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Mint Theater Company Jonathan Bank, Artistic Director Sherri Kotimsky, General Manager presents

a little journey by

Rachel Crothers with

Laurie Birmingham, Jennifer Blood, McCaleb Burnett, Anothony L. Gaskins, Ben Hollandsworth, Victoria Mack, Joey Parsons, Rosemary Prinz, Douglas Rees, Ben Roberts, Chet Siegel, Samantha Soule, John Wernke, Craig Wroe set design

costume design

Roger Hanna

lighting design

Martha Hally

sound design

properties design

Jane Shaw

Joshua Yocom

Paul Whitaker dramaturg

Heather J. Violanti

production stage manager

assistant stage manager

Samone B. Weissman

Andrea Jo Martin

production manager

Sherri Kotimsky

press representative

David Gersten & Associates

illustration

Stefano Imbert

graphic

Hey Jude Graphics Inc. casting

Stuart Howard, Amy Schecter & Paul Hardt directed by

Jackson Gay op e n in g night J u n e 6 th

A Little Journey is made possible with public funds from the National Endowment for the Arts, New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency.


a little journey cast TIME: Spring, 1914 PLACE: The inside of a Pullman sleeping car which is bound for the Pacific Coast. Mrs. Bay

Rosemary Prinz

Julie Rutherford Samantha Soule

Lily

Chet Siegel

Alfred Bemis

John Wernke

Mrs. Welch

Laurie Birmingham

Leo Stern

Craig Wroe

Porter

Anthony L. Gaskins

Frank

Ben Hollandsworth

Jim West

McCaleb Burnett

Charles

Ben Roberts

Annie

Jennifer Blood

Mr. Smith

Douglas Rees

Conductor

Douglas Rees

Kittie Van Dyck Victoria Mack

CAST

Ethel Halstead Joey Parsons

Laurie Birmingham

jennifer blood

Victoria mack

joey parsons

chet siegel

mccaleb burnett

rosemary prinz

samantha soule

anthony l. gaskins

ben hollandsworth

douglas rees

ben roberts

john wernke

craig wroe


a little journey rachel crothers

Rachel Crothers by Heather J. Violanti

Rachel Crothers (1878-1958) was among America’s most successful playwrights during the first three decades of the twentieth century. “In the last 200 years, a respectable number of women have left their mark on the American theater, but few of them have had as impressive a career as Rachel Crothers,” wrote The New York Times in l980, adding “Although it is rare now to find anyone who has heard of her, Miss Crothers at the apex of her career was a symbol of success in the commercial theater.” Nearly 30 of her plays opened on Broadway between 1906 and 1937.

Just three years later, Crothers had indeed arrived— on Broadway, no less— with The Three of Us (1906), a melodrama about three orphans who go from rags to riches thanks to their intrepid sister, Rhy. It promptly transferred to London’s West End with Ethel Barrymore in the lead. The Three of Us hinted at Crothers’ interest in strong women characters and social concerns. Building on these interests, Crothers took the fashionable European “problem play” and transformed it with a distinctly American idiom, replete with richly-drawn characters and sparkling dialogue. A Man’s World (1910), heralded as the “first great American play,” followed a young woman’s struggle to establish an artistic career while raising an adopted son. Nice People (1921) examined the flapper phenomenon through the eyes of three young women and provided Katharine Cornell and Tallulah Bankhead with their first important roles. In Susan and God (1937), seen at the Mint in 2006, a socialite discovers the difference between public façade and personal faith while reconciling with her husband and daughter.

Crothers directed her own work. Her Crothers’ family assumed the plays high standards helped professionalize the were a passing fancy, but young Rachel role of director in American theater. In was stage-struck. In 1896, intent on lectures, essays, and newspaper articles, continued

ABOUT THE playwright

Crothers was the youngest of seven children born to Drs. Eli and Marie Crothers of Bloomington, Illinois. (Her mother was the region’s first female doctor). Growing up, she was often left in the care of relatives or the housekeeper while her siblings were at school and her parents were working. To fight off loneliness, she created plays for her paper dolls. “I didn’t know that I was doing then what I would be doing for most of my life—writing the plays—casting them— directing them—designing the sets,” she would observe later in her unpublished biographical essay, “The Box in the Attic.”

becoming an actress, she moved to New York where she knew not a single person. Such was her talent that after just one term at the Stanhope and Wheatcroft School of Acting, she was hired as a teacher. Her career soon took a different turn, however, when she began writing and directing plays for her students. Reviewing one of these early efforts, Nora, in 1903, a critic predicted “a new dramatic author may have arrived.”


a little journey rachel crothers continued

she championed professional actor training and the importance of careful costume and scene design. Her efforts helped transform the still-fledgling American theater into a mature art form. Throughout her career, Crothers juggled charitable work with writing and directing plays. In 1917, she helped found and was president of the Stage Women’s War Relief, which became one of the world’s most significant and successful charities. In 1932, in response to the Great Depression, she rallied the theatre community and established the Stage Relief Fund to help out-of-work theater

professionals. The U.S. government asked her to lead efforts that in 1940 resulted in the formation of the American Theater Wing for War Relief, which evolved into today’s American Theater Wing. Crothers served as the Wing’s president until 1950. Rachel Crothers died in her sleep on July 5, 1958. The Times wrote in her obituary: She was as skillful as she was prolific: when she was at her best she was the season’s toast….Miss Crothers mixed an enormous amount of common sense with smooth craftsmanship and a rare knowledge of and faith in human nature.

How I Came To Write My New Comedy, A Little Journey by Rachel Crothers

ABOUT THE PLAYwright

(From the Shubert Archives)

