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Richard Maltby Jr.

Richard Maltby Jr. (born October 6, 1937) is an theater , , , and renowned for his innovative work in musical revues and adaptations of into narrative theater. He is the only to have conceived and helmed two Award-winning musical revues on : Ain't Misbehavin' (1978), celebrating the music of , and Fosse (1999), a tribute to choreographer . Born in Ripon, Wisconsin, Maltby moved to a Chicago suburb during World War II before his family relocated to New York City. The son of music arranger Richard Eldridge Maltby Sr., he studied at Yale University, where he was the only theater major and first collaborated with composer David Shire, beginning a lifelong partnership that produced influential works like the revue Starting Here, Starting Now (1976) and the musicals Baby (1983) and Closer Than Ever (1989). Early in his career, Maltby contributed to off-Broadway productions, including the 1961 musical The Sap of Life, and gained acclaim for directing revues that wove existing songs into cohesive stories, earning him the nickname "King of Revues." Maltby's Broadway contributions extend to directing major musicals such as Miss Saigon (1991), for which he provided English lyrics with Alain Boublil, and Ring of Fire (2006), a Johnny Cash tribute he created and directed. His work has garnered multiple accolades, including a Tony Award for Best Direction of a Musical for Ain't Misbehavin', Tony Awards for Best Musical for both Ain't Misbehavin' and Fosse; Drama Desk Awards; and a Laurence Olivier Award for Fosse. Beyond theater, he has written screenplays, including for Miss Potter (2006), and contributes crossword puzzles to Harper's Magazine since 1976. Maltby and Shire premiered their new musical revue About Time at Goodspeed Musicals in May 2025.

Early Life and Education

Family Background

Richard Eldridge Maltby Jr. was born on October 6, 1937, in . He was the son of Richard Eldridge Maltby Sr. (1914–1991), a prominent , arranger, , and known for his work in radio and , and Virginia Maltby (née Hosegood). Maltby Sr.'s career significantly shaped the family's early life and relocations. Born in the Chicago area, he began as a trumpeter and arranger in the 1930s before joining the staff of 's CBS radio station WBBM in 1940 as an arranger for its orchestra. The family, including young Richard, spent his earliest months in due to his father's traveling work but settled in a Chicago suburb during , where Maltby Sr. continued his radio arrangements. In 1945, when Richard Jr. was eight years old, the family moved to as Maltby Sr. advanced to arranger-conductor roles for major network radio programs, collaborating with figures like and . This peripatetic upbringing amid the vibrant world of radio music provided Richard Jr. with early immersion in professional orchestration and performance. Living in amid his father's network radio engagements exposed him from a young age to the sounds and structures of , laying an initial foundation for his later artistic pursuits. Details on Virginia Maltby's background remain sparse, though her role in the family supported these transitions across the Midwest and to the East Coast.

Yale University and Early Influences

Richard Maltby Jr. enrolled at in 1955, graduating in 1959 as the institution's only theatre major. Initially aspiring to become a set designer, he soon realized his limitations in drawing and shifted focus toward writing and directing. His family's musical heritage, including his father's career as a and arranger, had encouraged his pursuit of theater studies at Yale. During his freshman year, Maltby met composer David Shire, another Yale undergraduate with ambitions in musical theater, forging a collaboration that would endure for decades. Lacking a formal musical theater program at the time, the pair honed their craft through student productions, co-writing their first two musicals, Cyrano and Grand Tour. Both works were staged by the Yale Dramatic Association, with Cyrano premiering in 1958 and attracting attention from notable figures like Stephen Sondheim and Hal Prince. These experiences provided Maltby with essential training in revue-style formats and conceptual storytelling, shaping his approach to integrating lyrics with dramatic structure. Following graduation, Maltby experimented with songwriting by performing cabaret-style pieces in venues, including early showcases at spots like Upstairs at the Downstairs, where emerging writers tested material in intimate settings. These post-college outings allowed him to refine his lyrical voice amid the vibrant scene, bridging his Yale-honed skills with professional opportunities.

