The Glass Cage

artistic director jonathan bank general manager sherri kotimsky

352 West 44th Street, New York City (Between 8th and 9th avenues) 212-399-4141 212-399-4899 (fax)

www.etcrestaurant.com Mouth-watering Italian fare with Mediterranean accents served in an ambience punctuated by modern art and industrial design elements draws New Yorkers and tourists alike to this chic Midtown haven where the outgoing staff with certainly help you make the most of your dining experience.

Mint Theater Company

Jonathan Bank, Artistic Director Sherri Kotimsky, General Manager presents

the glass cage by

J.B. Priestley with

Gerry Bamman, Chet Carlin, Chad Hoeppner, Aaron Krohn, Robin Moseley, Saxon Palmer, Jeanine Serralles, Sandra Struthers-Clerc, Fiana Toibin, Jack Wetherall

set design costume design lighting design Roger Hanna Camille Assaf Marcus Doshi sound design properties design

Lindsay Jones Deborah Gaouette production stage manager assistant stage manager Brian Maschka Andrea Jo Martin press representative illustration graphics David Gersten & Associates Stefano Imbert Hunter Kaczorowski casting Stuart Howard, Amy Schecter & Paul Hardt

directed by

Lou Jacob

Opening night September 21, 2008

The Glass Cage 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.

the glass cage cast David McBane Malcom McBane, David’s brother Mildred McBane, their sister-in-law Elspie McBane, David’s daughter John Harvey, Mildred’s nephew

Gerry Bamman Jack Wetherall Robin Moseley Sandra Struthers-Clerc Chad Hoeppner

Bridget Dr. Gratton

Fiana Toibin Chet Carlin

Jean McBane Angus McBane Douglas McBane

Jeanine Serralles Saxon Palmer Aaron Krohn

g

The scene throughout is a sitting room in the McBane house in Toronto, October, 1906.

Act One:

Scene One: Evening.

Scene Two: Four days later.

— ten minute intermission —

Act Two:

Scene One: Evening, five days later.

Scene Two: Later that night.

Gerry Bamman

Chet Carlin

Chad Hoeppner

Aaron Krohn

Robin Moseley

Saxon Palmer

Jeanine Serralles

Sandra Struthers-Clerc

Fiana Toibin

Jack Wetherall

the glass cage about the play by thomas priestley

B

esides his boundless creative energy, which led to a constant stream of words pouring out day after day, as he sat morning and late afternoon at his typewriter, my father entertained an equally constant stream of ideas; these he would jot down in his little black book

He liked to challenge himself to write in different styles and genres, partly so that he

could himself enjoy the process of writing. But whether the shape and form of the play came to him suddenly as he prepared to write, or whether there had already been an idea in the little black book we will never know. Writing as he did in the naturalistic tradition of playwriting prevalent in the 1930s, he regretted the flatness of conventional middle class spoken English, and envied the comparative richness of North American and Irish speech. Did this influence his decision to write a play set in Canada? It would have been a welcome challenge.

My father was against dogma of any kind,

Above: J.B. Priestley (seated) with his son Thomas and one of his daughters, Rachel, in California, 1936.

Photo care of J.B. Priestley Library, University of Bradford.

continued

ABOUT THE PLAY

for future use. Sadly the little black book has disappeared, so it is impossible now to detect the origin of any particular work. However we do know he visited Canada in the mid 1950s, and there came across the Crest Theatre in Toronto and was instantly struck by the talent and appearance of the three siblings, Barbara Chilcott and her brothers Murray and Donald Davis, so much so that he promised to write a play for them, and this turned out to be The Glass Cage.

My father believed in the craft of playwriting, a craft handed down through the ages, and approved of experiments. He cared passionately about the serious theatre, which was entertaining as well as inspiring and which at best can enhance a healthy feeling of community with others - a true “dramatic experience”.

-Thomas Priestley, The Guardian, July 2, 2005 continued from previous being a man of independent mind, and was as suspicious of religious as of political dogma. If the central theme of The Glass Cage is hypocrisy, there is a moving and unexpected resolution.

Outsiders threaten the complacency of a cosy household; both must be made to face the truth about themselves before they can progress; they have to escape from their cage. Confrontation leads to redemption, and therein lies the richness and fascination of the piece.

Once again my father showed his skill at ensemble writing and his belief in the dynamic of a group, a microcosm of society. Although the company from the Crest brought the play to London in April 1957, it slipped out of public

memory, perhaps because it was never included in any published collection of his plays until I included it in Plays Two, a collection of his plays I edited for Oberon Books in 2004. But we had already rediscovered it for a reading during a three month festival dedicated to his work in the autumn of 2001 at the West Yorkshire Playhouse in the north of England. That reading was a revelation, and several directors were eager to put it on, but it was only last year that an excellent production was mounted at the Royal & Derngate Theatre in Northampton; sadly it was not taken up elsewhere until this, the first production in the USA. We wish joy and delight to performers and spectators.”

about the author John Boynton Priestley

ABOUT THE PLAY

Priestley was born in the North England industrial town of Bradford. In his teens, he quit school to become a clerk in the wool trade.

Already an ardent Socialist, he wrote articles for a political journal, The Bradford Pioneer, in his spare time.

After the war, Priestley established himself as an essayist and novelist. With the help of American playwright, Edward Knoblock, he adapted his best-selling novel, The Good Companions, for the stage in 1931. Priestley, at age 37, suddenly found himself beginning a new career as a playwright. In 1932, he enthralled the West End with Dangerous Corner, an ingenious thriller that presents multiple outcomes of the same event. For the remainder of the decade, and throughout the 1940’s, Priestley would rule London theatre.