A few years ago, at about that time of the year when one begins to dream of seashores and country fields and mountains, I bade farewell to the hot and noisy city, and paid certain friends of mine, who reside in the vicinity, an unexpected visit. During my stay, the time was consumed with a series of entertainments, dinners, recitals, and other social functions. It was a case of my plans having suffered a defeat. In other words, the purpose for which I had repaired to this country place, namely, to find rest and peace after a long fall and winter session of similar events was defeated, and instead, I was subject to the same old program of boresome events. One afternoon, during the course of a porch dance, I unobservedly left the group and strolled far off along the country road to escape for a few moments, if possible,

the monotony of social life. I thus leisurely walked along, reflecting meanwhile along philosophical lines and wondering whether happiness was to be really found in the material things of life, such as my city and country friends had always contended by word and action. From early childhood I have always belittled the value of material things and their necessity for true happiness, disagreeing with my friends, and exemplifying my beliefs by seeking the joys of life in small, seemingly unimportant things. Walking along in this reflective mood, I chanced upon a youth, gaily whistling a tune, whittling a branch with his penknife, and coming along the road towards me. His frank countenance and pleasant demeanor instantly attracted my attention. I inquired as to where the continued


a little journey rachel crothers continued

road led to; he courteously explained the lay of the land; within a half hour he had related to me his entire life’s history. This lad of eighteen, according to his story, was subject to a series of misfortunes. Yet, as each blow of adversity struck him, he only clenched his fists and grimly resolved to fight all the harder. In his frank, countrified manner, he explained his simple philosophy of life to me; the philosophy that enabled him to change black despair to hope, and filled him with encouragement anew. He said he thought that it was his very poverty that assisted him in his struggle, for if he was not forced to constantly fight, his mind would be entirely too centered on his misfortunes. Besides, he did not know what riches meant, hence, he had something to look forward to. If he possessed riches, the youth wisely said, he would understand their worthlessness, but not having them, he could at least enjoy the sweet privilege of anticipation and imagination.

That boy was supremely happy, I decided, and the material things of life were not one particle responsible for it. Then why cannot everyone adopt this theory, I reasoned, and all be happy? And thinking along these lines, I returned to my friend’s home, where I found them still pursuing the fleetfooted happiness which refuses to be bribed with gold or position. Suffice to say that I spent the greater part of the night thinking of that boy and his happiness. Before the dawn of the following day, I had lived through the adventures of “Julie,” the heroine in A Little Journey After breakfast, I asked my friend for a quiet room, a typewriter, and plenty of scrap paper. I spent the greater part of the day on my story, and took the evening train home. It was during my homeward trip that the idea occurred to me to have the scene of action occur on a train. It was the logical place, for a train brings together just such characters as I required for my story.

ABOUT THE PLAYWRIGHT

Cartoon by H. Harmony that accompanied the New York World review of the 1918 production of A Little Journey (Shubert Archives)


a little journey pullman cars

Pullman Cars by Heather J. Violanti

Though Rachel Crothers wrote A Little Journey in 1918, the action is set “a few years ago,” probably 1914. Almost the entire play takes place inside a first class sleeping car. The Pullman sleeping car, or “sleeper” as it was also known, was the best option for long journeys—if you could afford the fare. Keep in mind that the average yearly wage in 1914 was around $627; Julie’s cross-country ticket costs $92.50.

PULLMAN CARS

The first sleepers were constructed in the 1830’s, but it was George M. Pullman, the founder of the Pullman Company in 1867, who perfected the form. By day, passengers sat on richly upholstered benches. At night, these benches converted into beds called “berths,” a term derived from the shipboard carpentry that inspired the earliest sleepers. The lower berth was formed by folding over the benches and placing a mattress, sheets, and pillows on top of them. The upper berth pulled down from a ceiling compartment, much like a Murphy bed, and was accessed by a stepladder. Curtains were hung over each bed for privacy. The sleeper was part of an elaborate network of cars that was essentially a hotel on wheels. Pullman passengers could lounge in the armchairs of the parlor car and take elaborate meals in the dining car (also called the “diner.”) Smoking was permitted in the “smoker” (a lounge car exclusively for men). While extremely compact, the restrooms (called “dressing rooms”) were kept scrupulously clean and wellstocked with soap and fresh linen.

Sleeping car in transition to night, 1918

The Pullman staff—porters, conductors, waiters, maids, cooks—were trained with military precision and known for exceptional service while working long hours for low pay. Passengers had the most contact with the porter, who did everything from hauling luggage to making beds to shining shoes. (In 1914, porters typically worked 400 hours per month for a monthly wage of $40). The very first porters were freed slaves, and the job became exclusively associated with African-American men. Porters formed the backbone of the rising black middle class and were instrumental in the development of the Civil Rights Movement. With the Great Depression, train travel dropped dramatically. In 1931, the average passenger car, designed for hundreds, carried only 43 people. After World War II, the decline accelerated with the rise of automobile and air travel. By the 1960’s, the sleeping car as portrayed in A Little Journey was on its way out, and the Pullman company ceased operation in 1968.


a little journey biographies LAURIE BIRMINGHAM (Mrs. Welch) This marks Laurie’s NYC debut. Thanks, Mint for the opportunity! She has been out doing Regional Theatre (Milwaukee Rep, Virginia Stage Co, Asolo Theatre Co, Alabama and Utah Shakespeare Festivals to name a few) for over 35 years and has recently relocated to the City. This last year, with Danny Goggin, she played Rev. Mother in Nunset Blvd in Bridgeport, CT, Mrs. Bennet in Pride and Prejudice with Conn. Rep, and originated the role of Miss Abigail for Ken Davenport in Miss Abigail’s Guide to Dating, Mating and Marriage. Laurie also narrates for recorded books and coaches actors privately on the side. JENNIFER BLOOD (Annie) is thrilled to return to the Mint where she played Blossom in Susan and God a few years back. Favorite New York roles include Sarah in Falling For Eve (York Theater Company), Rosemary in The Flood (Prospect Theater Company), and Phoebe in Full Bloom (Vital Theater Company). Regional credits include Laura in The Glass Menagerie ( Mountain Playhouse), Clara in The Light in the Piazza (Maine State), Emily in Third (Philadelphia Theater Company), and Kelly in Dying City (Lyric Stage Boston). Thanks to so many people, Jonathan and Jackson and Jake and Baby J (who wishes she was in this play) and many others whose names don’t start with J.

BEN HOLLANDSWORTH (Frank) Thrilled to be making his Mint debut. Off-Broadway: Monstrosity by Lucy Thurber with 13P. Dreams of the Washer King at Playwrights Realm, The Marriage of Bette and Boo at Roundabout Theatre Company, From Up Here at Manhattan Theatre Club, Tea and Sympathy with Keen Company Theatre: Regional: Sirens at Actors Theatre of Louisville, Humana Festival, The Adventures of Tom Sawyer at Hartford Theatre Center, You Can’t Take it With You at Seattle Repertory Theatre, Dulcy at Dorset Theatre Festival, BFA Southern Methodist University. VICTORIA MACK (Kittie van Dyck): At the Mint, Victoria appeared as Erna in Far and Wide, Dinah in Mr. Pim Passes By, and Septima in The Truth About Blayds. Recent credits include: The 39 Steps (Annabella, Pamela, Margaret) at The Denver Center; The Turn of the Screw (The Governess) at The Fulton Theatre; and seven seasons at The Shakespeare Theatre of NJ in (among others) The Taming of the Shrew (Kate), King Lear (Regan), Pride and Prejudice (Elizabeth Bennet), As You Like It (Rosalind), Love’s Labours Lost (Rosaline), Of Mice and Men (Curley’s Wife) and Pygmalion (Eliza Doolittle – “Best Surprise of 2003,” The Star-Ledger). Film credits include: “The Institution”, “Atlantis”, “A Song In The Shell”. Television credits: “Law & Order: Criminal Intent” and MTV. She next appears as Desdemona in The Shakespeare Theatre of NJ’s Othello. Victoria received her MFA in May 2010 from the Graduate Acting