Theater Career

Revues and Conceptual Productions

Richard Maltby Jr. established his reputation in theater through innovative musical revues that eschewed traditional narratives in favor of thematic song collections, allowing performers to shine through character-driven interpretations and unified emotional arcs. This approach, rooted in his Yale-era songwriting experiments where he first explored cabaret-style vignettes, emphasized spontaneity, versatility, and the intrinsic drama of lyrics and music without spoken dialogue. His breakthrough came with Starting Here, Starting Now (1976), which he conceived and directed in collaboration with composer , drawing from their earlier unpublished songs to chronicle themes of young love and personal growth. Premiering at the , the featured a cast of three performers and three musicians delivering 26 numbers in a seamless, bookless format that balanced tender ballads, humorous sketches, and upbeat anthems to create subtle mini-plots and emotional momentum. The production ran for 120 performances before transferring to a commercial venue in 1977, highlighting Maltby's skill in staging intimate, performer-centric works but facing challenges in maintaining dramatic urgency without dialogue, which required precise casting to convey relatable spontaneity. This success marked the start of his transition from experimental revues to larger-scale productions, proving the viability of non-linear formats in showcasing songcraft and talent. Maltby further refined this style with Ain't Misbehavin' (1978), a tribute to Fats Waller's jazz legacy that he conceived, directed, and contributed additional lyrics to, alongside book co-writer Murray Horwitz. The assembled 31 Waller-associated songs into a sassy, sultry celebration of his humor and piano prowess, performed by a versatile ensemble on a minimalist unit set to evoke Harlem's nightlife energy without biographical plotting. Originally launching at the , it transferred to Broadway's after 52 performances, where it achieved 1,604 runs through 1982 and won the . Production challenges included assembling a diverse cast—featuring stars like —whose interpersonal tensions Maltby navigated to foster authentic chemistry, alongside staging demands for seamless transitions that amplified each performer's charisma in solos, duets, and ensemble pieces. This exemplified Maltby's thematic unity in non-narrative structures, prioritizing performer showcase and cultural resonance to elevate as a Broadway contender. Later, Maltby co-conceived and co-directed Fosse (1999) with and , a dance-driven honoring choreographer Bob Fosse's signature style through reimagined numbers from his oeuvre, integrated with original transitions to highlight his influence on musical theater. Premiering on at the , the production ran for 1,093 performances and secured the , underscoring Maltby's evolution in conceptual by blending choreography recreation with narrative flow via lighting and staging innovations. Challenges arose from the physically demanding choreography, which caused high injury rates among performers and required careful selection of dancers versed in Fosse's vocabulary to avoid repetition while maintaining thematic cohesion. Through these works, Maltby solidified as vehicles for artistic homage and performer excellence, bridging innovation with acclaim. In 2025, Maltby conceived, wrote lyrics for, and directed About Time, a musical revue with music by David Shire that completes their trilogy on life's stages, following Starting Here, Starting Now and Closer Than Ever. The production premiered at Goodspeed Musicals' Terris Theatre from May 24 to June 15, 2025, exploring themes of aging, memory, and legacy through new songs performed by an ensemble cast. A concert version followed at 54 Below in New York City on November 7 and 8, 2025.

Book Musicals and Direction

Richard Maltby Jr. directed the original production of Baby in 1983, a musical with by Sybille Pearson, music by , and lyrics by Maltby, which explores the emotional complexities of impending parenthood through the stories of three couples at different life stages. The production, which ran for 241 performances at the , earned seven Award nominations, including for Best Musical, Best , and Best Original Score, highlighting Maltby's ability to integrate narrative depth with musical numbers that capture themes of fear, joy, and relational intimacy surrounding motherhood and fatherhood. In his direction of Baby, Maltby emphasized emotional vulnerability, encouraging actors to embrace "emotional nakedness" on stage to convey the raw confrontations that parenthood evokes in relationships. This approach drew from his prior experience with ensemble dynamics in revues, allowing him to orchestrate seamless transitions between character-driven scenes and songs that advance the plot while revealing personal growth. The staging focused on actor integration, using innovative set designs to symbolize the evolving domestic spaces of the couples, thereby enhancing the thematic exploration of life's transitions. Maltby contributed as lyricist to the book musical Big in 1996, with music by David Shire and book by John Weidman, adapting the 1988 film into a stage narrative about a boy's transformation into an adult in a corporate world. Although directed by Mike Ockrent, Maltby's lyrics supported the story's structure by blending whimsy with poignant reflections on maturity, earning a Tony nomination for Best Original Score. As co-lyricist with for the English adaptation of in 1989, with music by , Maltby helped shape the narrative of love and loss amid the , contributing to its format that propelled the plot through integrated songs. The production's U.S. transfer in 1991 showcased Maltby's influence on lyrical elements that deepened character arcs, though his primary role remained in adaptation rather than staging. Maltby conceived and directed Ring of Fire in 2006, a tribute musical that weaves 38 of the singer's songs into a loose arc depicting themes of , struggle, , and . Running for 56 performances at the , the show blended revue-style performances with character-driven vignettes, using simple staging to evoke Cash's mythic life journey and foster audience connection through emotional resonance. Maltby's direction prioritized innovative actor-singer integration, employing minimal sets to highlight vocal storytelling and ensemble harmony in service of the . Throughout his work on book musicals, Maltby's directorial style consistently emphasized emotional depth and narrative cohesion, favoring techniques that immerse audiences in character psychology while leveraging music to propel plot and reveal inner conflicts.

