3 p.m., with pre-care and after-care also available. So grab your Hogwarts Express ticket at Platform Nine-and-Three-Fourths and join the fun at The Conservatory.
Adult Education
An example, I tried not to cast ‘musical comedy’ children. I wanted to cast real kids that would be in a real situation, with real stakes. Music, also, is the thing 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 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 that tames the captain – and it is music that ultimately saves them in the festival. 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
The Theatre’s December and January productions of Academy and The Sound of Music brought dozens of professional performers to the stage.
Maltz Jupiter Theatre turns local kids into stars with unique auditions
The next opportunity to take your First Step to Stardom will be this spring. Visit www.jupitertheatre.org for updates
But each show also brought 11 lucky students chosen from more than 300 children and teens who attended the Theatre’s unique “First Step to Stardom” auditions in the spring.
In free audition workshops, kids learned a dance routine, received acting lessons and practiced singing in an ensemble in preparation for auditions for the Theatre’s productions of Academy in December and The
Sound of Music in January.
Kids aren’t the only ones who have fun in Conservatory classes; we have programs for all ages! From January through March, the Conservatory offers adults a full range of daytime seasonal classes ranging from song and dance to tap, Broadway jazz and a senior chorus line, as well as a memoir writing class and play-reading club. No experience necessary
SEASONAL ADULT CLASS SCHEDULE:
Song & Dance Mondays 12:30 – 1:30
Tap Mondays 1:30 – 2:30
Broadway Jazz Tuesdays 1:30 – 2:30
Sit to be Fit Fridays 2:30 – 3:30
Acting Mondays 1:30 – 2:30
Musical Theatre Singing Mondays 1:30 – 2:30
Opera Scenes Tuesdays 1:30 – 2:30
Memoirs to the Page Tuesdays 2:30 – 3:30
Play Reading Club Tuesdays 1:30 – 2:30
In the shows, the child performers were given the opportunity to appear in regional theatre productions alongside professional actors. In The Sound of Music, the local children play the family’s children. And the opportunity has other benefits, as well – in Academy, each child or teen performer was assigned a “mentor,” or professional actor to give them guidance and advice about the world of professional acting.
Registration for classes is now open. Adult classes are $15 an hour, or $150 and up for the semester.
“Our First Step to Stardom auditions were a great success, and we are so proud of our young stars,” said Andrew Kato, the Theatre’s artistic director.
For information, call (561) 575-2672 or visit www.jupitertheatre.org.
Students at the 2010 First Step to Stardom
Conservatory instructors Anna McNeely and Brian Andrews were members of the original Broadway run of Cats
Cast members rehearse for the upcoming Conservatory production of Cats
Conservatory student Michael Golden as Harry Potter
Classes in Acting, Improv and Tap are offered year round.
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.
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
The 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.
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!”
Mike Burstyn at the Al Jolson memorial.
Al Jolson (Left) and Mike Burstyn (Right)
Director Mark Martino discusses what makes Crazy For You so timeless!
In 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.
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.
Andrew Kato and Mark Martino
George Gershwin
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
Spring Break Camp
Most people know the movie version of The Sound of Music because they know the songs. But the stage version is different; the order of the songs is different, who sings them is different, the reasons why they sing them is different, and there is music in the stage show that doesn’t exist in the movie. 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. They concentrated on making it a very saccharine sweet love story – and even though a threat [of danger] existed, it certainly wasn’t to the extent that it’s presented in the stage play; specifically, in the songs that they cut. There’s one song in particular called “No Way To Stop It” that they cut from the movie that is the ‘political agenda’ song that becomes the actual crux between the captain and his country – in support of his country and against everything else. So the play has a little bit more meat in it than they allowed the movie to have. And in this production, we’ve tried to do our best to bring out that meat even more. Hopefully, people will feel like they’re seeing the best of the movie, but will be surprised by the heart of the play.
For people who have seen this production before and think that they know it well, will there be an element of surprise?
CATS
Without question. The thing that was remarkable about watching the audiences in Lancaster (at the Fulton Theatre, which co-produced the show with the Maltz 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 we’ve really tried to make them all human.
Cats is coming to the Conservatory! Based on the universally popular poetry of T.S. Eliot, Cats tells the story, in song and dance, of the annual gathering of Jellicle cats at which time one special cat is selected to ascend to the Heaviside layer. A true musical theatre phenomenon, Cats will be directed by two of its Broadway cast members: Anna McNeely, the original Jennyanydots on Broadway, and Brian Andrews, a 10-year cast member of the Broadway show. Anna and Brian’s incredible knowledge of the show and how it was brought to life will provide an educational opportunity unlike any other in the area. Playing two performances only, May 20 and 21, you won’t want to miss this magical night at the Theatre.
Use Spring Break to enter the wizarding world of the Conservatory through our “Harry Potter Spring Break Camp,” March 14 – 18, 2011. Students will explore acting, voice, and movement utilizing a “Harry Potter” theme and culminate with a showcase for family and friends. Camp is open to students in grades K – 5 and will be broken into the age groups of K – 2 and 3 – 5. Camp hours are 9 a.m. to 3 p.m., with pre-care and after-care also available. So grab your Hogwarts Express ticket at Platform Nine-and-Three-Fourths and join the fun at The Conservatory.
Adult Education
An example, I tried not to cast ‘musical comedy’ children. I wanted to cast real kids that would be in a real situation, with real stakes. Music, also, is the thing 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 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 that tames the captain – and it is music that ultimately saves them in the festival. 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
The Theatre’s December and January productions of Academy and The Sound of Music brought dozens of professional performers to the stage.