BIOGRAPHIES

McCALEB BURNETT (Jim West) A native New Yorker, McCaleb is a graduate of Brown University and New York University’s Graduate Acting Program, where he was a proud recipient of the Gary Kalkin memorial fellowship. New York: The Normal Heart (Public), The Cherry Orchard (Gene Frankel). Regional: The Real Thing (SouthCoast Rep), Wintertime (McCarter), Under the Blue Sky (Geffen), The Winter’s Tale (Dallas TC), etc. TV: “Nurse Jackie”, “L&O:CI”, “CSI:NY”, “ED”, “Presodio Med���, “Philly” (Recurring), “Citizen Baines” (Recurring). FILM: “Finishing the Game: The Search for the New Bruce Lee”, “Men Who Stare at Goats”, “Immigration Tango”, “If I’d Known I was a Genius”, “Fast and Furious”, “Annapolis”, “Graduation Day” Love to my family, always.

ANTHONY L. GASKINS (Porter) was last seen Off-Broadway as Antonio in Malfi Inc. Don Juan at the Moscow Art Theater in Little Tragedies. Hamlet in Hamlet Machine directed by Marcus Stern and Leontes in Shakespeare’s Winters Tale. A recent graduate from the American Repertory Theater, Institute for Advanced Theater Training at Harvard University. Anthony would like to dedicate his performances to his Grandparents; Ruby Taylor and Bobby and Binnie Gaskins for all they have overcome along with the wonderful wisdom and stories they have passed on. It is because of their struggles that I am allowed the opportunity to pursue such a wonderful art form.


program at NYU’s Tisch School of the Arts; she received her BA in English Literature from Columbia University’s Barnard College.

BIOGRAPHIES

JOEY PARSONS (Ethel Halstead) Off Broadway: The Misanthrope, Wittenberg (Pearl Theatre), Secrets of a Soccer Mom (Snapple Theater) Regional: Fifty Words, and the world premiere of Dear Sara Jane (Contemporary American Theater Festival), Rabbit Hole (Pittsburgh Public), Dead Man’s Cell Phone (Hartford Theaterworks), The Shape of Things (St. Louis Rep.), The Merry Wives of Windsor, The Tempest, Two Gentlemen of Verona, As You Like It, Richard III (Hudson Valley Shakespeare Festival), Comedy of Errors, Measure for Measure (Yale Rep.). Television: “Law & Order: SVU”, “Law & Order: Trial by Jury”, “Third Watch”, “Deadline,” “Guiding Light”. Film: “Lightning Jack”. MFA: Yale School of Drama. www.joeyparsons.com ROSEMARY PRINZ (Mrs. Bay) Rosemary became a national byword in American homes as a result of a creating the character of Penny in CBS’ indefatigable serial As the World Turns, is first and foremost an actress of the stage. She has appeared in over 300 productions in her long career, which began at age 16, touring with Diana Barrymore in Joan of Lorraine. On Broadway she starred in Prisoner of Second Avenue (also in the Chicago company with Art Carney), George Abbott’s revival of Three Men on a Horse, Tonight in Samarkand with Louis Jourdan, The Grey-Eyed People with Walter Matthau, Late Love, and opposite Jack Lemmon in Tribute. Off-Broadway, she completed 2 years in Steel Magnolias. She starred in the National companies of Driving Miss Daisy, California Suite, Last of the Red Hot Lovers, The Apple Tree, and Same Time Next Year. Regional Theatres include Steppenwolf, Alabama Shakespeare, Shaw Festival, Georgia Shakespeare Festival, River City Rep, Galway Arts Festival (Ireland), Humana Festival, Berkshire Theater Festival, Milwaukee Rep, St. Louis, Rep, Buffalo Studio Arena, Philadelphia Drama Guild, Papermill Playhouse in Glass Menagerie, Long Day’s Journey, Death of Salesman, Buried Child, A Delicate Balance, Gin Game, Road to Mecca, A Perfect Ganesh, Model Apartment, 3 Viewings, Purple Heart, Kimberly, Akimbo, A Little Night Music, Cocktail Hour, Coriolanus, Master Class, and 271 others.

DOUGLAS REES (Mr. Smith / Conductor) is delighted to be appearing in back to back shows at the Mint. He appeared in the Mint’s production of What The Public Wants, as “Kendrick” and “John Worgan”. He has appeared at many theatres around the country, among them The Arden and Wilma Theatres in Philadelphia, Pittsburgh’s City Theatre and Pittsburgh Public Theater, The Alabama Shakespeare Festival, The Shakespeare Theatre Company of DC, Madison Rep, and Actors’ Theatre of Louisville. Last fall, he created the role of “Franklin Woolsey” in the world premiere of Michael Hollinger’s Ghost Writer at The Arden. He also created the role of “Carl” in the world premiere of Hollinger’s acclaimed play Opus, and subsequently appeared in the New York City premiere of Opus at Primary Stages. Recent television includes an appearance with Alec Baldwin and Elizabeth Banks on “30 Rock”. BEN ROBERTS (Charles) is thrilled to be back at the Mint Theater. He was last seen here in Walking Down Broadway. Since then he has been in a number of Off-Broadway and OffOff-Broadway plays throughout the city. He did sketch comedy with a group called North Palm Wrestling for MTV. He was last seen in Abraham Lincolns Big Gay Dance Party at Playwrights Horizons. He also has a band that plays in venues throughout the city and Brooklyn and is attempting to write a new rock musical. CHET SIEGEL (Lily) is an actress and comedian from West Virginia. She has performed in readings and workshops with New Georges, Primary Stages ESPA, and Mainspring Collective, and is happy to be making her Off-Broadway debut at the Mint! She trained as an actress at Sarah Lawrence College, BADA, and Primary Stages. She performs weekly at The Magnet Theater with her long-form improvisational comedy team, The Boss, and her sketch comedy group, Good Morning, Ladies! www.chetsiegel.wordpress. com SAMANTHA SOULE (Julie Rutherford) Broadway: The Philanthropist (Roundabout Theater), Dinner At Eight (Lincoln Center Theater) Coram Boy (Imperial Theater). Off-Broadway: Gabriel (Atlantic Theater


