Doctor Knock Program

a rt i s t i c d i r e c to r

jonathan bank g e n e r a l m a n ag e r

sherri kotimsky

a b o u t t h e m i n t t h e at e r c o m pa n y 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 1999-2000 THE VOYSEY INHERITANCE By Harley Granville Barker ALISON’S HOUSE By Susan Glaspell MISS LULU BETT By Zona Gale 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 2001-2002 RUTHERFORD AND SON By Githa Sowerby NO TIME FOR COMEDY By S.N. Behrman 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 2003-2004 MILNE AT THE MINT Two Plays by A.A. Milne ECHOES OF THE WAR By J.M. Barrie 2004-2005 THE LONELY WAY By Arthur Schnitzler THE SKIN GAME By John Galsworthy 2005-2006 WALKING DOWN BROADWAY By Dawn Powell SOLDIER’S WIFE By Rose Franken SUSAN AND GOD By Rachel Crothers 2006-2007 JOHN FERGUSON By St. John Ervine THE MADRAS HOUSE By Harley Granville Barker RETURN OF THE PRODIGAL By St. John Hankin

about the mint

2007-2008 THE POWER OF DARKNESS By Leo Tolstoy THE FIFTH COLUMN By Ernest Hemingway 2008-2009 THE GLASS CAGE By J.B. Priestley THE WIDOWING OF MRS. HOLROYD By D.H. Lawrence 2000-2010 IS LIFE WORTH LIVING? By Lennox Robinson SO HELP ME GOD! By Maurine Dallas Watkins

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—postperformance 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.

Mint Theater Company

Jonathan Bank, Artistic Director Sherri Kotimsky, General Manager presents

DOCTOR K OCK

or the triumph of medicine Jules Romains

by

with Scott Barrow, Thomas M. Hammond, Jennifer Harmon, Patrick Husted, Chris Mixon, Patti Perkins set design

costume design

Charles Morgan

Sam Fleming

lighting design

William Armstrong

sound design

properties design

hair & wigs

Jane Shaw

Deborah Gaouette

Gerard James Kelly

assistant director

Jenny Lord

production stage manager

Melissa M. Spengler

press representative

illustration

David Gersten & Associates Stefano Imbert

assistant stage manager

Andrea Hayward graphics

Hunter Kaczorowski

casting

Stuart Howard, Amy Schecter & Paul Hardt translated and directed by

Gus Kaikkonen opening night may 10th, 2010

Doctor Knock is made possible with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency.

This production is made possible in part by a generous grant from the Florence Gould Foundation.

d o c to r k n o c k ca s t (in order of appearance)

DR. KNOCK

Thomas M. Hammond

DR. PARPALAID

Patrick Husted

MADAME PARPALAID

Patti Perkins

JEAN

Scott Barrow

TOWN CRIER

Chris Mixon

M. BERNARD, the teacher

Scott Barrow

M. MOUSQUET, the pharmacist

Chris Mixon

THE LADY IN BLACK

Jennifer Harmon

THE LADY IN VIOLET

Patti Perkins

FIRST FARMER

Scott Barrow

SECOND FARMER

Chris Mixon

MADAME REMY

Jennifer Harmon

THE MAID

Patti Perkins

Scott Barrow

Thomas M. Hammond

Jennifer Harmon

Patrick Husted

Chris mixon

patti perkins

d o c to r k n o c k s e t t i n g ACT I: ACT II: ACT III

On the road to St. Maurice. October, 1923.

Knock’s consulting-room. The following Monday.

The Key Hotel. January, 1924.

Doctor Knock will be performed with two 10-minute intermissions.

d o c to r k n o c k j u l e s ro m a i n s “sympathie pour Rome” (love of Rome).

Jules Romains

(1885-1972)

Jules Romains ranks among the most prolific French writers of the twentieth century and among the most important of the interwar period. His most famous work, the 27 volume novel Men of Good Will, is comparable to the works of Zola and Proust in scale and ambition. In Romains’ words, Men of Good Will “presented a sort of epic from the beginning of the 20th century all over the world, especially in France…it existed in my mind from my earliest youth, when I first began to write.”

Romains was born Louis-Henri-Jean Farigoule on August 26, 1885 in the village of Saint-Julien Chapteuil. He spent most of his childhood in Paris, where his father was a teacher. Romains was an excellent student, earning a baccalauréat classique in 1900 and an additional baccalauréat in philosophy in 1902.

Above: Jules Romains in 1945, photo Eric Schaal/Time & Life Pictures/Getty Images

Unanimism influenced a generation of avantgarde thinkers and artists, particularly the utopian Group de l’Abbaye, whose members included Romains, socialist writer Alexandre Mercereau, and poet and playwright Charles Vildrac. Unanimism also inspired the paintings of the early Cubists, who challenged conventional divisions of space and time. “For Romains the city was an Unanimist entity, a psychological as well as a physical fact, where responses to the past and present interpenetrate,” explains the MOMA’s guide to Cubism.