Lyric Writing and Collaborations

Partnership with David Shire

Richard Maltby Jr. and composer first collaborated as undergraduates at in 1958, both coming from musical families as sons of prominent bandleaders. Their partnership, which began with two campus musicals, has endured for over 65 years, marked by a mutual respect and rigorous creative process that emphasizes extensive revisions and equal input. This long-standing collaboration has produced intimate, character-driven works exploring themes of relationships, life transitions, and personal growth, primarily in the form of revues and book musicals. Following graduation, their early professional efforts included the off-Broadway musical The Sap of Life in 1961, an adaptation of a story that highlighted their emerging songwriting style. In the , several of their songs gained prominence through recordings by , notably "Autumn" from their Yale days and "Starting Here, Starting Now," which originated in a 1966 television special and later became the title track for one of their breakthrough works. These recordings helped establish their reputation for crafting emotionally resonant lyrics paired with melodic sophistication. Their first major success came with the revue Starting Here, Starting Now in 1977, which premiered at the and transferred for a run of 120 performances; the cast album earned a Grammy nomination for Best Show Album. Maltby served as director and lyricist, showcasing a collection of songs drawn from their earlier catalog that captured contemporary life's complexities. This was followed by the Broadway musical Baby in 1983, with book by Sybille Pearson, which explored parenthood through multiple couples and ran for 241 performances while receiving seven Award nominations, including for Best Musical. The duo's second acclaimed revue, , opened in 1989 and achieved 312 performances, earning two for its poignant examination of intimacy and aging through standalone songs without a narrative book. In 1996, they adapted the film Big into a musical with book by John Weidman, focusing on childhood wonder and adult disillusionment; it garnered and Drama Desk nominations, including for Best Original Score. Their later joint effort, Take Flight, a musical about the with additional lyrics by John Weidman, premiered in in 2007 before productions in (2008) and the U.S. (2010). Maltby and continue to create together into the 2020s, with their latest About Time, which was performed at on November 7 and 8, 2025, featuring a mix of new and classic material that reflects on time and legacy. Their body of work has been celebrated for its emotional depth and innovation in musical theater, contributing to revivals, productions, and ongoing in the . In 2024, they received a Lifetime Achievement Award from the American Popular Song Society for their enduring contributions to the American songbook.

Other Lyric Contributions

Maltby contributed English lyrics to the musical , collaborating with and composer to adapt the original French libretto into a sung-through epic inspired by Giacomo Puccini's Madame Butterfly, set against the backdrop of the . The production premiered in in 1989 before transferring to in 1991, where it ran for nearly 4,000 performances and earned multiple Tony Award nominations, including for Best Book of a Musical. For the Broadway adaptation of in 1985, Maltby provided additional lyrics to Don Black's originals, enhancing the one-woman show that combined Andrew Lloyd Webber's music with narrative songs in the first act and in the second, starring as Emma. This version transformed the earlier London song cycle into a full evening of theater, earning Peters a Tony Award for Best Actress in a Musical. In : The Music of , which opened on in 2006, Maltby served as creator and director, selecting and framing 38 songs into a non-linear mosaic portraying American life, love, and hardship without original lyrics or a traditional . Conceived with William Meade, the emphasized Cash's raw emotional range through ensemble performances and minimal dialogue. Beyond stage work, Maltby wrote lyrics for the title song "" in the 2006 biographical film , directed by Chris Noonan and starring , with music by and performed by . His contributions extended to television, including lyrics for songs featured in Barbra Streisand's 1966 CBS special Color Me Barbra, such as "Starting Here, Starting Now." Maltby also penned lyrics for pieces, notably additional material for the revue *, which celebrated Fats Waller's music and originated in intimate settings before its Tony-winning run.