Company), Killers and Other Family (Rattlestick Theater Company), Monstrosity (13P), The Voysey Inheritance (Atlantic Theater Company), Valhalla (New York Theater Workshop), The Dining Room (The Keen Company, Drama Desk Award), Splitting Infinity, Mayhem (Summer Play Festival), White Chocolate (Culture Project), Silver Nitrate (Juggernaught Theater Company), Daisy Mayme (The Pearl Theater), The Telling Trilogy, Three Sisters, The Sibling Plays (Rising Phoenix Rep). Regional Theater: Candida (Berkshire Theater Festival), The Evildoers (Yale Repertory Theater), Twelfth Night, An Enemy Of The People, The Tempest (The Shakespeare Theater), A Body of Water (The Old Globe, San Diego Critics Circle Award), Lady Windermere’s Fan (Williamstown Theater Festival), David Copperfield (Westport Country Playhouse), Da (Cape Playhouse), TV/Film: “Revolutionary Road”, “The Callback”, “Guiding Light”, “Contest Searchlight”. Training/Affiliations: BFA: The Juilliard School, Artistic Associate of Rising Phoenix Repertory. JOHN WERNKE (Alfred Bemis) is honored to be in this Mint production. Broadway: The American Plan, Accent on Youth, The Royal Family. Regional: The Imaginary Invalid, Cactus Flower, Barefoot In The Park, Twelfth Night, Beard of Avon, Theophilus North. He loves baseball, his family and creation of any sort.

JACKSON GAY (Director) Upcoming: Run by Bekah Brunstetter and Dada Woof Papa Hot by Peter Parnell (Atlantic Theater Company 10x25); American Wee-Pie by Lisa Dillman (playpenn 2011); 3C by David Adjmi (Rattlestick); Fallow by Ken Lin (People’s Light & Theatre Company); Red (Alley Theatre). Recent credits include: Sam Mark’s Light Years To The Delling Shore (2011 Sundance Theater Institute at Banff, Canada); Tracy Letts’ August: Osage County and Kenneth Lin’s Intelligence-Slave (Alley Theatre); David Adjmi’s 3C for Superlab (Playwrights Horizons/Clubbed Thumb); Jennifer Maisel’s Out Of Orbit (2010 Sundance Theater Institute at Mass Moca); Raising Jo by Charlotte Miller (playpen 2010); Rolin Jones’ Pulitzer nominated The Intelligent Design Of Jenny Chow (Atlantic Theater Company/Yale Rep, where it was awarded the Connecticut Critics Award for Best Production). Producer with Yarn Films and founder of the production company Dear Jane- current projects include the new musical The Christmas Windows Of 1937 (Cheri Magid/Evan Palazzo & The Hot Sardines). Currently on faculty at New York Film Academy and Primary Stages’ ESPA School of Theater. BFA University of the Arts. MFA Directing Yale School of Drama. Jackson would also like to thank Dickson and Lola Bean Musslewhite. ROGER HANNA (Set Design) is delighted to return to the Mint twice this season, where he most recently designed What the Public Wants. Other Mint designs: The Glass Cage (2009 Lortel Award and Henry Hewes nomination) and Walking Down Broadway (Drama Desk nomination). Recent designs elsewhere include The Sleeping Giant at the Ailey, Fyvush Finkel Live! for the National Yiddish Theatre, and Falstaff for Mannes Opera. Other designs of note include collaborations with Laura Alley, Jack Allison, Tracy Bersley, Joseph Colaneri, Robin Guarino, Ron Jenkins, and Susan Marshall, at venues including Sarasota Opera, the Provincetown Playhouse, Jacob’s Pillow,

BIOGRAPHIES

CRAIG WROE (Leo Stern) London, West End: Miss Evers’ Boys. Off- Broadway: Catch-22 (Lucille Lortel); An Oak Tree (Barrow Street); King John, Othello; (TFANA); 2: Goering at Nuremberg (Primary Stages), The Alexander Plays (Signature), Richard II (Pearl), The Tempest (Roundabout). Regional: La Jolla, Alliance, Baltimore CenterStage, Hartford TheaterWorks, Old Globe, Dallas Theater Center, Philadelphia Theatre Co., Indiana Repertory Theatre, Folger Shakespeare Theatre, Pioneer, Cincinnati Playhouse, St. Louis Rep, others. Film/TV: “Anything But Love”, “Rescue Me”, “Burn Notice”, “Royal Pains”, “Third Watch”, “The Education of Max Bickford”, “Ed”, “Now and Again”, “Law & Order”, “L&O: SVU”, “L&O: CI”, “As the World Turns”, “All My Children”, “One Life to Live”, “Guiding Light”. Author: An Actor

Prepares…To Live in New York City, An Actor Prepares…To Work in New York City, Living $mart: New York City—The Ultimate Insider’s Guide for the Budget Savvy. Acting awards: Carbonell, Barrymore, National Society of Arts and Letters.


and Dance Theater Workshop. Roger joins the faculty of University of Miami as a visiting professor this fall. To see some of his work, visit www.rogerhanna.com. MARTHA HALLY (Costume Designer) Mint: Wife To James Whelan, Is Life Worth Living?, The Widowing of Mrs. Holroyd. New York: Three Men On A Horse, The Late Christopher Bean, Bedroom Farce (TACT); Secret Order (59E59); Banished Children of Eve, Gaslight, The Field (Irish Repertory Theatre); Treason (Perry Street). Regional: Milwaukee Repertory Theater, CenterStage, Cincinnati Playhouse in the Park, Repertory Theater of St. Louis, Pittsburgh Public Theater, Dallas Theater Center, Portland Stage. Opera: Chicago Opera Theater, Virginia Opera, Little Orchestra Society of Lincoln Center, Center For Contemporary Opera (NYC) Upcoming: Temporal Powers (Mint), Aida (Virginia Opera), Richard II (Pearl) www.marthahally. com

BIOGRAPHIES

PAUL WHITAKER (Lighting Designer) NY: The Public Theater, MCC, Playwrights Horizons, Second Stage Theater, Intar, LAByrinth Theater Company, Atlantic Theater, The Rattlestick Theatre, The Play Company, Ma Yi Theater, Intar, among others. Regional: Long Wharf Theater, The Huntington Theatre Company, Centerstage, A.C.T., The Children’s Theatre Company, Hartford Stage, Yale Repertory Theater, the Alley Theatre, George Street Playhouse, Dallas Theater Center and others. B.A.: Macalester College. M.F.A:. Yale School of Drama. Paul is a Lighting Designer/ Theatre Consultant for Schuler Shook. JOSHUA YOCOM (Props Design) is excited to start his Little Journey with the Mint. Joshua has worked as a properties master and freelance artisan with a number of New York companies, including Keen Company, Epic Theatre Ensemble, Red Bull Theater, Pearl Theatre Company, Second Stage, Theatre for a New Audience, Gotham Chamber Opera, NYC Ballet, Lincoln Center, Dreamlight Theater Co., and the York Theatre Company. He would like to thank his SoBro family for their undying support. JANE SHAW (Sound Designer) Previously with the Mint: Wife to James Whelan, Dr.