The precepts of unanimism also inspired Romains’ own work as a playwright. He was particularly fascinated by conflicts between the collective and the individual. In his first play, the verse drama L’Armée dans la ville, a town temporarily resists invasion through collective effort. Produced at the Théatre de l’Odéon in 1911, L’Armée received critical praise but was a box office failure. It would be ten years before Romains would attempt playwriting again. In 1920, the influential director Jacques Copeau produced Romains’ Cromedyre-le-viel to acclaim, and Romains began playwriting in earnest. His first box office hit came in March 1923 with Monsieur Le Trouhadec saisi par la débauche, about

ABOUT THE playwright

In 1902, he also published his first poem, “Le Chef-d’ouvre” (“The Masterpiece”) in La Revue Jeune. He published under the pen name he would use the rest of his life—Jules Romains—so chosen because it was easy to pronounce, memorable, and expressed his

Romains continued to write and publish poetry, but he also furthered his education, entering the elite Ecole Normale Supéricure in 1906 for an additional degree. After graduation, he taught philosophy full-time while continuing to write poems and prose.

He published his first volume of poems, La vie unanime, in 1908. They outlined his new philosophy of Unanimism, which Romains said he discovered while wandering the streets of Paris. In Unanimism, Romains “had an intuition of the interconnectedness of all people, that groups possess a sort of collective soul, generated by disparate individuals who make up the group,” according to biographer Susan McCready.

d o c to r k n o c k j u l e s ro m a i n s a naïve yet cunning professor who falls in love with an actress in Monte Carlo. It was directed by visionary actor/director/designer Louis Jouvet.

The year 1923 held more triumph in store.

Romains surpassed the success of Trouhadec with another comedy produced later year, Knock, ou Le Triomphe de la médicine (Dr. Knock, or the Triumph of Medicine). Jouvet, who directed and starred in Knock, did not expect this dark comedy of a maniacal doctor to be a hit, but he was wrong. The play was a sensation. Dr. Knock was revived six times between 1924 and 1933, and seven more times between 1935 and 1949. Jouvet called it his “magic play” and even appeared in three film versions.

By 1930, Romains had four plays running in Paris simultaneously: a revival of Dr. Knock, Jean Musse, Donogoo, and Boën. Critic Oliver Larkin, writing in Theatre Arts Monthly, called Romains

ABOUT THE PLAYwright

the most vigilant comic since Molière….Each of his plays revolves about some monstrous delusion of the present day: in Knock it is the delusion of pseudo-science, in Donogoo Big Business, in Jean Musse the friction of personal liberty, and in Boën our confidence in the creative power of wealth.”

By the end of the 1930’s, Romains ranked among the most produced playwrights in the world, alongside George Bernard Shaw and Luigi Pirandello. His plays displayed a constant struggle between the group and a dynamic, if ambiguously honest, individual, as well as an ambivalence towards science and technology in modern life. Romains proclaimed it was the duty of the twentieth century writer “to discover beneath the appearances of the modern world a spiritual reality more profound than he ever before has tried to find.”

Louis Jouvet (right) in the orginal production of Knock.

During World War II, Romains and his wife fled France during the Nazi Occupation.

The Gestapo ransacked their apartment, destroying many of Romains’ personal papers. During this time, Romains lived in the United States and Mexico, teaching at various universities and founding Mexico’s Petit Théâtre Français.

From 1936 to 1939, Romains served as President of PEN, the international writers’ association. On behalf of PEN, Romains denounced Hitler and Mussolini, but some PEN members, notably H.G. Wells, were dissatisfied with Romains’ leadership. Wells falsely claimed Romains was arrogant and a Nazi sympathizer. Romains nevertheless resigned his post and continued his pacifist work outside of PEN. In 1946, Romains was elected to the Académie Française, the pre-eminent body governing the French language. He moved back to France, living out the remainder of his life as a respected man of letters.

Though Romains achieved great acclaim across various genres, toward the end of his life he remarked, “It is a source of great regret to me that no one has ever valued my poetry higher.” He died in Paris at the age of 86. — Heather J. Violanti

p o e t ry by j u l e s ro m a i n s

Another Spirit Advances translated by Joseph T. Shipley

Letters

translated by Jethro Bithell These last few days I have not had one letter; No one has thought of writing, in the town.

O! I was not expecting anything; I can exist and think in isolation, My mind, to blaze and sparkle, does not wait Till someone throws a blackened sheet to it.

Yet I am short of a familiar pleasure; My hands are happy when I break a letter; My skin is thrilled to touch the paper where, Among the folded pages, lingers yet The immaterial presence of another.

And for three days that I have had no letter I have been gliding slowly into vague Uneasiness, embarassment of being, As if I were ashamed of my own self.

Intangible remorse weighs on my heart, Which was not far from thinking itself good.

My arms are heavy, lax; I dare not smile: The air seems to be angry when I breathe it.

The love around me, and the strength within me, Disperse. The town, forgetting me, rebukes me.

No one is thinking of me anywhere, No more I am safe in my wretched frame.

There is an evil tingling in my soul, An itching in my brain, my fingers’ ends.

As if ...what have I done to merit it!

The city’s blood were ebbing out of me.

What is it so transforms the boulevard?

