Tag Archives: Maltz Jupiter Theatre

Maltz Leaves Little Doubt

The Maltz Jupiter Theatre production under J. Barry Lewis’ direction merits being seen for three finely-crafted performances by Maureen Anderman, Jim Ballard and Julie Kleiner, plus an outstanding portrait by Karen Stephens. But thematically, it’s thrown out of whack because the deck seems stacked toward one truth and then irreversibly stacked the other way. Few people will leave this production indecisive about the priest’s guilt or innocence.

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Doubt Is The Point At The Maltz

Audiences members should leave the Maltz Jupiter Theatre’s production of Doubt: A Parable arguing whether Father Flynn did or didn’t abuse a child, and some will be unable to make up their minds — which is the theme of the play and the reason for the title. Doubt is the point.

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Maltz Names Next Season: Other Desert Cities, Annie, Chorus Line, The King And I

The Maltz Jupiter Theatre, with its reputation as a quintessential mainstream house, will mix up its 2013-2014 season with titles dating back decades and the hottest play on Broadway last year: Dial M For Murder, Annie, A Chorus Line, The King and I and Other Desert Cities plus a benefit concert by Brian Stokes Mitchell.

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Maltz’s Singin’ In The Rain Sure Dances Up A Storm, But It Doesn’t Touch The Soul

Assuredly, the Maltz Jupiter Theatre’s Singin’ In the Rain is a pleasant, skillfully executed, beautifully produced evening of cotton candy entertainment. The asterisk is that this Singin’ In The Rain has no soul. It’s a funny, diverting, two-dimensional cartoon.

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StageBill: Why Passing On Attending Opening Night May Be A Better Idea

In theater, that most mutable and evolving art form, the passage of time is the forgotten factor in what the audiences see. So while having critics review a show opening night is unavoidable, even necessary, it’s also problematic. What a patron sees a week or three later in run may not be what the opening night audience saw.

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Talkin’ In The Green Room With: Angie Radosh

In this edition of Talkin’ In The Green Room With, Angie Radosh explains why she panics upon seeing reruns of a particular I Love Lucy episode and she reveals the job you’ll never guess that she wishes she could have if she wasn’t an actress.

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A Few Off-Beat Offerings For The Holidays

A couple of off-beat repostings for the holidays: Playbill.com posted 50 Iphone photographs taken of or by Janet Dacal of her homecoming to Miami as she rehearsed for Actors Playhouse’s The Last Five Years which runs through next weekend. Click …

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Maltz’s Music Man Is Slam Bang Brassy Dancing Celebration

We’re entering another period of as many as six productions opening in one week. As a result, reviews may not remain in the center featured position more than one day. Please check out recent reviews by clicking on entries listed …

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Maltz’s Harold Hill To Dance Through Town Like A Pied Piper

A con man has come to north Palm Beach County to steal your money. His name’s not Bernie Madoff; it’s Harold Hill. Well, actually, it’s the effervescent triple-threat performer Matt Loehr wearing the braided band leader’s uniform as he leads the citizens of River City, Iowa, in a parade through the Maltz Jupiter Theatre auditorium like a Pied Piper in The Music Man opening this week.

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Maltz’ Amadeus Is Lovely To Look At, Even When You Can’t See The Actors’ Faces

Set in a gloriously decrepit 18th century theater created in the mind of an insane old man, the Maltz Jupiter Theatre’s production of Amadeus is a visually stunning and highly inventive vision of Peter Shaffer’s meditation on whether Great Art is divinely inspired, or even if God exists. But as beautiful as the stage pictures are, it does not reach its full dramatic potential here because it’s lit like an opera – meaning you can’t see the actors acting past the seventh row.

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