Knock, Return of the Prodigal, Susan and God, Fifth Column, Walking Down Broadway, Widowing of Mrs. Holroyd. Off Broadway: Hamlet, Merchant of Venice (TFANA/RSC/ National Tour), The Coward (Lincoln Center 3), The Sneeze (The Pearl), Liberty City (NYTW), among others. Off-off Broadway: The Wonder (Queen’s Company), Rise and Fall of Annie Hall (Theater Row), CROOKED (Women’s Project), Sounding (HERE), Septimus and Clarissa (Ripe Time/Red Bull). Dance: Big Dance Theater (collaboration for over 12 years, Bessie Award, 2010), Susan Marshall, David Dorfman. Regional theater includes: Denver Center Theatre Company, City Theater (Pittsburgh), Capital Rep (Albany), Yale Repertory, Dorset Theater Festival, Merrimack Repertory Theatre. Recipient: NEA-TCG Career Development Grant, Meet the Composer. Nominations: Lortel, Eliot Norton, Connecticut Critics Circle. Graduate of Harvard and Yale School of Drama. HEATHER J. VIOLANTI (Dramaturg) is delighted to be working on another Crothers’ play at the Mint, where she worked on Susan and God. Other dramaturgy credits: The Odyssey Project: Which Direction Home? (The Internationalists), Valiant (Unofficial New York Yale Cabaret) and The Massacre At Paris (Blood N Thunder Theatre, UK). She is a reader for the O’Neill Theater Center’s National Playwrights and National Music Theater Conferences. Heather is a member of the Dramatists’ Guild and was recently selected for the Women’s Work Lab at New Perspectives Theatre. MFA, Dramaturgy and Dramatic Criticism, Yale School of Drama. SAMONE B. WEISSMAN (Production Stage Manager) Previous Mint productions: Wife to James Whelan, So Help Me God!, Is Life Worth Living?, The Lonely Way, Mr. Pim Passes By, The Truth About Blayds and The Daughter-In-Law. Other Off-Broadway productions include: White People (EST), This Side of Paradise (Culture Project), American Jornalero (Working Theatre), The Temperamentals (ManUnderground at TBG), Indiscretions (Phoenix Theatre Ensemble) Sounding (HERE CultureMart), Something You Did, Exits & Entrances (Primary Stages & Edinburgh Fringe Fest ‘07), In The Continuum (Primary Stages/Perry Street Theatre,


Domestic & African tours), Widows (Reverie Productions/59E59), Crime & Punishment (Writers Theatre/59E59), Savages (Lion Theatre), Captain Louie (York Theatre), Self Torture & Strenuous Exercise, The Dadshuttle and Not Enough Oxygen (Drama League DirectorFests 2002-2004), The Shoebox of Ebbets Field and Out of Sterno (Cherry Lane Alternative), Bold Girls (Women’s Expressive Theatre), Hamlet (American Globe Theatre). Regionally, Samone has toured The Laramie Project & The Laramie Project: 10 Years Later with Tectonic Theatre Project. She has also worked at The Kimmel Center, Arena Stage, Red House Arts Center, Chester Theatre Company, Curious Theatre, Emelin Theatre, Cincinnati Playhouse, CTG/Kirk Douglas, The Guthrie, and the Goodman Theatre. She has been a proud member of AEA since 2001. ANDREA JO MARTIN (Assistant Stage Manager) – is happy to be back at the Mint. Credits include: Broadway: Rent (sub); Broadway Backwards 3, 4, 5, and 6. OffBroadway: The Widowing of Mrs. Holroyd, The Glass Cage, The Madras House at the Mint Theater; Busker Alley, Fanny Hill, A Fine and Private Place, and 10 different Musicals in Mufti at The York Theatre; with various companies: La Barberia, White’s Lies; Love Child; Signs of Life; De Novo; Beauty on the Vine; WASPs In Bed; A Dangerous Personality. Festivals: at NYMF: Judas & Me; the Fringe Festival: Dancing With Abandon, and Trouble in Shameland. Andrea is also a sub at Naked Boys Singing! and NEWSical, Full Spin Ahead. DAVID GERSTEN & ASSOCIATES (Press Representatives) also represents the OffBroadway hits, Black Angels Over Tuskegee, Girl’s Night the Musical, and its sequel, Girl Talk, and Naked Boys Singing, as well as INTAR, Keen Company, Woodie King’s New Federal Theater, New World Stages, Red Bull Theater, and Stage Entertainment US. David serves on the Board of Governors of ATPAM, The Association of Theatrical Press Agents & Managers. www.davidgersten.com

STUART HOWARD, AMY SCHECTER & PAUL HARDT (Casting) have cast hundreds of shows over the past 25 years. Happily casting for The Mint since 2004. SHERRI KOTIMSKY (General Manager/ Production Manager) Produced for Naked Angels: Meshugah, Tape, Shyster, Omnium Gatherum, Fear: The Issues Project and several seasons of workshops and readings. As Naked Angels Managing Director, Hesh and Snakebit. Produced: Only the End of the World and Blood Orange. For two years Theatre Manager for the Michael Schimmel Center for the Arts at Pace University, home to National Actors Theatre, Tribeca Film and Theatre Festivals, River to River Festival and the Carol Tambor Awards 2005 productions, amongst many others. Currently working with several theater companies as business consultant, including Theater Breaking through Barriers and Premieres.

