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Rising Stars: Meet Frank Maugeri

Today we’d like to introduce you to Frank Maugeri. 

Hi Frank, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstories.
I grew up in a community without access to the arts or expression- the southwest side of Chicago. My mother was a widow who had dropped out of high school at 15 to support her family. I was a difficult young person, and my only respite was film, drawing, and reading. I failed out of High School but was encouraged to find a way to go to college- to draw and study animation. Since my grades were deplorable and my aspiration for higher education minimal, a neighbor casually suggested I attend the art school- Columbia College. This was the ’90s and there were no entrance exams, and my mother was eager that I could accomplish more than she had. I was set on becoming a police officer or a “successful criminal”- seemingly the same enterprise. Nonetheless, I applied for the Animation program and was accepted. My mother passed away (from a series of strokes) my first year in college, and I was in a situation to care for myself. No family support and no financial means, wrestling with homelessness. Several Professors offered me emotional support and personal guidance, and I remained in school- which likely saved my life. In college, I was introduced to some exciting political activists and, upon encouragement, developed a political group, which served as “a hub” for all the school groups to gather their issues and gain greater attention to universal concerns- the environment, racism, equity, plus… I graduated and declined my first job offer- “inking” for a new program, The Simpsons, as I was going to make “art films” like The Brothers Quay and Jan Švankmajer. That led to my artistic unemployment in the animation community, as I was perceived as having a raging ego- sadly, not untrue. I needed work, so I took a job running the night shift in a group home for mentally ill adults, as I thought I could work the overnight shift, draw, and develop a film about the experience of schizophrenia. Soon, I realized I wanted to combine my interest in politics, activism, social service, civic intention, and art making. A friend led me to Redmoon Theatre, where I remained for 25 years. It was the right combination of my agenda. 

We all face challenges, but looking back, would you describe it as a relatively smooth road?
The conclusion of the institution that I participated in running, Redmoon, abruptly collapsed after 25 years, leaving me with no savings and no security net. That experience provided me the necessity for prompt reflection and immediate re-evaluation of my choices and career. I was very lucky to promptly get a position with the Chicago Children’s Theater, to whom I am grateful, as was employed to design a vision and implement an innovative education and community strategy for their new home in the West Loop. During my brief tenure with the Children’s Theater, I created dynamic programming and increased their budget significantly. Sadly, I had multiple seizures, which shockingly revealed numerous strokes, and I was diagnosed with a rare, incurable but treatable disease. In that moment of crisis, where I embraced how clearly our time here is brief, I chose to begin a company (!?) that focused on my personal priorities – ritual, ceremony, community, and equity. Shortly after, I was divorced, in my ’50s and began a position developing large-scale art across the nation in often underprivileged or neglected communities with a very innovative real estate company, CRG. In my 4 years there, I have had 9 projects in 9 states and assisted in raising 1 million dollars a year with their team, The Clayco Foundation, who is invested in raising money for research toward the cure for rare disease(s) through a mammoth immersive event, Illumination, inspired by my decade of Halloween events at Redmoon Theater. Cabinet has existed 5 years now- 2 of which were shadowed by Covid- but we continue to persevere and build community and make beautiful work. We are small but resourceful and operate with integrity. We are always looking for board members. 

Can you tell our readers more about what you do and what you think sets you apart from others?
I developed an enterprise, Cabinet of Curiosity, which is composed of diverse project-by-project collectives who authentically collaborate on original celebrations and productions. I use sophisticated puppetry and handmade devices to develop unique interactive experiences, productions, and events. I focus on creating new types of gatherings, ceremonies, and rituals which promote community and interactivity amongst people who may not normally mix. My intention is to support multicultural professionals in the field of theatre, visual arts, dance, sculpture, and music while mindfully training high school and college-age apprentices to become the future creators of new meaningful rituals. My objects and devices are engineered to expose their mechanical operations so they are simultaneously educational, informative, and magical. I embrace commissions which require unique elements of ritual, ceremony, procession, and pageantry. These commissions create funding that establishes an innovative revenue stream, reduce the responsibility of sustainability from the board, audience, and foundations, trains apprentices through a unique scholarship apparatus, builds community, funds our free and greatly discounted public work. I am committed to social engagement — both grand and intimate. My purpose is to promote curiosity, community, and culture. I am most proud of my 16-year-old twins, Samson and Frida, who are becoming amazing, smart, alert young people. 

So maybe we end on discussing what matters most to you and why?
Honesty. 

The world of theater is often composed of disguises and dishonesty, and I need to forge something that relies on the truth- no matter the consequences. 

I want to be employed and pay my collaborators, listen to all the team members, and make uncomfortable changes, need be. 

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Frank Maugeri

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