By the 1950’s, however, Priestley was falling out of favor. His socialist politics ruffled the Establishment on both sides of the Atlantic.

His apparently “realistic” plays, often set in the Edwardian past, seemed old-fashioned compared to the vituperative “Angry Young Man” movement then setting London theatre ablaze.

However, beneath the deceptively calm, ordered surface of Priestley’s drama lurks a subversive tumult of time and emotion.

The iconoclastic Priestley was intrigued by the vagaries of time. He studied the theories of mystic P.D. Ouspensky and mathematician J.W. Dunne, who argued that past, present, and future exist on the same temporal plane.

Priestley’s own experiments with time are evident in such works as Time and the Conways (1937).

Priestley’s work remained a staple of repertory theatre, but it wasn’t until the breathtaking mid1990’s revival of An Inspector Calls, directed by Stephen Daldry, that audiences began to realize how prescient he was.

— Heather J. Violanti

the glass cage and the crest theatre

P

by heather j. violanti

riestley wrote The Glass Cage specifically for the Crest Theatre, the first professional theatre company in Canada with its own, permanent home.1 On a visit to Toronto in April, 1956, Priestley observed the Crest’s founders—Murray Davis, Donald Davis, and Barbara Chilcott—make a grand entrance into the party where he was sharing a table with renowned Canadian writer, Robertson Davies. Upon hearing that the Davises and Chilcott were not only siblings but highly respected actors, Priestley began thinking in dramatist mode: As I stared at them, not too rudely, I hope, I said to myself: ‘What an entrance these three could make!’ I could not remember offhand any play worth doing that was dominated by two brothers and a sister…..Unless, of course, a play was written for them.

Suppose I wrote a play for them? 2

And suppose he did. Within the next two days, Priestley had charmed his way into a commission. He would write a drama that would showcase the three siblings’ formidable stage presence.

In 1956, the Crest Theatre was only three years old, but it had already begun to change the Toronto cultural landscape. The Davis brothers were determined to establish a professional theater in Toronto dedicated to employing Canadian talent, and residing in a permanent home—something no other theater in Canada had. Their sister, Barbara Chilcott, left a burgeoning stage career in England to help them realize their ambition.

established their own summer company, the Straw Hat Players in 1948), but professional jobs elsewhere were few and far between.

Eventually, the success of their summer stock company convinced the Davis brothers that a year-round Toronto theatre could be viable, so in 1953, they purchased the Belsize Theatre, a rundown cinema and former vaudeville house.

They renamed it the Crest and promptly converted it for live performance. Rehearsal space was found in the upper floors of the St. Lawrence Market, next door to the National Ballet.

continued

THE GLASS CAGE

In the mid-Fifties, many Toronto artists were still vying to win respect from the critics and acceptance from the public. The fledging ballet National Ballet rehearsed in the upper stalls of the St. Lawrence Market, where the smells of rotten produce and freshly butchered cattle wafted in from below. There were no permanent professional theaters—actors and directors did find work in summer stock (the Davises had

Above: Murray and Donald Davis with Barbara Chilcott from the Crest production of The Glass Cage (photo by Robert Ragsdale). Below, left: Barbara Chilcott in A Jig for the Gypsy in 1954 (photo by John Steele).

Right: poster from the Crest’s first production in 1953.

of Modernism. Indeed, his masterpiece, An Inspector Calls, written in 1947, shows the tension between stifling social mores and a rising public consciousness Priestley saw as characteristic of the era. “For all their faults,” Priestley wrote,“the Edwardians could maintain that atmosphere of hopeful debate which never survived the Great War.”3 Priestley cautioned skeptics that in writing The Glass Cage, he was not indulging in an imperialist exercise. He was not the stodgy Englishman telling the eager young Canadians what to do: Who am I to tell a Canadian audience what it should think of itself? Let nobody imagine for a second that I am setting myself up to be a better Canadian dramatist that actual Canadian dramatists themselves… ..[The Glass Cage] is set in Canada because the Davis trio, for whom I wrote it, happen to be Canadians.”4

Photo from an unidenfitied production at the Crest Theatre.

continued from previous The Crest Theatre’s first production was Richard of Bordeaux, a lush period-piece set in 14th century England. The play had helped make the reputation of John Gielgud’s acting company, and the Davises reasoned its medieval spectacle would wow the crowds. With a cast of sixteen and several scene changes, the play presented a formidable technical challenge, but one that excited an ensemble eager to prove their mettle.

THE GLASS CAGE

By 1956, when Priestley encountered the Davis family, the Crest had established itself as a vital part of Toronto’s cultural life. It ran an ambitious schedule, opening a new play every two weeks. (A fortnight after the medieval largesse of Richard of Bordeaux, for example, it had launched into the 1930’s society comedy, The Philadelphia Story). The schedule was flexible enough to hold hits over for one month or more, such as the well-received comedy, The Four Poster, which starred Barbara Chilcott and her real-life husband, Max Helpmann, as sparring spouses.

Priestley capitalized on the Crest’s commitment to nurturing Canadian theatre by setting his new play in 1906 Toronto. Though the Canadian setting was new for Priestley, the time was not. He viewed the Edwardian epoch as a crucial transitional phase between the fustiness of Victorianism and the experiments

Priestley hoped the play would augment the Crest’s reputation, and perhaps introduce it to international audiences. His name alone ensured that the 1957 Toronto opening was attended by both New York and London critics. Brooks Atkinson cabled to The New York Times that Priestley’s new play “keeps the audience engrossed until the final curtain” and had even higher praise for the Toronto company itself. “There seems no doubt,” he wrote “that the Crest Theatre is a permanent Toronto institution now in the process of creating a permanent audience.”