BIOGRAPHIES

JONATHAN BANK (Artistic Director) has been the artistic director of Mint since 1996 where he has unearthed and produced dozens of lost or neglected plays, many of which he has also directed. Most recently for the Mint, Bank directed Wife to James Whelan by Teresa Deevy. Other Mint credits include: Maurine Dallas Watkins’ So Help Me God! at the Lucille Lortel, which received four Drama Desk nominations, including Outstanding Revival and Outstanding Director; Lennox Robinson’s Is Life Worth Living?, the American Professional Premiere of The Fifth Column by Ernest Hemingway, The Return of the Prodigal by St. John Hankin (Drama Desk nomination for Outstanding Revival) and Susan and God by Rachel Crothers. Bank both adapted and directed Arthur Schnitzler’s Far and Wide and The Lonely Way which he also co-translated (with Margaret Schaefer). These two plays were published in a volume entitled Arthur Schnitzler Reclaimed which Bank edited. He is also the editor of two additional volumes in the “Reclaimed” series (Harley Granville Barker and St. John Hankin) as well as Worthy But Neglected: Plays of the Mint Theater Company.


about the mint theater company 2010-2011 WIFE TO JAMES WHELAN By Teresa Deevy WHAT THE PUBLIC WANTS By Arnold Bennett A LITTLE JOURNEY By Rachel Crothers 2009-2010 IS LIFE WORTH LIVING? By Lennox Robinson SO HELP ME GOD! By Maurine Dallas Watkins DOCTOR KNOCK By Jules Romains 2008-2009 THE GLASS CAGE By J.B. Priestley THE WIDOWING OF MRS. HOLROYD By D.H. Lawrence 2007-2008 THE POWER OF DARKNESS By Leo Tolstoy THE FIFTH COLUMN By Ernest Hemingway 2006-2007 JOHN FERGUSON By St. John Ervine THE MADRAS HOUSE By Harley Granville Barker RETURN OF THE PRODIGAL By St. John Hankin 2005-2006 WALKING DOWN BROADWAY By Dawn Powell SOLDIER’S WIFE By Rose Franken SUSAN AND GOD By Rachel Crothers 2004-2005 THE LONELY WAY By Arthur Schnitzler THE SKIN GAME By John Galsworthy 2003-2004 MILNE AT THE MINT Two Plays by A.A. Milne ECHOES OF THE WAR By J.M. Barrie 2002-2003 THE CHARITY THAT BEGAN AT HOME By St. John Hankin FAR AND WIDE By Arthur Schnitzler THE DAUGHTER-IN-LAW By D.H. Lawrence 2001-2002 RUTHERFORD AND SON By Githa Sowerby NO TIME FOR COMEDY By S.N. Behrman

about the mint

2000-2001 WELCOME TO OUR CITY By Thomas Wolfe THE FLATTERING WORD & A FAREWELL TO THE THEATRE By George Kelly & Harley Granville Barker DIANA OF DOBSON’S By Cecily Hamilton 1999-2000 THE VOYSEY INHERITANCE By Harley Granville Barker ALISON’S HOUSE By Susan Glaspell MISS LULU BETT By Zona Gale 1995-1998 QUALITY STREET By J.M. Barrie MR. PIM PASSES BY By A.A. Milne UNCLE TOM’S CABIN By George Aiken THE HOUSE OF MIRTH By Edith Wharton & Clyde Fitch

Mint Theater Company produces worthwhile plays from the past that have been lost or forgotten. These neglected plays offer special and specific rewards; it is our mission to bring new vitality to these plays and to foster new life for them. Under the leadership of Jonathan Bank as Artistic Director, Mint has secured a place in the crowded theatrical landscape of New York City. We have received Special Obie and Drama Desk Awards recognizing the importance of our mission and our success in fulfilling it. The Wall Street Journal describes Mint as “one of the most consistently interesting companies in town.” Our process of excavation, reclamation and preservation makes an important contribution to the art form and its enthusiasts. Scholars have the chance to come into contact with historically significant work that they’ve studied on the page but never experienced on the stage. Local theatergoers have the opportunity to see plays that would otherwise be unavailable to them, while theatergoers elsewhere may also have that opportunity in productions inspired by our success. Important plays with valuable lessons to teach—plays that have been discarded or ignored—are now read, studied, performed, discussed, written about and enjoyed as a result of our work. Educating our audience about the context in which a play was originally created and how it was first received is an essential part of what we do. Our “EnrichMINT Events” enhance the experience of our audience and help to foster an ongoing dialogue around a play—post-performance discussions feature world class scholars discussing complex topics in an accessible way and are always free and open to the general public. We not only produce lost plays, but we are also their advocates. We publish our work and distribute our books, free of charge to libraries, theaters and universities. Our catalog of books now includes an anthology of seven plays entitled Worthy but Neglected: Plays of the Mint Theater plus three volumes in our “Reclaimed” series, each featuring the work of a single author: Harley Granville Barker, St. John Hankin and Arthur Schnitzler.


The following generous Individuals, Foundations, and Corporations support the Mint Theater, and we honor their contributions: * indicates purchase of a seat name plaque. Crème de Mint: $10,000 and above The Gladys Krieble Delmas Foundation The Jean & Louis Dreyfus Foundation The Max & Victoria Dreyfus Foundation Florence Gould Foundation The Fan Fox & Leslie R Samuels Foundation Mr. & Mrs. Ciro Gamboni * Gardner Grout Foundation JBO Holding Co. The Little Family Foundation * National Endowment for the Arts New York City Department of Cultural Affairs New York Foundation for the Arts New York State Council on the Arts The Shubert Foundation, Inc. The Ted Snowdon Foundation The Geraldine Stutz Trust Inc. anonymous SilverMint: $5,000 to $9,999 Axe-Houghton Foundation Virginia Brody * Barbara Bell Cumming Foundation Lori & Edward Forstein Lucille Lortel Foundation The Harold & Mimi Steinberg Charitable Trust Michael Tuch Foundation

DONORS

ChocolateMint: $1,500 - $4,999 Jonathan Bank * Lea & Malvin Bank Robert Brenner Linda Calandra * Jon Clark * Jeffrey Compton & Norma Ellen Foote * William Downey The Friars Foundation Ruth Friendly * The Otto Haas Trust Janet & John Harrington Blanche & Irving Laurie Foundation Dorothy Loudon Foundation Executive Director, Lionel Larner New York City Council for the Humanities Pfizer Foundation Eleanor Reissa & Roman Dworecki Judy & Sirgay Sanger * Wallace Schroeder * David Stenn The Dorothy Strelsin Foundation Sukenik Family Foundation * Katherine & Dennis Swanson * Kathryn Swintek * Litsa Tsitsera Helen S. Tucker, The Gramercy Park Foundation Steven Williford