The lure of the passersby is not of the flesh; There are no movements; there are flowing rhythms And I have no need of eyes to see them there.

The air I breathe is fresh with spirit-savour.

Men are ideas that a mind sends forth.

From them to me all flows, yet is internal; Cheek to cheek we lie across the distance, Space in communion binds us in one thought.

It Is Not In Vain That I Have Been Seeking

poetry

translated by Sasha Best

The shop-keepers on their chairs Have marked out God along the walls, And when the sky becomes dark, I saw some one who raised my arm.

I felt the water come under the oars.

My room like a sieve, has allowed Subjected forces to glide in to me.

The great outside has thought, I am sure of it!

A night divine, a moonlight night.

The train has realized itself in the tunnel, whose breath is like that Of the oxen, who were there When a God was born in a stable.

Great forces are stirring: In theaters and barracks, In churches and streets, And in cities.

Great forces Brute and divine, Unconscious and naked,

That will be the real gods, Because so we have dream’d it, Because so we have willed it.

BIOGRAPHIES

d o c to r k n o c k b i o g r a p h i e s SCOTT BARROW (Jean / Bernard / First Farmer) Is excited to be making his Mint debut!

NY credits include 33 Variations on Broadway, Paul Rudnick’s Valhalla at the New York Theatre Workshop and Embraceable Me at the Kirk. Regionally: Private Lives and Noises Off with the Shakespeare Theatre of New Jersey, Father Flynn in Doubt and Benedick in Much Ado (Arkansas Repertory), the Bernards in A Number (Wilma Theater), The Mousetrap (Olney Theatre Center), and Adam in The Shape of Things (DC’s Studio Theatre). Other credits include The Cincinnati Playhouse (Othello), Trinity Rep (Julius Caesar), The Vineyard Playhouse (The Retreat From Moscow), North Shore Music Theatre (Midsummer), Arena Stage, The Arden, Commonwealth Shakespeare, Portland Stage, Shakespeare and Company, New Rep, Hartford Stage and The Geva.

Film and TV credits include “The Strangler’s Wife”, “Expired”, and “All My Children”. MFA Brandeis University.

Phoenix Repertory: The Wild Duck, War and Peace, The School for Scandal, You Can’t Take It With You. OFF-BROADWAY: In Perpetuity Throughout The Universe, Hot L Baltimore,…Marigolds, The Holly and The Ivy. REGIONAL: Among favorites; Peterborough Players: The Glass Menagerie (dir. Gus Kaikkonen), Williamstown Theatre Festival: The Chekhov Cycle; Wash. DC Shakespeare Theatre: King John, King Lear: Ahmanson Theatre: The Heiress; Old Globe Theatre: Later Life; Guthrie Theatre: Hamlet; Center Stage: Danton’s Death, A Flea in Her Ear; Chicago Shakespeare Theater: Richard III, Long Wharf: The Black Forest; Hartford Stage: Undiscovered Country, The Greeks, Summer and Smoke, To Kill A Mockingbird, “8xTenn” TELEVISION: “Oz”, “Rescue Me”, “Law and Order”, “Dallas”, “Homicide”, “One Life To Live”. FILM: Portrait of An American Actress: Helen Hayes, The Tavern, What About Bob?, The “M” Word, Eat, Pray, Love w/ Julia Roberts soon to be released.

THOMAS M. HAMMOND (Dr. Knock) is thrilled to be working again with Gus Kaikkonen and the Mint after playing Phillip Madras in The Madras House here a few years ago. Tom was most recently seen in NY as Horatio in the acclaimed OffBroadway production of Hamlet for Theatre for a New Audience. Other New York credits include Brutus in Julius Caesar, All’s Well That Ends Well, Cymbeline, Richard III, and The General from America, all TFANA. Also, The Receptionist at Manhattan Theatre Club and The Stendhal Syndrome at Primary Stages. He also played Will Shakespeare in Swansong at the Summer Play Festival. Regional performances include the title role of Macbeth and the Duke in Measure for Measure both at the Old Globe in San Diego, as well as playing Brutus and Pericles at the Shakespeare Theatre of D.C. and Pericles for the New Jersey Shakespeare Festival, where he also played Berowne in Love’s Labors Lost.

Other Regional theatres include The Alley, Westport Country Playhouse, Baltimore Centerstage, and Premiere Stages. TV credits include “Law and Order”, “Life on Mars”, “All My Children”, and the role of John Proctor for PBS’ American Masters film on Miller and Kazan.

PATRICK HUSTED (Dr. Parpalaid) was last seen on the NY stage creating the role of Dr. Bob in the Off Broadway premiere of Bill W. and Dr. Bob, about the two men who founded Alcoholics Anonymous during the Great Depression. Also in NYC he played Dr. Kelekian in the Pulitzer Prize winning play Wit, and worked with Arthur Miller on his remake of The American Clock at the Signature Theater.

Regional theater credits of over 150 productions across the country include the central character in Arthur Miller’s last play Resurrection Blues, and most recently Porfiry in Crime and Punishment, at the Cleveland Playhouse. Film credits include Tim Robbins’ The Cradle Will Rock with Bill Murray, Blow with Ray Liota, and Neil Jordan’s film The Brave One with Jody Foster. He has guest starred in numerous episodic television shows, most recently on “Law and Order,” and the television movie “For One More Day” with Michael Imperioli and Ellen Burstyn.