Other Professional Works

Screenwriting and Film

Richard Maltby Jr. made his mark in screenwriting with contributions to the 1964 film I'd Rather Be Rich, where he co-wrote lyrics for the title song alongside composer David Shire, marking an early foray into cinematic storytelling during his formative years in the entertainment industry. Although uncredited for broader script elements, this work introduced Maltby to blending lyrical precision with narrative flow in a visual format, building on his emerging theater background. Maltby's most prominent screenwriting achievement came with the 2006 biopic Miss Potter, directed by Chris Noonan and starring Renée Zellweger as the renowned children's author Beatrix Potter, with Ewan McGregor in a supporting role. The screenplay chronicles Potter's journey from a sheltered Victorian-era woman to a celebrated writer and conservationist, emphasizing her creative struggles against societal constraints and her innovative use of anthropomorphic animals in storytelling. Drawing from his extensive experience as a lyricist and director in musical theater—such as his work on Miss Saigon, where intricate lyrical adaptations honed his skills in character-driven narratives—Maltby transitioned these talents to film by crafting dialogue that echoed the rhythmic, evocative quality of song lyrics, adapting theatrical intimacy to the screen's broader visual scope. Critics praised for its whimsical tone and romanticized portrayal of Potter's life, capturing the charm of her illustrated worlds through vibrant cinematography and Zellweger's spirited performance, though some noted it prioritized enchantment over deeper historical grit. The screenplay earned Maltby the for best screenplay in 2007, recognizing its uplifting depiction of creativity and perseverance. This project solidified his reputation for infusing screen narratives with the emotional depth derived from his theatrical roots, influencing his approach to concise, dialogue-rich adaptations.

Crossword Puzzles and Publications

Richard Maltby Jr. began constructing cryptic crosswords for in 1976, establishing a monthly feature that has continued for nearly five decades. His puzzles, known as variety cryptics, depart from standard American crossword formats by incorporating irregular shapes—such as hearts or octagons—and layered cluing that demands creative interpretation. Drawing from cryptic traditions, Maltby's designs follow established fairness rules, like those pioneered by Ximenes, ensuring no unchecked letters in short words and emphasizing solvable misdirection over obscurity. Maltby's style highlights intricate , including puns and anagrams, often woven into themes that explore unusual or lengthy to challenge solvers. Many of his puzzles feature an overarching "über-puzzle" element, where solving individual clues reveals a broader conceptual structure, adding intellectual depth. This approach reflects his theatrical background, as the precision in lyric writing—manipulating language for rhythm and surprise—informs the playful yet rigorous construction of his clues. Beyond Harper's, Maltby contributed cryptics to New York magazine in the 1960s and 1970s, building on influences from Stephen Sondheim. In 1992, he co-edited and contributed to the Harper's Magazine Cryptic Puzzle Book, a collection of fifty puzzles accompanied by step-by-step solving instructions co-authored with E. R. Galli. His longstanding output has positioned him as a revered figure in the U.S. cryptic crossword community, credited with popularizing the form in American publications.

Personal Life

Marriages and Family

Richard Maltby Jr. married Barbara Black Sudler, a script consultant, on June 5, 1965, in . The couple had two sons, Nicholas Avery Maltby and David Stevenson Maltby. Their marriage ended in . In 1987, Maltby married Janet Brenner, a , and the union has continued. They have three children: Jordan Brenner Maltby, Emily Celia Maltby, and Charlotte Perry Maltby. In total, Maltby is the father of five children from his two marriages. Maltby has balanced his New York-based theater career with family life, residing in , since 1972, where he initially moved with his first wife as a summer home before making it permanent. His son co-owns The Moviehouse, an independent cinema in nearby , continuing a family involvement in the arts. Daughter has pursued acting, starring as Maria in the national tour of (2017).