SpearMint: $600 - $1,499 Lisa Ackerman Linda Alterman * Maria & Harvey Arnett Richard Barnes & Marta Gross Julia Beardwood & Jonathan Willens Jeffrey Bernstein & Cathy Lanyard Joann , Jennifer & Gene Bissell Leslie (Hoban) Blake * Allison M. Blinken Rose-Marie Boller & Webb Turner * E. R. Buultjens Sharon M. Chantilles-Wertz & Kevin Wertz * Robin Chase * Claudia & Frank Deutschmann * Cory & Bob Donnalley Charitable Fdn. * Eva & Norman Fleischer Joan & Edward Franklin * Agnes & Emilio Gautier * The Gordon Foundation Virginia Gray Arthur Grayzel, MD & Claire Lieberwitz Julia B. Hall * The Heidtke Foundation Carol & Patrick Hemingway Hickrill Foundation IBM Foundation Jacqueline & James Johnson Joseph Family Charitable Trust * Christopher Joy & Cathy Velenchik * Peter Haring Judd Fund * Brian Kaltner Bruno Kavanagh Mary & David Lambert * Judith & John LaRosa * Dr. Albert Leizman * James Marlas Edith Meiser Foundation Joseph Morello * Dorinda J. Oliver Susan & Peter Ralston George Robb Susan Scott Harriet Seiler Rob Sinacore Alissa Sklaver State of New York – Office of Parks, Recreation and Historic Preservation Suzanne & Jon Stout M. Elisabeth Swerz Bertram Teich Jill Tran Wein Family Fund * Anonymous


DONORS

DoubleMint (First Priority Club) Actors Equity Foundation Judith Aisen & Kenneth Vittor Shihong & Peter Alden Louis Alexander Linda Alster * Laura Altschuler Marc Anello Carmen Anthony Louise Arias Maria & Harvey Arnett Barbara Austin * Earl Bailey Judith Barlow * William Barth Deborah Berke & Peter D McCann, MD Barbara Berliner & Sol Rymer Al Berr Nidia Besso Elizabeth Bicknell Helena & Peter Bienstock David M. Blank Steven Blier Ronald H. Blumer Dorothy Borg Bristol- Myers Squibb Co. Ambassador & Mrs. W. L. Lyons Brown Ann Butera * Peter Cameron Charles Carberry & Kathleen Dunne James Carroll * Richard Carroll Aurelie Cavallaro Andrew H. Chapman Lynne Charnay Tina Chen Stephen & Elena Chopek Steven R. Coe Toni Coffee JoAnn Corkran Penny & Peter Costigan Wilbur Cowett, The Longhill Charitable Foundation Susan & George Crow Stuart Davidson Ruth & Anthony DeMarco GH Denniston & Christine Thomas Pat DeRousie-Webb & Robb Webb Katherine & Bernard Dick Ruth & Robert Diefenbach Susan A. & Robert N. Downey M. Burton Drexler Julie Durkin Herzl Eisenstadt Mina & Martin Ellenberg Monte Engler & Joan Mannion Sara & Fred Epstein Garce & Donald Eremin Judith Eschweiler * H. Read Evans *

Sarah Fels & George Steel Rhetta & Max Felton Orinda & Thomas Filipi Irving and Gloria Fine Foundation Angela T. Fiore Edmee & Nicholas Firth Barbara Fleischman * Martha Fleischman Charles Flowers Barbara Fogel Donald W. Fowle Charlotte Frank Diana & Jeffrey Frank Glenda Frank * Burry Fredrik Phyllis Freed * Monroe Freedman Dr. H. Paul & Delores Gabriel * Mary Ann & John Garland Phyllis Gelfman Nomi Ghez Foundation James C. Giblin Ardian Gill & Anna L. Hannon Suellen & David Globus Ruth Golbin Lila Teich Gold * Joyce Golden Gloria Goldenberg Duncan Goldie-Scott Jane & Charles Goldman Samuel Gonzalez Margaret Goodman Mary & Gordon Gould Anna Grabarits Virginia Gray Anita & Edward Greenbaum * Harry Greenwald & Babette Krolik Greenwich House Senior Center Tosia Gringer Antonia & George Grumbach Amy & Ronald Guttman Gunilla Haac Lanie Hadden Joseph Hardy Laura T. & David Harris George Hatch Carol Hekimian Reily Hendrickson David Herskovitzs Karin & Henry Herzberg Sigrid Hess Barbara Hill Joan Hoff Dorothy & Edward Hoffner Madelaine & Milton Horowitz Cathy Hull & Neil Janovic Elizabeth Ellis Hurwitt Anna Iacucci Harriet Inselbuch Linda Irenegreene & Martin Kesselman


John David Metcalfe Leila & Ivan Metzger Radley Metzger Lusia & Bernard Milch Susan & Joel Mindel * Ellen Mittenthal Judith & Allan Mohl Elaine & Richard Montag Virginia & Robert Montgomery Doreen & Larry Morales * George Morfogen * Frank Morra Elaine & Ronald Morris Carole & Theodore Mucha Tim Mulligan Karol Murov Amanda Nelson Carol & Dick Netzer Nancy Newcomb & John Hargraves Peter Nitze Tim Nolan Stephanie Olmsted Dottie & Richard Oswald Gwen & Bruce Pasquale Alice & Frederick G. Perkins Gillis & Leonard Plaine Jeanine Parisier Plottel Sheila & Irwin Polishook Mary & Larry Pollack Georgette & David Preston Henry Quin Paul Rawlings Joe Regan, Jr. Henry Reilly Ota & Clayton Reynolds Allen Lewis Rickman Irvin Rinard Peter Robbins & Paige Sargisson Phyllis & Earl S. Roberts The Rodgers Family Foundation/Mary R. Guettel Renee & Seymour Rogoff Sylvia Rosen Barbara Rosenthal Mark Rossier Donna Rubens James Russell Karen Kelly Sandke Catherine Scallier Judith & Richard Schachter Herbert Schlesinger * Barbara Schoetzau * Nan Schubel Michael Schussler Daphne & Pete Schwab Marilyn & Joseph Schwartz Phyllis Schwartz The Martin E. Segal Revocable Trust Barbara & Donald Shack Camille & Richard Sheely Susan & Zachary Shimer *