The success of the sold-out Toronto run encouraged the Crest Theatre to realize their long-term goal of bringing the first allCanadian production to London’s West End. The Glass Cage duly transferred to London’s Piccadilly Theatre for a limited engagement.

Opening night was greeted with standing ovations and seven curtain calls. “In Canada,” the critic for the Daily Mail wrote: “I have long been led to believe, there is no native professional theatre. I believe it no more.”

Paul Illidge, Glass Cage: The Crest Theatre Story J.B. Priestley, Mayfair magazine, 1957 J.B. Priestley, The Edwardians 4 J.B. Priestley, Mayfair magazine 1 2 3

GERRY BAMMAN (David McBane) received

Obie and Drama League awards and a Drama Desk nomination for best featured actor for his performance as Richard Nixon in Nixon’s Nixon. He was a founding member of the Manhattan Project, one of the foremost experimental theater companies of the 1970’s, directed by Andre Gregory. Their production of Alice in Wonderland received an Obie award and was performed over 500 times in New York and around the world. He has appeared in many New York productions on Broadway and off, and in regional theaters. His most recent work was in the American premiers of Bartleby the Scrivener, Jean-Claude Carriere’s Encounter at Valladolid, the title role in Ward Just’s Lowell Limpet, Robert Moses in Shakespeare, Moses, and Joe Papp — which won the Helen Hayes award for best new play—and A.R. Gurney’s Mrs. Farnsworth. Films: “Runaway Jury”, “Two Family House”, “Passion of Mind”, “Home Alone 1 and 2”, “Lorenzo’s Oil”, “Secret of My Success”, “Bodyguard”, “True Believer”, “Pink Cadillac”, and --- awaiting release --- “My Father’s Will”. Many appearances on “Law & Order”.

CHET CARLIN (Dr. Edward Gratton) appeared

at the Mint as George Booth in The Voysey Inheritance and is excited to be back. Recent work includes the Abbe Faria in The Count of Monte Cristo at the Alabama Shakespeare Festival, Candy in Of Mice and Men at the Studio Arena in Buffalo, and, Off-Off Broadway, as Seamus in Shift Change by his son, Ben Carlin. He appeared on Broadway in Gore Vidal’s An Evening With Richard Nixon and later, as a nervous lawyer opposite Henry Fonda, in First Monday in October. National tours include Fiddler on the Roof, Dial “M” for Murder, and Sir Peter Hall’s As You Like It. Favorite roles include the title role in King Lear, Thomas More in Man for All Seasons and Scrooge in The Radio City Christmas Spectacular. Television includes “Return to Lonesome Dove”, all the “Law & Order” shows and most of the soaps. He lives in the Catskills with Miriam, his patient wife for forty years.

CHAD HOEPPNER (John Harvey) Broadway:

AARON KROHN (Douglas McBane) Broadway:

The Farnsworth Invention, The Coast of Utopia, Julius Caesar, Henry IV, The Invention of Love , NY/regional includes King Lear workshop (Public Theatre), Echoes of the War (Mint Theatre), Philoktetes by John Jeserun (La Mama), The Hostage; As You Like It; Romeo and Juliet (Old Globe Theatre), In The Jungle of Cities; Macbeth; Cyrano de Bergerac (Alley Theatre), Beauty and The Beast (T.U.T.S.), Sheppey; Much Ado About Nothing (Alabama Shakespeare Festival), Ireland tour of The Complete Works of Shakespeare Abridged.

Television: “Welcome To New York.” MFA from Old Globe Theatre, University of San Diego. AEA. ROBIN MOSELEY (Mildred McBane) last

appeared in New York in the Roundabout’s production of Pygmalion. Prior to that she was a company member of the production of Heartbreak House (also for the Roundabout) and was the standby for the role of Grace in Faith Healer at the Booth. Other New York roles have included Violet in The Memory of Water and Judith in Aristocrats, both for Manhattan Theatre Club, Lady Faulconbridge in King John at the Delacorte and Belinda in Seasons Greetings at the Joyce. She has appeared at over 15 Regional theatres most recently at the Denver Center where favorite roles included Maureen in The Beauty Queen of Leenane, Margrethe in Copenhagen, and Beatrice in Much Ado About Nothing. She was a company member with the Alley Theatre for 6 years. Television and film credits include “Law & Order”, “Law & Order SVU”, and “As the World Turns”, and the films “The Juror”, “The Sky’s No Limit” and “Manhunter”.

SAXON PALMER (Angus Mc Bane) Mint

Theatre debut. Other NY theatre includes Measure for Pleasure (The Public), Design for Living, You Never Can Tell, Three Sisters, and A Flea in Her Ear (all Roundabout Theatre), Merchant of Venice (NY and RSC), Jew of Malta, and The Ohio State Murders (all Theatre for a New Audience). Favorite regional credits include Will Eno’s King (NY Stage and Film), Hamlet in Hamlet, and Eric Bogosian’s Humpty Dumpty. Was schooled at Florida State University.

