first priority club News DONOGOO by Jules Romains Begins June 3rd FPC Hotline: (212) 315-0231 Address: 311 W. 43rd St. Suite 307 New York, NY 10036 Box Office: Mon.- Sat Noon-6pm Sun.- Noon-3pm Performances: Tues., Wed., Thurs. 7pm Friday & Saturday 8pm Saturday & Sunday 2pm Special Wednesday Matinees: June 18th & July 9th at 2pm No Performances: June 17th, June 24th, July 8th Full Price: $55/$65 FPC Price: $38.50 (Use Code: FPC)
CheapTix: $27.50 (when available) www.minttheater.org
Join Gus Kaikkonen for Brunch and Discussion June 21st at 12pm at BEA (403 West 43rd Street)
Join Gus Kaikkonen, Translator and Director of DONOGOO by Jules Romains, for a delicious pre-matinee brunch at BEA, where he will discuss the process of translating and adapting Romain’s ambitious and sprawling play for the Mint Theater Company. Brunch and one Premium Ticket is $75 for members of the First-Priority Club. Call 212.315.0231 to reserve your place.
Begins June 3rd!
by
Use code FPC
translated and directed by
Get your tickets today! Your price is $38.50 for any seat.
Jules
Romains Gus Kaikkonen
After Donogoo...
The Fatal Weakness By George Kelly Directed by Jesse Marchese Begins August 19th “Very Nearly Perfect.” George Freedly, N.Y. Morning Telegraph After 28 years of marriage, Ollie Espenshade is still an incurable romantic (her fatal weakness). Perhaps discovering that her husband is a lying cheat will cure her? THE FATAL WEAKNESS, George Kelly’s last produced play, is a smart comedy about romance, marriage and commitment. It opened in New York on November 19, 1946 in a production by the legendary Theatre Guild starring Ina Claire. Although Claire’s triumphant return to Broadway after a five year absence garnered much of the press attention, Kelly’s play turned more than a few critics’ heads. “One of Kelly’s best. It reveals keen understanding of character— an evening of genuine quality.” wrote Ward Morehouse in The New York Sun. Richard Watts Jr. of the New York Post called THE FATAL WEAKNESS “so fresh in its observations, three-dimensional in its characters and human in its humor that it emerges as the first important new comedy of the season.” The play went
on to be hailed “Best New Comedy” by George Jean Nathan’s Honor List in Theatre Book of the Year, 1946-1947. But Kelly’s comedy was too dramatic for some critics. The Times’ Brooks Atkinson could not reconcile the play’s sober themes with its shrewd sense of humor. “He has remarkable facility for writing comic lines, [but] he has not decided whether he is writing capricious comedy or psychological drama,” Atkinson complained—accusing him of “playing both sides of the street.” Meanwhile, The Nation’s Joseph Wood Krutch recognized that this duality was the play’s greatest strength. “Neither the action nor the author’s commentary ever falls into any of the familiar grooves one is perpetually expecting it to find. Mr. Kelly rejects all the ready-made patterns which would immediately render his play comfortably classifiable and thus defeats all the easy expectations.” John Chapman of the New York Daily News agreed with Krutch, calling THE FATAL WEAKNESS, “an evening of intelligent, smooth fun.