DONORS

Dana Ivey Jocelyn Jacknis * Ellie Jacob Cerise Jacobs Ellen & Peter Jakobson Susan & Stephen Jeffries Edith Jones Michael Jones Roberta A. Jones Gus Kaikkonen & Kraig Swartz Anne Kaufman Joan Kedziora, MD. * Laurie Kennedy & Keith Mano Georgianne Enisign Kent Roberta & Gerald Kiel Jospeh Kissane Kaori Kitao Caral G. Klein Dr. Elizabeth & Rabbi William Kloner Paul Knieriemen Susanna Kochan-Lorch & Steven Lorch Drs. Robert M. Koros & Carole M. Shaffer-Koros * Jean Kroeber Mildred G. Kuner Carmel Kuperman George LaBalme George LaForest Lee & Richard Laster Gene Laughorne Christopher Lawrence Kent Lawson & Carol Tambor Margaret & Gordon Leavitt Gloria & Ira Leeds Jane & Eliot Leibowitz Laura & Rodney Leinberger Mia Leo & Dick Kuczkowski Barbara & Herbert Levy Carol & Stanley Levy Christopher LiGreci & Robert Ohlerking Alene & Jeffrey Lipshaw Audrey & Joseph Lombardi * Ruth Lord Estelle Lynch Judith Mahler Mary Rose Main Jane Anne Majeski Vivian & John Majeski Miriam Malach Marcia & Robert Marafioti Barry Margolius Jacqueline Maskey Margaret Mautner George Mayer Pamela Mazur Betsy McKenny Martin Meisel Richard Mellor, Jr. The JVPC Memorial Fdn for the Arts Joan & John Mendenhall Merrill Lynch & Co. Foundation


Kayla J. & Martin Y. Silberberg Mel Silverman Marion & Leonard Simon Susana & Americo Sitner Rayna & Martin Skolnik Lily N. Smith Roger Smith Barbara & Stanley Solomon Dr. Norman Solomon Caroline Sorokoff & Peter Stearn Linda & Jerry Spitzer Erica Stadtlander Stagedoor Lee Steelman Sherry & Bob Steinberg Frances Sternhagen Ilene Stone Elaine & Ulrich Strauss Stella Strazdas & Hank Forrest Joseph Sturkey Carol & Will Sullivan Larry E. Sullivan * Douglas Tarr Anne Teshima Annie Thomas & David H. Kirkwood Rochelle Tillman Susan & Charles Tribbitt Helen & William van Syckle Joan & Bob Volin Gerald Wachs Edith & Gordon Wallace John Michael Walsh Lillian & Saul Wechter Richard Weisman Patricia & Richard White Lillian & Robert Williams Marsha & Vincent Williams Ralph M. Wynn, MD John Yarmick Sue & Burton Zwick anonymous

DONORS

This list represents donations made from July 2009 – April 2011. Every effort is made to ensure its accuracy. Please contact us regarding any mistakes

We are grateful to the following people who have generously donated to the Teresa Deevy Project: Gretchen Adkins Louise Arias Mary Bacon & Andrew Leynse Jonathan Bank & Katie Firth Steven Blier Allison Blinken Linda Calandra Robin Chase Jon Clark & Ryan Franco Jane Condon Wilbur Cowett Julie Durkin Marjorie Ellenbogen Martha Fleischman Phyllis Freed Ruth Friendly Ciro & Gail Gamboni Leonard & Marita Gochman Lila Teich Gold Sam Gonzalez Victoria Guthrie John Hargraves & Nancy Newcombe John Harrington Darlene & Brian Heidtke Elizabeth Ellis Hurwitt Linda Irenegreen Jann Leeming & Arthur Little Neil & Cathy Janovic Peter Judd Anne Kaufman Laurie Kennedy Georgianne Kent Gerry Kiernan Anna Kramarsky Sarah-Ann Kramarksy Leonard Milberg George Morfogen Maureen Murphy Enid Nemy Stephanie & Robert Olmsted Joan Price Rahav Susan & Peter Ralston Eleanor Reissa Judy & Sirgay Sanger Martin Segal Anne Sheffield Rob Sinacore Amy Stoller Barbara & Milton Strom M. Elizabeth Swerz Kathryn Swintek & Andre Dorra Carol Tambor Bertram Teich Litsa Tsitsera Joyce Weil Seymour & Kate Weingarten


a little journey staff Assistant Production Manager/ Technical Director Wardrobe Supervisor Board Operator Production Assistant Deck Crew Assistant Set Designer Assistant Costume Designer Programmer/Assistant Lighting Designer Master Electrician Sound Engineer Scenic Charge Production Interns House Manager Videographer

Wayne Yeager Karle J. Meyers Shannon Epstein Jean Marie Hufford Carlton Hall, Kate Kuhle Zhanna Gurvich Amanda Jenks Nelson Emig Desi Fischer Kim Carter Julia Hahn-Gallego Shaquille Hobson, Anabel Javier Ivana Karapandzic Joshua Johnson

Lighting installed by the Lighting Syndicate. Sets Constructed By Carlo Adinolfi, and The Ken Larson Company. Mint Theater wishes to thank the following for their assistance in this production:

tdf Costume Collection, University of Delaware Theater Department, and Rachel Keebler at Cobalt Studios. Lighting equipment provided in part by the Technical Upgrade Project of the Alliance of Resident Theaters/New York through the generous support of the New York City Council and the City of New York Department of Cultural Affairs.

Actor’s Equity Association was founded in 1913. It is the labor union representing over 40,000 American actors and stage managers working in the professional theatre. For 89 years, Equity has negotiated minimum wages and working conditions, administered contracts, and enforced provisions of its various agreements with theatrical employers across the country.


MINT THEATER COMPANY Jonathan Bank Sherri Kotimsky Heather J. Violanti Adrienne Scott Ellen Mittenthal

STAFF

Artistic Director General Manager Development Associate / Dramaturg Box Office Manager Development Consultant

BOARD OF TRUSTEES Jonathan Bank Linda Calandra Jon Clark Ciro A. Gamboni John P. Harrington Jann Leeming Eleanor Reissa Kathryn Swintek

“When it comes to the library,” our 2001 Obie citation states, “there’s no theater more adventurous.”

In 2002 the Mint was awarded a special Drama Desk Award for “unearthing, presenting and preserving forgotten plays of merit.”

MINT THEATER COMPANY commits to bringing new vitality to neglected plays. We excavate buried theatrical treasures; reclaiming them for our time through research, dramaturgy, production, publication and a variety of enrichment programs; and we advocate for their ongoing life in theaters across the world.

311 West 43rd Street, Suite 307 New York, NY 10036

www.minttheater.org Box Office: (212) 315-0231


A Little Journey