JENNIFER HARMON (Lady in Black / Madame Remy) BROADWAY: The Dinner Party, Amy’s View, The Sister’s Rosensweig, Blithe Spirit, Dividing the Estate, The Glass Menagerie, APA-

CHRIS MIXON (Town Crier / Second Farmer / M. Mousquet) is very excited to work at the Mint Theatre and again with director Gus Kaikkonen. Chris has toured with the Broadway national company of How to Succeed in Business Without Really Trying (starring Ralph Macchio), and in television and film in The Rosa Parks Story (opposite Angela Bassett), “Law & Order”,” One Live to Live”, and “All My Children”. Regionally, Chris has performed with the Philadelphia Theatre Co.,

d o c to r k n o c k b i o g r a p h i e s Pioneer Theatre Co., George St. Theatre, Meadow Brook Theatre, Pennsylvania Stage Co., Two River Theatre Co., Hartford TheatreWorks, Mill Mt. Theatre, Northern Stage Co., the Cincinnati Playhouse in the Park, and as a resident or seasonal acting company member with the Denver Center Theatre Co. (4 seasons), the Great River Shakespeare Festival (3 seasons), the Alabama Shakespeare Festival (8 seasons) the Utah Shakespearean Festival (4 seasons), and the Orlando, Nebraska, and Hudson Valley Shakespeare Festivals.

PATTI PERKINS (M. Parpalaid / Lady in Violet / Maid) BROADWAY: The Full Monty, All Over Town (directed by Dustin Hoffman) and Shakespeare’s Cabaret (Tony nominated for Best Score). Lincoln Center: A Man of No Importance. Her Off-Broadway appearances include Hannah 1939 (Vineyard Theater), Randy Newman’s Maybe I’m Doing It Wrong (Astor Place), Patch, Patch, Patch with Alan Menken, the long running Tuscaloosa’s Calling Me as well as The Manhattan Theater Club.

She has performed at numerous regional theaters including The Guthrie, The Old Globe, Alabama Shakespeare Festival, Goodspeed Opera House, The Kennedy Center, Arena Stage, Buffalo Studio Arena, and GEVA. She has appeared on “Law and Order”, “One Life to Live” (playing a serial killer’s mother) and indie films including Starting Out in The Evening with Frank Langella.

CHARLES MORGAN (Set Design) is pleased to return to the Mint where he previously designed The Charity That Began at Home and The Madras House. Mr. Morgan has designed scenery for over 200 shows in Chicago, New York and Boston.

He has designed for the The Barter Theater, Bristol Riverside Theater, Peterborough Players, Merrimack Repertory Theater, American Stage Festival, and Gloucester Stage Company. Special thanks to Mystic Scenic Studios, where he is senior designer, for supporting his theatre habit and KC, Nora, Catherine & Miles for sharing the adventure with him.

SAM FLEMING (Costume Design) Her designs have been seen at theatres across the country including the Los Angeles Opera, San Francisco Opera (world premiere of Dead Man Walking), Alley Theatre, Alliance Theatre, Arizona Theatre Co, Playmaker’s Repertory, Hartford Stage, Denver Center, Buffalo Studio Arena, Center Stage, StageWest, Houston Opera Studio, Skylight Opera, ACT Seattle, Georgia Shakespeare Festival and Berkeley Rep. She designed over 50 productions for Milwaukee Repertory Theater during her 14 years with the company. In New York, she has worked with the Pearl Theatre, Manhattan Class Company and The Womens’ Project. She is the associate costume designer for The Phantom of the Opera on Broadway.

WILLIAM ARMSTRONG (Lights) is pleased to be returning to the Mint having previously lit The Madras House, The Voysey Inheritance, The Flattering Word & A Farewell to the Theatre, and The Charity The Began at Home. Mr. Armstrong has lit numerous productions in New York City, both on and off Broadway, as well as for many of the regional theatres across the country. For the past twenty years he has also worked as an architectural lighting consultant and designer with his company, William Armstrong Lighting Design.

JANE SHAW (Sound Design) with the Mint: productions include So Help Me God!, Is Life Worth Living?, Fifth Column, Return of the Prodigal, The Widowing of Mrs. Holroyd (Lortel Nomination).

BIOGRAPHIES

GUS KAIKKONEN (Translator / Director) Previously at the Mint: Granville-Barker’s The Madras House and the New York premieres of his The Voysey Inheritance and Farewell to the Theatre, and Hankin’s The Charity That Began at Home.

