Yes, it will rain so hard in its production of “Singin’ in the Rain” that the Maltz Jupiter Theatre will pass out waterproof ponchos to patrons in the first four or five rows — the newly dubbed “splash zone” — of the theater. But director-choreographer Marc Robin insists that the show is not about the rain shower.

“Oh, gosh, not at all,” he says, during a rehearsal break. “It’s sort of like when you do ‘Phantom (of the Opera’). The first question you get asked is, ‘How are you going to do the chandelier?’ Or ‘Miss Saigon,’ it’s ‘What are you doing for the helicopter?’ And that makes me crazy, because we’re not putting on this show to do a rain effect. We’re putting it on to make them invest in the story.”

The story, as fans of the classic 1952 movie musical know, concerns the advent of talkies in Hollywood and what the studios and its stars went through in the transition. Plus a terrific love story.

The movie, and the stage show’s original Broadway production, had many locations. But Robin, whose recent acclaimed “Sound of Music” was also a co-production of his Fulton Theatre, in Lancaster, PA, and the Maltz, has a different vision for “Singin’ in the Rain.”

“I’m putting the entire play inside Monumental Studios, so every location is actually part of a movie backdrop or a movie setting. Even the rain,” he says. “And that gives us the ability to move about seamlessly. For us the emphasis is really on old world romance and Hollywood style.”

Sure, most of the audience will have images of the movie in their heads. But Robin is doing what he can to both satisfy and thwart them. “My Don, Kathy and Cosmo” — Curt Dale Clark, Lauren Blackman and Brian Shepard — are not carbon copies of the movie, because I don’t believe you can ever recreate a film,” Robin says. “So I feel it’s my job to just create a good story and make sure that the key elements that people expect from the film are there. Yes, they jump over a couch, yes, it rains, yes, he stands on a lamppost.”

With “Singin’ in the Rain,” some Hollywood history gets imparted, but that is not his prime purpose, emphasizes Robin. “It’s our job to make the audiences happy. To come into the theater and forget about their troubles and walk away with a smile on their face, maybe a little wet, hopefully singing ‘Singin’ in the Rain.’”

Return of “The Interview” … With the 30th production in its history, The Women’s Theatre Project revisits Faye Sholiton’s “The Interview,” which it first performed in 2009, as the play was being developed. It concerns a reporter, herself the daughter of Holocaust survivors, and her interview with a Holocaust survivor who lost her family in the Nazi death camps and has become estranged from her own daughter.

Yet as Sholiton insists, the play is not really about the Holocaust. “It’s about silence in families, about barriers between parents and children,” she says by phone from her Cleveland home. “It resonates for everyone.”

The playwright definitely identifies with the reporter Ann, and for good reason. “I interviewed survivors for any number of projects. I worked for the Cleveland Jewish News as a reporter for 10 years,” she says. “What fed into this play was 30 years of experience talking with and living among people who had been through this experience.”

Director Genie Croft has reassembled the major cast members from the company’s earlier production — Harriet Oser as interview subject Bracha, Patti Gardner as Ann and Irene Adjan as Bracha’s daughter. Sholiton expects to attend tonight’s opening performance.

“I think what happens in theater if it’s done well is that it has the power to transform,” says the playwright. “So many people walk through this play with these characters and it touches something in them.”

Spotlight on musicals … Former Caldwell Theatre artistic director Clive Cholerton created a popular series of staged readings of musicals at the now defunct Boca Raton playhouse, and the program will survive. On Fri., Jan. 11, Palm Beach Dramaworks unveils its new Musical Theatre Masters Series, with the first of four performances of Alan Jay Lerner and Frederic Loewe’s “Camelot.”

The beloved, if bloated, tale of the creation of King Arthur’s Knights of the Round Table and the romantic triangle that destroyed it will feature Michael McKenzie, Margery Lowe and Jim Ballard, under Cholerton’s direction. Tickets are $35, available by calling (561) 514-4042.