JEANINE

SERRALLES

(Jean

McBane)

Mint Theater debut. Off-Broadway credits include: The Misanthrope (NYTW, Drama League Nom), The Black Eyed (NYTW, Drama League Nom); Hold Please (Working Theater, Drama Desk NomFeatured Actress); Antigone Project (Women’s Project). NYC Theatre include: Vendetta Chrome (Clubbed Thumb); Paris Commune (Public Lab);

BIOGRAPHIES

Come Back Little Sheba (Bruce), Butley (Student, u/s Joey, Mr. Gardener). Off-Broadway: Richard III (Classic Stage Company), The Three Musketeers, Macbeth (The Acting Company). Other New York credits: As You Like It (NYSF), Scituate (TBG), The Book Play (Fringe 2007), originated the role of Edward in Edward the King (Gayfest NYC). Regional: A Midsummer Night’s Dream, Skin of Our Teeth (Chautauqua Theatre Company). Workshops / readings: NYSAF, Studio Dante, MTC, New York Theatre Workshop, Guthrie Theater. TV: “Law & Order: SVU.” MFA: NYU Graduate Acting Program. BA: Colorado College.

Chad also works as a consultant for The Trust for Public Land and other environmental groups.

Perfect Harmony (Westbank). Some regional credits include: 1001(Denver Center); Aunt Dan and Lemon (Merrimack); Lucy and the Conquest (Williamstown).

She has also worked at Woolly Mammoth, Cincinnati Playhouse, Dallas Theater, Barrington Stage, O’Neill Playwrights Conference and Sundance Theatre Lab. Film & TV credits: “All Good Things”, “Two Lovers”, “Across the Universe”, “Sex and the City” and “Guiding Light”. She is a NYTW Usual Suspect, and has an MFA from the Yale School of Drama. Many thanks to Lou Jacob and the Mint Theater.

FIANA TOIBIN (Bridget) Broadway: Long Day’s

Journey into Night (2003 Tony Best Revival), The Weir, Shining City ; Off-Broadway: Sive (Irish Rep), Crestfall (Origin/59E59), The Ginger Man (Irish Arts), The Boys (Outhouse), Fire Eater. Other : Mrs. Packard (McCarter), Cyrano (Shakespeare Theatre DC), The Weir (Pittsburgh Public, Geffen Playhouse), Conversations on a Homecoming (Druid Theatre Co at Donmar Warehouse London), Witches (Olympia Theatre) and A Dolls House, Stags and Hens (Andrews Lane, Dublin); TV: “Sopranos”,” Law & Order: CI”,” Law & Order: SVU”,” All My Children” and “Fair City” . She directed Morna Regan’s new play for Origin Theatre’s End of Lines in the First Irish Theatre Festival currently running at 59E59.

SANDRA STRUTHERS-CLERC (Elspie McBane) is delighted to be making her debut at

the Mint. She has worked regionally with Actor’s Theatre of Louisville, Baltimore CenterStage, American Repertory Theater, Theatre de la Jeune Lune, Williamstown Theatre Festival, as well as many theaters in her hometown of Minneapolis. Sandra has an MFA in acting from Harvard/ART, and a BA from Wesleyan University.

BIOGRAPHIES

Jack Wetherall (Malcolm McBane) Mint

Theater: debut. Broadway: The Elephant Man (title role). Off-Broadway: originated the role of Mario in Tamara; Henry VI (Warwick), Theater for a New Audience; Swansong (Will Shakespeare) Lucille Lortel’s White Barn Theatre; Bad Women (Phaedra), Talking Band. Stratford Festival Theatre of Canada (under Robin Phillips’ artistic direction): Henry V (title role), As You Like It (Orlando), and The Seagull (Konstantin) with Dame Maggie Smith and Roberta Maxwell. Other: Willi (title role), Gross Indecency: The Three Trials of Oscar Wilde (Oscar Wilde), The Retreat from Moscow (Edward), Cincinnati Playhouse in the Park; Heartbreak House (Shotover), Goodman Theater; Cyrano de Bergerac (title role), Guthrie Theatre; Pericles (title role), Hartford Stage Company; Twelfth Night (Orsino), The Rivals (Jack Absolute), The Old Globe; Romeo and Juliet (Mercutio), Long

Wharf Theatre; Macbeth (title role), Love’s Labour’s Lost (Berowne), Alabama Shakespeare Festival; The Cherry Orchard (Lopakhin), American Conservatory Theatre; Les Liaisons Dangereuses (Valmont), Pittsburgh Public Theatre; Democracy (Ralph Waldo Emerson) G.C.T.C., Ottawa. Film: starring role in “Third Man Out” and “This Time Forever.” Television: Four seasons as Vic on the Showtime series “Queer as Folk.” Additional: Mr. Wetherall won Dramalogue Awards for his performances in The Bacchae (Dionysis), Odyssey Theatre, and Man and Superman (Jack Tanner), A Noise Within in Los Angeles. He directed a critically praised production of Measure for Measure at the Shakespeare Theatre of New Jersey and continues to work on a one-man show titled Tunney/Shakespeare in Six Rounds by David Lane playing the role of Gene Tunney (former heavy-weight boxing champion) that had a successful debut at the Merrimack Repertory Theatre recently.

LOU JACOB (Director) Recent Off-Broadway

productions include the world premiere of Sam Shepard’s The God Of Hell, starring Tim Roth, Randy Quaid, J. Smith-Cameron and Frank Wood; Coyote On A Fence, (2 Drama Desk Award Nominations, Village Voice Top 10); Hard Times (Village Voice Season Highlight, Drama Desk Nom. Best Director); Vilna’s Got A Golem (Village Voice Season Highlight); Live Girls by Victoria Stewart at Urban Stages. Summer Play Festival for 3 years, directing Hardball by Victoria Stewart, Courting Vampires by Laura Schellhardt and Arrivals And Departures by Rogelio Martinez.