Other NYC credits include Tartuffe, Heartbreak House, Arms and the Man, I Have Been Here Before and the NY premiere of Wycherley’s 333 year old comedy The Gentleman Dancing Master (Pearl Theatre), Macbeth with Stephen McHattie, Candida with Laurie Kennedy, Richard III with Austin Pendleton. He also directed the premieres of Susan Sandler’s Under the Bed (with Cynthia Harris, Joyce Van Patten, Scotty Bloch and Marilyn Sokol) at HB Playwrights, and his own musical cowritten with Todd Almond, People Like Us (with Matt Bogart and Pamela Bob) at NYMF. He has been a guest director at the Juilliard School for the last seven years. In the regions: Ford’s Theatre (Trying with James Whitmore), Goodspeed Opera, Coconut

Grove Playhouse (About Time with Theodore Bikel), Philadelphia Theatre Company, Asolo, GeVa, Florida Rep, Northlight, and Bristol Riverside. He is the Artistic Director of the Peterborough Players, a 77 year old CORST theater in Peterborough, New Hampshire.

Recently in NY: Misalliance (The Pearl), Measure for Measure (Theater for a New Audience), Wind Up Bird Chronicles (the Ohio), The Wonder (Queen’s Company), Sounding (HERE) and Comme Toujours Here I Stand (Big Dance Theater). Collaborators: National Asian American Theater Company, Women’s Project, The Foundry Theater. Her designs have been heard at BAM’s Next Wave Festival, Biennale Bonn, NewYork Theater Workshop, and the RSC. Graduate of the Yale School of Drama, Recipient of the NEA/TCG Career Development Program, Member USA 829.

BIOGRAPHIES

DEBORAH GAOUETTE (Properties Design) has been propping and scene designing in the NYC area for the past six years. Prop credits include: Off-Broadway: So Help Me God!, Is Life Worth Living?, The Widowing of Mrs. Holroyd and The Glass Cage at the The Mint, String of Pearls, Sakarham Binder, Sabina, and Going to St. Ives, props coordinator for the national tours of Evita, Sound of Music, Crazy for You, and South Pacific for Troika Entertainment, Cabaret and 42nd Street at the Trump Plaza Casino in Atlantic City, and was the assistant props coordinator for New York City Opera. Scene design credits include: The Dead Guy at The Producer’s Club, the workshop production of the opera Rain for CMC USA, The Retreat, Autumn Moon, A Rock Opera, Meet George Orwell, and various productions for City Lights Youth Theatre.

Stella Adler Conservatory, and has assisted at Geva, Encores!, and California Shakespeare Theater.

MELISSA M. SPENGLER (Production Stage Manager) BROADWAY: 33 Variations

by Moisés Kaufman. Off-Broadway: Seven, Vital Voices; Ohio State Murders, Theatre for a New Audience; The Milliner, The Directors Company; Hamlet, False Servant, Classic Stage Company; A Little Rebellion Now, Reverie Productions; A Hundred Years Into the Heart, NY Music Theatre Festival. Regional: Motherhood Out Loud, Zerline’s Tale, Peter and Jerry—A Play by Edward Albee, Mary Zimmerman’s Metamorphoses, The Mystery of Irma Vep, Electra, among others, Hartford Stage; 33 Variations, La Jolla Playhouse; Spring Operas 2006, University of Michigan; Blithe Spirit, The Winter’s Tale, A Raisin in the Sun, The Pajama Game, Center Stage (Baltimore); The 25th Annual Putnam County Spelling Bee, Les Misérables, Doubt, I Am My Own Wife, john & jen, Five Guys Named Moe, Ragtime, Art, Weston Playhouse.

ANDREA HAYWARD (Assistant Stage Manager) Just closed the hit Off-Broadway show Altar Boyz. Other productions include Illyria (Prospect Theater Co.), Hunting and Gathering (Primary Stages), Hard Heart (Epic Theatre Company), Widower’ Houses (Epic Theatre Company), Great Expectations (Theaterworks USA), Light in the Piazza and Les Miserables (Weston Playhouse, Vermont).

GERARD JAMES KELLY (Hair & Wig Design) Broadway production of HAIR (Tony Award for Best Revival). New York: The Madras House at the Mint Theater, The Public, Playwrights Horizons, The York and Classic Stage Company.

Regionally: Westchester Broadway Theater, North Shore Music Theater, Walnut Street Theater, Maltz Jupiter Theater, Dallas Theater Center, for Maine State Music Theater, Carousel Dinner Theater.

Shakespeare Festivals include New York, Lake Tahoe, New Jersey, Idaho, and San Francisco.

Premieres include: Tom Jones, Memphis, Fanny Hill, The Three Musketeers, The Internationalist, Tale Of Two Cities and Slug Bearers Of Kayrol Island. FILM: Transamerica, Girls Will Be Girls, The Ten, The Savages, King Bolden and Notorious.