Maltz Jupiter Theatre turns local kids into stars with unique auditions
The next opportunity to take your First Step to Stardom will be this spring. Visit www.jupitertheatre.org for updates
But each show also brought 11 lucky students chosen from more than 300 children and teens who attended the Theatre’s unique “First Step to Stardom” auditions in the spring.
In free audition workshops, kids learned a dance routine, received acting lessons and practiced singing in an ensemble in preparation for auditions for the Theatre’s productions of Academy in December and The
Kids aren’t the only ones who have fun in Conservatory classes; we have programs for all ages! From January through March, the Conservatory offers adults a full range of daytime seasonal classes ranging from song and dance to tap, Broadway jazz and a senior chorus line, as well as a memoir writing class and play-reading club. No experience necessary
Sound of Music in January.
SEASONAL ADULT CLASS SCHEDULE:
Song & Dance Mondays 12:30 – 1:30
Tap Mondays 1:30 – 2:30
Broadway Jazz Tuesdays 1:30 – 2:30
Sit to be Fit Fridays 2:30 – 3:30
Acting Mondays 1:30 – 2:30
Musical Theatre Singing Mondays 1:30 – 2:30
Opera Scenes Tuesdays 1:30 – 2:30
Memoirs to the Page Tuesdays 2:30 – 3:30
Play Reading Club Tuesdays 1:30 – 2:30
In the shows, the child performers were given the opportunity to appear in regional theatre productions alongside professional actors. In The Sound of Music, the local children play the family’s children. And the opportunity has other benefits, as well – in Academy, each child or teen performer was assigned a “mentor,” or professional actor to give them guidance and advice about the world of professional acting.
Classes in Acting, Improv and Tap are offered year round.
Registration for classes is now open. Adult classes are $15 an hour, or $150 and up for the semester.
“Our First Step to Stardom auditions were a great success, and we are so proud of our young stars,” said Andrew Kato, the Theatre’s artistic director.
For information, call (561) 575-2672 or visit www.jupitertheatre.org.
Conservatory instructors Anna McNeely and Brian Andrews were members of the original Broadway run of Cats
Cast members rehearse for the upcoming Conservatory production of Cats
Conservatory student Michael Golden as Harry Potter
Students at the 2010 First Step to Stardom
The Conservatory is the place for budding stars of all ages to get a start
The Creation of a successful season...
There’s more to putting together a memorable season than meets the eye
AThe Theatre’s Conservatory of Performing Arts offers year-round learning, including a fall semester filled with musical theatre, acting and dance classes. The Conservatory’s signature Musical Theatre Wheel teaches students the individual elements of acting, voice and dance and combines them to tell a story, culminating in a “Best of Broadway” revue on the Theatre stage on December 22.
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 theatre season?
The Maltz Jupiter Theatre’s artistic director, Andrew Kato, has – and when it comes to putting together the season lineup, he considers it a multi-faceted process that deserves to be taken very seriously.
“The planning process begins almost a year and a half before the season starts,” says Kato, who uses his years of theatre experience to lay out the artistic future of South Florida’s largest regional theatre.
And for the first time, adults of all ages can participate year-round in acting, tap dancing and improv classes. The classes, which premiered during the 2009/2010 spring season, now will be offered in the evening to accommodate adults with busy schedules.
One of the first rules of producing is to “know your audience,” Kato says. He often engages ticket holders to hear their feedback. He also works closely with the Theatre’s artistic advisory committee, led by Broadway producer Rodger Hess, and works with the Theatre’s marketing department to identify the productions ticketholders may want to see.
“In addition to our popular family programming, we have expanded our class offerings to adults, with the opportunity to learn and grow at times that are convenient for them,” said Julie Rowe, the Conservatory’s Director of Education. “Local residents can build confidence and receive training from the world-class, talented professionals who teach our classes.”
“I look for balance that serves the community’s needs,” Kato says. “This past year, we hoped to engage a younger audience base, so we added Academy and The Sound of Music to our season titles.”
Through special ticket offers directed to younger theatergoers, the Maltz Jupiter Theatre has been successful in bringing family audiences – a feat only possible because the Theatre’s programming was strategic in recognizing the need, he says.
From January through March, the Conservatory offers adults a full range of daytime seasonal classes ranging from song and dance to tap, Broadway jazz and a senior chorus line, as well as a memoir writing class and play-reading club.
Due to the seasonal nature of South Florida, timing is also everything, Kato adds. “January brings an influx of seasonal theatergoers, giving cause to schedule the large-scale musicals in the winter
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 learn from Broadway-caliber theatre professionals and gain self-confidence, leadership and team-building skills.”
months,” he says. “With these musicals costing hundreds of thousands of dollars to produce, we need to make sure that our base group is here to support us.”
The connection to the Theatre allows students the opportunity to perform working alongside professionals both onstage and off, with master classes taught by renowned performers and choreographers.
In planning the season, the organization must also manage resources carefully. As a not-for-profit regional theatre and member of Actors’ Equity Association, there are minimum numbers of professional union contracts that must be used. Most seasons have approximately fifty union contracts that are spread out over the year, with additional non-union contracts making up the difference.
Under the guidance of two original cast members of the Broadway hit Cats – Anna McNeely and Brian Andrews – students in the Musical Theatre Production class will perform in Cats on the Maltz Jupiter Theatre stage in May.
How and where the actors are housed also influences which shows are chosen. For example, most seasons, the Theatre rents five three-bedroom condos to accommodate its actors.
The Theatre provides a variety of community outreach programs, including the Conservatory’s Youth Touring Company performance troupe, Page to Stage classroom program, student matinees and the Theatre’s PNC Kids Korner show series.
“If there are two large-scale musicals in our season, it’s helpful to put a smaller play or 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.