Internationally and on tour, his new production of Saturday Night Fever, for two seasons at the Beatrix Theatre in Amsterdam, and his play, Night Train To The Stars, premiered in Tokyo at the Metropolitan Theatre. He is the director of Backyardigans Live!

For Nickelodeon and Broadway Across America.

Other recent US productions include Black Comedy at Barrington Stage Company; Wintertime, Speaking In Tongues and Shakespeare, Moses And Joe Papp (2 Helen Hayes Awards, including Outstanding New Play) at The Roundhouse Theatre, Washington, DC; Julius Caesar at People’s Light and Theatre Co.(Production of the Year: Philadelphia Inquirer); Angus MacLachlan’s The Radiant Abyss at Woolly Mammoth/Kennedy Center; Red Herring at Florida Stage; Chesapeake, Honus And Me and Fuddy Meers (Production of the Year: Pittsburgh Post-Gazette) at City Theatre; Just So, produced by Cameron MacKintosh and Goodspeed Musicals; Mr. Jacob is the recipient of The PRINCESS GRACE STATUE AWARD and a previous PRINCESS GRACE AWARD. He was Resident Director at New Dramatists in 19992000 and an original New York Theatre Workshop

‘Usual Suspect.’ Lou is on the faculty of The New School for Drama.

ROGER HANNA (Set Design) is pleased to return

to the Mint, for whom he designed Walking Down Broadway, directed by Steven Williford (2005—2006 Drama Desk nomination, Best Set Design of a Play).

Recent productions include Cloudless, choreographed

by Susan Marshall (Bessie Award), and Dialogues of the Carmelites for Mannes Opera. Favorite collaborations include On the Town and Assassins, directed by Jack Allison, Dario Fo’s Johan Padan and the Discovery of the Americas and The Peasant Bible, directed by Ron Jenkins, L’enfant et les Sortilegès, directed by Robin Guarino, and Keith Reddin’s Black Snow, directed by Ralph Buckley. During the course of this production, Roger drove 9,098 miles with his five-year-old son through 28 states in 32 days without the benefit of video games or DVDs. They had fun. Roger next designs Ghosts and Ballet of Light, choreographed by Jody Sperling, at the Alvin Ailey in October. To see some of his work, visit www.rogerhanna.com.

ASSAF (Costume Design) is a Franco-American designer living in New York.

Recent theater credits: The Backyardigans Live!

(Nickelodeon national tour, with Lou Jacob), The Lieutenant of Inishmore (Syracuse Stage), Killing the Boss (Cherry Lane), The Taming of the Shrew (Great River Shakespeare Festival), Richard II (Milwaukee Shakespeare), Three Children (Shanghai Fringe Festival, Hong Kong Fringe Club), The King Stag (Yale Repertory Theater). Opera credits: Elmer Gantry (Nashville Opera, Montclair State University), Don Giovanni, and the upcoming Falstaff (New York Opera Society, Théâtre Municipal de Castres, France). Also upcoming: the premiere of Cambodian-American opera Where Elephants Weep (Phnom Penh, Cambodia).

Her costumes for dance have appeared at the New York City Ballet, the Joyce Theater, the Guggenheim museum, Dance New Amsterdam. She is an associate artist of Moving Theater and a recipient of the 2007 NEA/TCG career development program for designers.

MFA: Yale School of Drama.

CAMILLE

MARCUS DOSHI (Lighting Design) designs

LINDSAY JONES (Original Music and Sound Design) Off-Broadway credits include: The God

of Hell, Dedication Or The Stuff of Dreams, In the Continuum, 1001, Something You Did, John Ferguson, String of Pearls, Boy, O Jerusalem, Beautiful Thing and Closet Land. Regional credits include: Center Stage, South Coast Repertory, Arena Stage, Alliance, Goodman, Cincinnati Playhouse, Kansas City Repertory, Old Globe, Steppenwolf, Actors Theatre of Louisville, Ford’s Theatre, Guthrie, Hartford Stage, Chicago Shakespeare, Lookingglass, Yale Repertory, as well as many others. International credits include productions in Austria, Zimbabwe, South Africa, Scotland and with the Royal Shakespeare Company in Stratford, England. Lindsay has received four Joseph Jefferson Awards and 12 nominations, an Ovation Award, LA Drama Critics Circle Award, two ASCAP Plus Awards, nominations for Barrymore, Austin Critics Circle and NAACP Theatre Awards and was the first sound designer to win the Michael Maggio Emerging Designer Award. Recent TV/Film scoring work includes the pilot “Family Practice” for Sony Pictures/ Lifetime Television and “A Note of Triumph: The Golden Age of Norman Corwin” (2006 Academy Award winner, Best Documentary, Short Subject) for HBO Films.

DEBORAH GAOUETTE (Properties Design)

has been propping and scene designing in the NYC area for the past six years. Prop credits include: OffBroadway: String of Pearls, Sakarhem 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.