DAVID GERSTEN & ASSOCIATES (Press Representatives) also represents the long running Off-Broadway hits Zero Hour starring Jim Brochu as Zero Mostel, directed by Piper Laurie; Naked Boys Singing!; and The Awesome 80s Prom, as well as My Big Gay Italian Wedding, Electric Pear, INTAR, New World Stages, Red Bull Theater, Stage Entertainment US, and York Theater. David is Associate Producer of the Off-Broadway hit, My First Time; previously, he produced Tea at Five starring Kate Mulgrew as Katharine Hepburn, BASH’d and Gaytino! at the Zipper Theater, and as well as the musical Dr. Sex. He serves on the Board of Governors of ATPAM, The Association of Theatrical Press Agents & Managers. www.davidgersten.com

JENNY LORD (Assistant Director) is delighted to be working with Gus Kaikkonen and the Mint for the first time. She has directed for NYMF, Dallas Theater Center, New Century Theatre, 42nd Street Moon, TheatreWorks, Berkeley Opera, Pocket Opera, San Francisco State University, and NYU/

STUART HOWARD, AMY SCHECTER & PAUL HARDT (Casting) have cast hundreds of shows over the past 25 years. Among their favorites are: Broadway: Twyla Tharp’s Come Fly Away, West Side Story (Currently), August: Osage County (Pulitzer Prize and Tony Award), Gypsy (Tyne

Daly), Chicago (Bebe Neuwirth, Ann Reinking), Sly Fox (Richard Dreyfuss), Fortune’s Fool (Alan Bates, Frank Langella) & the original La Cage Aux Folles.

Off Broadway: I Love You, You’re Perfect, Now Change & The Normal Heart. Happily casting for The Mint for the past 6 seasons.

JONATHAN BANK (Artistic Director) has been the artistic director of the 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 Maurine Dallas Watkins’ So Help Me God! at the Lucille Lortel. Also, Lennox Robinson’s Is Life Worth Living?, Ernest Hemingway’s The Fifth Column in its premiere production, Return of the Prodigal by St. John Hankin (2008 Drama Desk nom., Outstanding Revival of a Play) and before that, 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 which includes his adaptations of Thomas Wolfe’s Welcome to Our City and Edith Wharton’s The House of Mirth, both of which he directed, along with five other Mint rediscoveries. Other directing credits include critically acclaimed productions of Ivanov and Othello for the National Asian American Theater Company, John Brown’s Body, The Double Bass and Three Days of Rain for the Miniature Theater of Chester and The Heiress, Hobson’s Choice, Candida and Mr. Pim Passes By for the Peterborough Players. He earned his M.F.A. from Case Western Reserve University in his hometown of Cleveland, OH. SHERRI KOTIMSKY (General 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.

Would you like to take your support of the Mint to the next level by joining our board of trustees? Over the next few months we’ll be talking with interested individuals who know and appreciate our work and are willing to use their contacts and resources to help the Mint grow and prosper. Contact Jonathan Bank at 212-315-9434 or jbank@ minttheater.org to express your interest.

C r è m e d e M i nt $10,000 and above

• Invitation for two to join the Artistic Director for lunch • Invitation to a rehearsal • Plus all of the benefits listed below

S i l ve r M i nt

$5,000-$9,999

• Two tickets to two special dinner/reading events • Invitation for two to an opening night and cast party • A script from one Mint production autographed by the cast and director • Plus all of the benefits listed below

C h o co l ate M i nt $1,500-$4,999

• Two tickets to each of the year’s productions • A poster from one of the year’s productions • Acknowledgement in Mint Theater newsletters • Plus all of the benefits listed below

S p e a r M i nt $600-$1,499

• Two tickets to one special Mint play reading • Invitation for two to a pre-performance discussion with the Artistic Director • A Mint Theater publication, signed by the Artistic Director • Opportunity to purchase “house seats” • Plus all of the benefits listed below

D o u b l e M i nt

(First Priority Club)

$150-$599

• Acknowledgement in every Mint program • Invitations to all special events and readings • Advance notice of all Mint productions • Subscription to Mint’s First Priority Club Newsletter

To make a donation, call (212) 315-0231 or use the form in the enclosed brochure.

The following generous Individuals, Foundations, and Corporations support the Mint Theater, and we honor their contributions: Crème de Mint: $10,000 and above Carnegie Corporation of New York The Gladys Krieble Delmas Foundation The Jean & Louis Dreyfus Foundation The Max & Victoria Dreyfus Foundation The Fan Fox & Leslie R. Samuels Foundation Mr. & Mrs. Ciro Gamboni Gardner Grout Foundation JBO Holding Co. The Little Family Foundation New York City Department of Cultural Affairs New York Foundation for the Arts New York State Council on the Arts The Shubert Foundation, Inc. anonymous

DONORS

SilverMint: $5,000 to $9,999 Axe-Houghton Foundation Virginia Brody Barbara Bell Cumming Foundation Lucille Lortel Foundation The Ted Snowden Foundation The Harold & Mimi Steinberg Charitable Trust Michael Tuch Foundation ChocolateMint: $1,500 - $4,999 American Theater Wing Lea & Malvin Bank Robert Brenner Linda Calandra Jon Clark Lori & Edward Forstein The Gramercy Park Foundation Ronald Guttman Janet & John Harrington The Heidtke Foundation Herrick Theater Foundation Dorothy Loudon Foundation Executive Director, Lionel Larner Karl Lunde New York City Council for the Humanities The New York Times Company Foundation Fund for Mid-size Theaters, a project of A.R.T./New York Wallace Schroeder David Schwartz Foundation The Dorothy Strelsin Foundation Sukenik Family Foundation Bala & Kala Sury Kathryn Swintek Litsa Tsitsera Steven Williford