Later Years and Interests

In the later years of his career, following the turn of the millennium, Richard Maltby Jr. maintained an active presence in theater, serving as a and director for revivals and new productions. He directed the Closer Than Ever in a 2019 Off-Broadway revival at the York Theatre, reuniting with composer to update their exploring relationships and life's transitions. More recently, Maltby conceived and directed The Story Goes On: The Songs of Maltby and Shire in 2024 at Weathervane Theatre, a new featuring 21 songs performed by resident actors, and About Time in 2025 at ' Terris Theatre, the third installment in their trilogy of revues addressing aging, memory, adult children, and grandparenting with humor and poignancy. These post-2020 regional projects highlight his ongoing commitment to conceptual that draw from personal and contemporary themes, sustaining his influence in musical theater. A family-oriented approach informs his work, as seen in About Time's reflections on generational dynamics, and his son David co-owns The Moviehouse cinema in nearby , blending personal ties with community involvement. Beyond theater, Maltby continues his longstanding interest in puzzles, contributing monthly cryptic puzzles to since 1976, with recent editions like "Fun Fest" in August 2025 showcasing his signature wordplay. He also engages in mentoring young artists, expressing enthusiasm for emerging talents reinterpreting his works, such as MNM Theatre Company's 2020 production of , which he praised for its fresh perspective amid pandemic challenges. At 88, Maltby remains professionally vital, with no reported health issues, focusing on legacy-building through these creative outlets and family connections.

Awards and Honors

Tony Awards

Richard Maltby Jr. has earned significant recognition from the for his contributions to musicals, particularly as a and conceiver of revue-style productions. His work has resulted in one win for Best Direction of a Musical, along with multiple nominations across categories such as direction, original score, and lyrics, highlighting his versatility in shaping innovative theatrical experiences. Maltby's first Tony win came in 1978 for Ain't Misbehavin', a celebrating the music of that he conceived and directed. The production received the Tony for Best Musical, with Maltby earning the award for Best Direction of a Musical for his skillful of the ensemble's energetic performances and seamless integration of Waller's songs. This marked a breakthrough for revue formats in the competitive Best Musical category. In 1999, Maltby co-directed Fosse with , a dance-driven honoring choreographer Bob Fosse's legacy, which also won Best Musical. For their collaborative vision—blending Fosse's iconic style into a non-linear —they were nominated for the for Best Direction of a Musical, praised for its precise execution and emotional depth. Maltby remains the only director to have helmed two productions that captured the Best Musical , underscoring his pivotal role in elevating the genre. Among his nominations, the show Baby (1984) garnered seven nods overall, including for Best Musical and Best Original Score (co-written with ). In 1996, he received a nomination for Best Original Score (Music and/or ) for Big, where his lyrics adapted Tom Hanks's film into a whimsical exploration of adulthood. Other nominations include Best Original Score for in 1991 (for Americanized lyrics) and contributions to in 1986. These accolades reflect Maltby's enduring influence on musical theater direction and songwriting.

Drama Desk and Other Recognitions

Richard Maltby Jr. received the for Outstanding Director of a Musical in 1999 for his co-direction of Fosse with , recognizing the production's innovative choreography and revue-style tribute to Bob Fosse's work. He was nominated for the for Outstanding Lyrics in 1996 for Big, where his contributions to the score with composer adapted the 1988 film into a stage musical exploring themes of adulthood. Earlier, in 1990, Maltby earned a nomination in the same category for , an of songs co-written with Shire that captured personal relationships and life transitions. Additionally, he received a 1984 nomination for Outstanding Lyrics for Baby, a musical he directed and for which he wrote lyrics about impending parenthood across three couples. Beyond Drama Desk honors, Maltby garnered recognition from the Outer Critics Circle, winning the award for Best Off-Broadway Lyrics in 1990 for Closer Than Ever, shared with David Shire for Best Score. He was nominated for an Outer Critics Circle Award for Outstanding Director of a Musical in 1999 for Fosse. The 1978 revue Ain't Misbehavin', which Maltby conceived and directed, won the Outer Critics Circle Award for Best Musical, celebrating Fats Waller's music through a ensemble performance that ran for over 1,600 performances. Maltby also received international acclaim with the 2001 Laurence Olivier Award for Best New Musical for the London production of Fosse, affirming its successful transfer and enduring appeal in the West End. In recording achievements, he shared a Grammy Award nomination for Best Musical Theater Album in 1986 for Song and Dance, the original Broadway cast recording featuring his lyrics and direction. These recognitions highlight Maltby's versatility as a , , and conceiver of musical theater that blends formats with narrative depth.

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