BRIAN MASCHKA (Production Stage Manager) has previously worked on Susan and God

and John Ferguson at The Mint. Other New York credits

BIOGRAPHIES

lighting for theatre, opera & dance as well as collaborating with artists & architects on a wide array of non-theatrical ventures. Recent projects of note include Queens Blvd and First Breeze Of Summer (Signature, NYC), The Skin Of Our Teeth (Intiman, directed by Bartlett Sher), and the international tour of Pamina Devi, choreographed by Sophiline Cheam Shapiro. NYC & Regional: The New Group, Soho Rep, Synapse, Joyce, Lincoln Center, Yale Repertory, Hartford Stage, Pittsburgh Public, St. Louis Repertory,

Dallas Theatre Center, Chicago Shakespeare, Court, Seattle Rep, Portland Center Stage, Virginia Opera, Boston Lyric Opera, Lyric Opera of Kansas City, Florentine Opera, Seattle Opera among others. Art & Exhibition: DESIGN LIFE NOW (Cooper Hewitt National Design Museum 2006), KARAOKE ICE (ISEA/ZeroOne Festival 2006, LACE 2007), ABOVE & BELOW by artist Maya Lin (Indianapolis Museum of Art 2007). Education: Wabash College, Yale School of Drama. More at www.marcusdoshi.com.

include: 100 Saints You Should Know; Frost/Nixon, Spiegelworld, Sandra Bernhard: Everything Bad and Beautiful, Here Lies Jenny, Indoor/Outdoor, Ears on a Beatle, Sakharam Binder and The Dew Point. He is the stage manager for the Perform! series at the Museum of the City of New York and the producer of The Snake Oil Show. Brian has toured the country with Turn of the Screw and Two Gentlemen of Verona. Regionally Brian has done Rabbit Hole and Doubt at Florida Rep; Kiss Me, Kate and Swingtime Canteen at Weston Playhouse; and Peter Pan, Wit and Art at Syracuse Stage. He has spent seasons with Barrington Stage Company, The Krannert Center’s Summerfest and The Utah Arts Festival. Brian attended Saint Mary’s University of Minnesota and California Institute of the Arts.

ANDREA JO MARTIN (Assistant Stage Manager) credits include: sub work with Rent on

Broadway; Broadway Backwards 3; The Madras House; (Mint Theater — thanks for having me back!); Busker Alley, Fanny Hill, A Fine and Private Place, 2005 & 2007 Musicals in Mufti Series, NEO 3 (York Theatre Company); A Dangerous Personality (Perry Street Theatre); WASPs In Bed (Om Productions); Beauty on the Vine (Epic Theatre Center); De Novo (Houses on the Moon); Trouble in Shameland (EMPYREproductions); One Act Plays, 2006 (Our Time); Show Up! (Enact). Thanks to Lou, Brian & our PA, Will.

David Gersten & Associates (Press Representatives) also represent the long running

Off-Broadway hits Altar Boyz, Naked Boys Singing!, and The Awesome 80s Prom. Other clients include New World Stages, Aquila Theater, Ars Nova, York Theater, INTAR, Red Bull Theater, and Ensemble Studio Theatre. David is one of the producers of BASH’d, the new gay musical at the Zipper Factory Theater and Associate Producer of the Off-Broadway hit, My First Time; previously, he produced Tea at Five starring Kate Mulgrew as Katharine Hepburn 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 stuart howard, amy schecter & paul hardt (Casting) have cast hundreds of

shows over the past 25 years. Among their favorites are: Broadway: Gypsy (Tyne Daly), Chicago (Bebe Neuwirth, Ann Reinking), Sly Fox (Richard Dreyfuss), Fortune’s Fool (Alan Bates, Frank Langella) and the original La Cage Aux Folles. Off Broadway: I Love You, You’re Perfect, Now Change and The Normal Heart; also including Theater Breaking through Barriers, South Ark Stage Company and New Globe

Theatre Inc. Currently on Broadway: August...Osage County and soon the new Broadway production of West Side Story. Happily casting for The Mint for the past 3 seasons. 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 at the Mint, Bank directed Ernest Hemingway’s The Fifth Column in its premiere production. Also The 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 cotranslated (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, South Ark Stage Company and New Globe Theatre Inc..

about the mint theater company 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

2008-2009 THE GLASS CAGE By J.B. Priestley THE WIDOWING OF MRS. HOLROYD By D.H. Lawrence

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.

about the mint

2007-2008 THE POWER OF DARKNESS By Leo Tolstoy THE FIFTH COLUMN By Ernest Hemingway

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.

next at mint • february 2009

the

widowing of mrs. holroyd by d.h. lawrence

directed by stuart howard

Five years ago Mint Theater Company introduced New York audiences to D. H. Lawrence—the playwright—with our highly acclaimed production of THE DAUGHTER-IN-LAW. Audiences and critics alike were surprised to learn that Lawrence had written a play—in fact he wrote eight. Only two were produced in his lifetime, both in small productions; Lawrence was not able to see either.

He was frustrated by his inability to find a producer willing to take a chance on him. “I believe that just as an audience was found in Russia for Chekhov, so an audience might be found in England for some of my stuff, if there were a man to whip ‘em in. It’s the producer that is lacking, not the audience.”

upcoming

In February, 2009, Mint Theater Company will bring you another Lawrence masterpiece, THE WIDOWING OF MRS. HOLROYD. When this heart wrenching romance received its American Premiere at the Long Wharf Theater in 1973, Clive Barnes’ review in The New York Times was rhapsodic, “It is perfectly possible that one of the most important playwrights of the nineteen-seventies will turn out to be a man who died in 1935. The name is D.H. Lawrence…Lawrence—as anyone who read his novels might have guessed—was a natural playwright. MRS. HOLROYD was written in 1914 and unsuccessfully produced in 1920.