SpearMint: $600 - $1,499 Lisa Ackerman Jonathan Bank Richard Barnes & Marta Gross Joann & Eugene Bissell Sharon M. Chantilles & Kevin Wertz Cory & Bob Donnally Charitable Fund Monte Engler & Joan Mannion Fine Family Foundation Eva & Norman Fleischer Ruth Friendly The Gordon Foundation Arthur Grayzel, MD & Claire Leiberwitz Carol & Patrick Hemingway Hickrill Foundation IBM Foundation Joseph Family Charitable Trust Peter Haring Judd Fund Bruno Kavenaugh Edith Meiser Foundation Joseph Morello The New York Times Company Foundation Pfizer Foundation Eleanor Reissa & Roman Dworecki Danielle & Dylan Roberts Susan Scott Harriet Seiler Rob Sinacore State of New York – Office of Parks, Recreation and Historic Preservation David Stenn Suzanne & Jon Stout Katherine & Dennis Swanson M. Elisabeth Swerz anonymous 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 Barbara Austin Mitch Bacharach Earl Bailey Bank of America Judith Barlow Julia Beardwood & Jonathan Willens Jayne Bentzen Ellie & Robert Berlin Barbara Berliner & Sol Rymer Jeffrey Bernstein Joel Bernstein & Gloria Goldenberg Elizabeth Bicknell

Goldman, Sachs, & Co. Matching Gift Progam Caryl Goldsmith Samuel Gonzalez Margaret Goodman Joyce Gordon & Paul Lubetkin The Gordon Foundation Mary & Gordon Gould Virginia Gray Anita & Edward Greenbaum Harry Greenwald & Babette Krolik Greenwich House Inc. Theater Program Antonia & George Grumbach Guild Family Foundation The Rodgers Family Foundation/Mary R. Guettel Gunilla Haac Lanie Hadden Julia B. Hall Lynne & Bob Hanson Joseph Hardy Laura T. & David Harris Carol Hekimian Reily Hendrickson Sara Hermann Sigrid Hess Barbara Hill Dorothy & Edward Hoffner Madelaine & Milton Horowitz Cathy Hull & Neil Janovic Anne Humphreys Camille Infranco & Edwin Partikian Harriet Inselbuch Linda Irenegreene & Martin Kesselman Jocelyn Jacknis Ellie Jacob Cerise Jacobs Jacqueline & James Johnson Johnson & Johnson Ellen & Peter Jakobson Michael Jones Roberta A. Jones Christopher Joy & Cathy Velenchik Jane Kapsales Anne Kaufman Joan Kedziora, M.D. Karen Kelly Laurie Kennedy & Keith Mano Georgianne Enisign Kent Roberta & Gerald Kiel Kaori Kitao Robert & Carol Kleckner Caral G. Klein Dr. Elizabeth & Rabbi William Kloner Paul Knierman Susanna Kochan-Lorch & Steven Lorch Jean Kroeber Mildred G. Kuner Carmel Kuperman George LaBalme George LaForest Mary & David Lambert Lee & Richard Laster Gene Laughorne Kent Lawson & Carol Tambor Margaret & Gordon Leavitt Gloria & Ira Leeds Jane & Eliot Leibowitz Laura & Rodney Leinberger

DONORS

Helena & Peter Bienstock David M. Blank Steven Blier Louis Blumberg & Ellen Harrison Ronald Blumer & Muffie Meyer Michaela Bober Rose-Marie Boller & Webb Turner Jeffrey S. Borer Dorothy Borg Lori & Rick Borman Barbara & Leonard Bornstein Ann Butera Elaine B. Bye Peter Cameron Charles Carberry & Kathleen Dunne Richard Carroll Andrew H. Chapman Robin Chase Tina Chen Stephen & Elena Chopek Steven R. Coe Jeffrey Compton & Norma Ellen Foote Penny & Peter Costigan Susan & George Crow Patricia Daily Stuart Davidson Ruth & Anthony DeMarco G.H. Denniston & Christine Thomas Pat DeRousie-Webb & Robb Webb Katherine & Bernard Dick Ruth & Robert Diefenbach Susan A. And Robert N. Downey M. Burton Drexler Mina & Martin Ellenberg Elizabeth Ellis Sara & Fred Epstein Grace & Don Eremin Judith Eschweiler Susan Etra & Michael Yeoli H. Read Evans Rhetta & Max Felton Exxonmobil Foundation Angela T. Fiore Edmee & Nicholas Firth Barbara Fleischman Martha Fleischman Charles Flowers Barbara Fogel Donald Fowle & Lionel Lorona Nancy & Cruger Fowler Jeffrey Frank Joan & Edward Franklin Burry Fredrik Monroe Freedman The Friars Foundation Dr. H. Paul & Delores Gabriel Mary Ann & John Garland Agnes & Emilio Gautier Phyllis Gelfman Nomi Ghez Foundation James C. Giblin Joann & Howard Girsh Suellen & David Globus Ruth Golbin Gloria Goldenberg Jane & Charles Goldman Joyce Goldman

DONORS

Dr. Albert Leizman Barbara & Herbert Levy Carol & Stanley Levy Julia Levy Susan Linder Diane & Joel Lipset Audrey & Joseph Lombardi Ruth Lord Paul Lubetkin Gabrielle & Samuel Lurie Estelle Lynch Charlene & Gary MacDougal Judith Mahler Mary Rose Main Vivian & John Majeski Miriam Malach Joan Mannion Marcia & Robert Marafioti Barry Margolius Jacqueline Maskey Margaret Mautner George Mayer Ann McCrory Betsy McKenny Martin Meisel Richard Mellor, Jr. The Memorial Foundation for the Arts Merrill Lynch & Co. Foundation John David Metcalfe Leila & Ivan Metzger Radley Metzger Eleanor S. Meyerhoff Bernard and Lusia Milch Susan & Joel Mindel Ellen Mittenthal Judith & Allan Mohl Elaine & Richard Montag Virginia & Robert Montgomery Doreen & Larry Morales George Morfogen Elaine & Ronald Morris Carole & Theodore Mucha Tim Mulligan Georgia & Mark Munsell Karol Murov Jean and B.W. Nimkin Tim Nolan Dorinda J. Oliver Dottie & Richard Oswald Gwen & Bruce Pasquale Frederick G. Perkins Gillis & Leonard Plaine Ina & Jack Polak Sheila & Irwin Polishook Georgette & David Preston Stanley Raiff Susan & Peter Ralston Joe Regan, Jr. Henry Reilly Clayton Reynolds Arleigh Richards & William Wise Allen Lewis Rickman Irven Rinard George Robb Phyllis & Earl S. Roberts Susan Robinson Renee & Seymour Rogoff Sylvia Rosen Barbara Rosenthal

Mark Rossier James Russell Jordin Ruderman & Kevin Shand Anita Sanford Judy & Sirgay Sanger Anita & Mark Sarna Catherine Scallier Herbert Schlesinger Nan Schubel Michael Schussler Marilyn & Joseph Schwartz Phyllis Schwartz Earlyne S. & William Seaver Barbara & Donald Shack Carole M. Shaffer-Koros & Robert M. Koros Camille & Richard Sheely Virginia Shields & Audrey Eisman The Martin E. Segal Revocable Trust Jeanne Sigler Kayla J. & Martin Y. Silberberg Marion & Joan Simon Fund Rayna & Martin Skolnik Lily N. Smith Barbara & Stanley Solomon Dr. Norman Solomon Linda & Jerry Spitzer Stagedoor Alec Stais & Elissa Burke Lee Steelman Sherry & Bob Steinberg David Stenn Frances Sternhagen Penelope & Gerald Stiebel Ilene Stone Elaine & Ulrich Strauss Stella Strazdas & Hank Forrest Pamela Stubing Joseph Sturkey Carol & Will Sullivan Larry E. Sullivan Mary Swartz Gregory F. Tague Douglas Tarr Bertram Teich Anne Teshima Annie Thomas & David H. Kirkwood Thomson Tax & Accounting Roberta & Peter Tomback Jill Tran Susan & Charles Tribbitt Noel Valis Joan & Bob Volin Jerry Wade Edith & Gordon Wallace Stratton Walling John Walsh Lillian & Saul Wechter George Weeks Richard Weisman Lillian & Robert Williams Marsha & Vincent Williams Ralph M. Wynn, M.D. Kenneth Zarecor anonymous

This list represents donations made from July 2008 through March 2010. Every effort is made to insure its accuracy.

Please contact us regarding any mistakes.

d o c to r k n o c k s ta f f Assistant Production Manager Wayne Yeager Assistant Lighting Designer Eric Larson Assistant Sound Designer Nick Gorczynski Wardrobe Supervisor Karle J. Meyers Production Assistant Jennifer Sullivan Stage Crew Michael Denis Board Operator Michael Watkins Master Electrician Douglas Filomena Master Carpenter Carlo Adinolfi Carpenters Kenny Komer, Eric Nightengale,

Dennis O’Leary, Ryan Sobotka

Chad Yarborough Scenic Charge Julia Hahn Scenic Artist Anastacia Storrie House Manager Box Office Manager Box Office Assistant

Ivana Karapandzic Martha Graebner Jennifer Sullivan

Lighting installed by the Lighting Syndicate.

Featuring music by The Knights: Eric Jacobsen, conductor; Jan Vogler, cello; TheKnightsNYC.com

t h e p ro d u c e r s wo u l d l i k e to t h a n k t h e f o l low i n g :

Jerome Chalmette; Nadia Touloom, Janet Glass & Jean Riviere.

The Producers wish to thank the following for their assistance in this production: The Arizona Theatre Company and The Pearl Theater Company.

Production design support provided by the Edith Lutyens and Norman Bel Geddes Foundation. 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 STAFF Jonathan Bank Artistic Director Sherri Kotimsky General Manager Martha Graebner Box Office Manager Hunter Kaczorowski Assistant to the Artistic Director Ellen Mittenthal Development Consultant Heather J. Violanti Dramaturg 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 www.minttheater.org New York, NY 10036 Box Office: (212) 315-0231