Perhaps it was in advance of its time.”

performances begin february 4th call (212) 315-0231 for tickets or see insert for more information

The following generous Individuals, Foundations, and Corporations support the Mint Theater, and we honor their contributions:

Crème de Mint: $10,000 and above Robert Brenner Carnegie Corporation of New York Robert Sterling Clark Foundation The Gladys Krieble Delmas Foundation The Fan Fox & Leslie R Samuels Foundation Lucille Lortel Foundation New York City Department of Cultural Affairs New York Foundation for the Arts New York State Council on the Arts The Tony Randall Theatrical Fund The Shubert Foundation, Inc. anonymous SilverMint: $5,000 to $9,999 Axe-Houghton Foundation Virginia Brody Barbara Bell Cumming Foundation Gardner Grout Foundation Edgar & Renee Jackson The Edith Luytens and Norman Bel Geddes Foundation Newman’s Own Foundation The Ted Snowden Foundation The Harold & Mimi Steinebrg Charitable Trust

SpearMint: $600 - $1,499 American Friends of Theatre Inc. Jonathan Bank Richard Barnes & Marta Gross Jon Clark Jeffrey Compton & Norma Ellen Foote Cory & Bob Donnally Charitable Fund Monte Engler William Finnegan Ruth Friendly The Gordon Foundation Ronald Guttman The Hemingway Society Joseph Family Charitable Trust Peter Haring Judd Fund Joan Kedziora, MD. Mildred C. Kuner Eugene M. Lang Foundation Dorothy Loudon Foundation Penny Luedtke/The Luedtke Agency George Morfogen The New York Times Company Foundation Pfizer Foundation Eleanor Reissa & Roman Dworecki Howard Rieger George Robb The Martin E. Segal Revocable Trust Harriet Seiler Rob Sinacore David Stenn M. Elisabeth Swerz Jill Tran Litsa Tsitsera Mrs. Thomas Wyman anonymous

DONORS

ChocolateMint: $1,500 - $4,999 American Theater Wing Malvin & Lea Bank Eugene & Joann Bissell Edith C. Blum Foundation Inc Linda Calandra Geoffrey & Carol Chinn Max & Victoria Dreyfus Foundation Edward & Lori Forstein Mr. & Mrs. Ciro Gamboni Patrick & Carol Hemingway The Heidtke Foundation Herrick Theater Foundation Blanche & Irving Laurie Foundation Karl Lunde DJ McManus Foundation

Edith Meiser Foundation The New York Times Company Foundation Fund for Mid-size Theaters, a project of A.R.T./New York The James B. Oswald Co. G & L Picard Foundation Jeffrey & Judith Prussin Gary A. Schonwald & Ruth Gruhin Wallace Schroeder The Dorothy Strelsin Foundation Sukenik Family Foundation Michael Tuch Foundation Steven Williford

DONORS

DoubleMint (First Priority Club) Lisa Ackerman Actors Equity Foundation David R. Adler Louis Alexander Steve Allen & Caroline Thompson Linda Alster Laura Altschuler Marc Anello Carmen Anthony Barbara Austin Mitch Bacharach Earl Bailey Bank of America Julia Beardwood & Jonathan Willens Jeanne Bergman & Anna Kramarsky Robert & Ellie Berlin Robert & Helen Bernstein Nidia Besso Elizabeth Bicknell Jeffrey & Mary Bijur Evelyn Bishop David M. Blank Steven Blier Frederick & Bernice Block Dr. & Mrs. Allan Blumenthal Rose-Marie Boller & Webb Turner Dorothy Borg Leonard & Barbara Bornstein Renee Brennan Ann Butera Elaine B. Bye Peter Cameron Richard Carroll Andrew H. Chapman Lynne Charnay Stephen & Elena Chopek The City College of the City University of New York Steven Coe Herbert & Phyllis Cohen Kathleen H. Corcoran Penelope & Peter Costigan Tandy Cronyn Stuart Davidson Anthony & Ruth Demarco Gennaro A. DeVito Susanne Diamond Bernard & Katherine Dick Robert & Ruth Diefenbach William Downey M. Burton Drexler Martin & Mina Ellenberg

Jack Ellenberger Marjorie Ellenbogen Fred & Sara Epstein Jeanne Epstein Don & Grace Eremin Judith Eschweiler Susan Etra & Michael Yeoli H. Read Evans Anne Ewers Angela T. Fiore Nicholas & Edmee Firth Norman & Eva Fleischer Barbara Fleischman Barbara Fogel Fred Forrest Donald Fowle & Lionel Lorona Nancy Fowler Phyllis Fox & George Sternlieb Foundation Richard Frankel Productions Edward & Joan Franklin Dr. Mio Fredland Monroe Freedman Burton & Sandra Freeman The Friars Foundation Loren Friedman Dr. H. Paul & Delores Gabriel John & Mary Ann Garland James C. Giblin Ardian Gill & Anna L. Hannon Howard & Joann Girsh David & Suellen Globus Joyce Golden Charles & Jane Goldman Caryl Goldsmith Samuel Gonzalez Gordon & Mary Gould Anna Grabarits The Gramercy Park Foundation Inc. Virginia Gray Arthur Grayzel, MD & Claire Lieberwitz Noel Grean Jahr Anita & Edward Greenbaum Harry Greenwald & Babette Krolik Antonia & George Grumbach The Rogers Family Foundation/Mary R. Guettel Gunilla Haac James C. & Julia Hall Carol Hekimian Reily Hendrickson Cory & Art Henkel Sigrid Hess Barbara Hill Roderick Hill

Richard & Elaine Montag Elaine Montgomery Larry & Doreen Morales Joseph Morello Frank Morra Ronald & Elaine Morris Theodore & Carole Mucha Janet G. & Daniel Murnick Dick & Carol Netzer Robert H. Neuhaus The New School Dorinda J. Oliver Robert O’Neill Satoko Parker Bruce & Gwen Pasquale Gerald & Naomi Patlis John L. & Judith Peakes Kathy Perutz & Michael Studdert-Kennedy Robert & Susan Peterson-Neuhaus Penina Petruck Jack & Ina Polak Irwin & Sheila Polishook Joseph Psotka David & Phyllis Quickel Ken Raboy Peter & Susan Ralston Joe Regan, Jr. James J. Reynolds Howard Rieger Arleigh Richards & William Wise Irven Rinard William Robbins Earl S. & Phyllis Roberts Theodore Rogers Seymour & Renee Rogoff Sylvia Rosen Barbara Rosenthal Mark Rossier Jon & Susan Rotenstreich Jordin Ruderman & Kevin Shand Herb & Joan Saltzman Anita Sanford Janice Savin Williams Ray & Kit Sawyer Anne Kaufman Schneider Nan Schubel Irwin Schwartz Phyllis Schwartz Susan Scott William & Earlyne S. Seaver Donald & Barbara Shack Carole M. Shaffer-Koros & Robert M. Koros Richard & Camille Sheely

DONORS

Edward & Dorothy Hoffner Milton & Madelaine Horowitz Anne Humphreys Anna B. Iacucci Camille Infranco & Edwin Partikian Karene Infranco Jocelyn Jacknis Ellie Jacob Peter & Ellen Jakobson Neil & Cathy Janovic Morton & Dahlia Jarashow James & Jacqueline Johnson Roberta A. Jones Jane Kapsales Regina Kelly Laurie Kennedy & Keith Mano Gerald & Roberta Kiel David H. Kirkwood & Annie Thomas Kaori Kitao Caral G. Klein Richard Kline Rabbi William & Dr. Elizabeth Kloner Susanna Kochan-Lorch & Steven Lorch Sarah Kovner Karl Kroeber Carmel Kuperman Lester Kushner David & Mary Lambert Richard & Lee Laster Kent Lawson & Carol Tambor Gordon & Margaret Leavitt Eliot & Jane Leibowitz Dr. Albert Leizman Roy & Rachel Levit Carol & Stanley Levy Eva Lichtenberg & Arnold Tobin Susan Linder Kathleen Lingo Joel & Diane Lipset Ruth Lord Samuel & Gabrielle Lurie Daniel Loos Macken John & Vivian Majeski Robert & Marcia Marafioti Barry Margolius Jacqueline Maskey Betsy McKenny Martin & Martha Meisel Richard Mellor, Jr. John David Metcalfe Ivan & Leila Metzger Radley Metzger Judith K.& Allan Mohl

DONORS

Martin Y. & Kayla J. Silberberg Martin & Rayna Skolnik Lily N. Smith Philip J. Smith Dr. Norman Solomon Jerry & Linda Spitzer Erika Stadtlander Stagedoor Entertainment Alec Stais Lee Steelman Bob & Sherry Steinberg Frances Sternhagen Ilene Stone Ulrich & Elaine Strauss Stella Strazdas Pamela Stubing Larry E. Sullivan Dennis & Katherine Swanson Kathryn Swintek Myra & Leonard Tanzer Gerda Taranow Douglas Tarr Anne Teshima Thomson Tax & Accounting Peter & Roberta Tomback Ken & Linda Treitel Charles & Susan Tribbitt Noel Valis Jan Vinokour Bill Vicic & Brian Colbath Joan & Bob Volin Younghee Wait Gordon & Edith Wallace Saul & Lillian Wechter The Sandra and George Weiksner Foundation Frank & Denie Weil Richard Weisman Howard M. & Patricia Weiss Margot White Robert & Lillian Williams Vincent & Marsha Williams James Wolcott Ralph M. Wynn, MD Kenneth Zarecor Burton Zwick anonymous This list represents donations made from July 2007 through August 2008.

Every effort is made to insure its accuracy. Please contact us regarding any mistakes.

make an investMINT The cost of your tickets only covers about half of our expenses. Your generous contributions make it possible for us to continue to bring you intelligent, gimmick-free productions of the greatest plays you’ve never seen. Won’t you show your support for the Mint by making a gift today? With your contribution, we are glad to give you the benefits listed below.

Crème de Mint $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

SilverMint $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

ChocolateMint $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

SpearMint $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

DoubleMint (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 glass cage staff Assistant Set Designer Assistant Costume Designer Assistant Sound Designer Assistant Production Manager Production Assistant

Zhanna Gurvich Becky Lasky Will Pickens J. M. Mackiewicz Will Staton

Master Electrician Electricians House Electrician Board Programmer Board Operator Lighting Equipment Sound Equipment

Renee Molina Wavetek Productions, Paul Jones Alden Fulcomer Lauren Parrish Michael Watkins Tribeca Lighting Inc One Dream Sound

Set construction House Carpenter Scenic Artists

Daddy-O Productions, Thom De Jesu & Derek Lomer Dennis Luczak Jacob Hanson & Brian Howard

Wig Designer Drapers Wardrobe Supervisor

Mary-Kay Yezerski Bondoc Siobhan Nestor, Marie Dahlstrom & Carmen Gee Wendy Samland

Musical Staging Scots Accent Coach Guitar Coach

Beth Bogush & Gregory Sinicori Amy Stoller Dave Wyss

Press Representatives

David Gersten & Associates, Shane Marshall Brown, & James Lopez

The producers would like to thank the following: Thomas Priestley; Alison Cullingford, Special Collections Librarian, J.B. Priestley Library, University of Bradford; Cindy Sue Marshall; Carol Jemison; New York City Opera ; Odds Costume Rental, Oregon Shakespeare Festival and The tdf Costume Collection for their assistance in this production.

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. Ricola Natural Herb Cough Drops courtesy of Ricola USA, Inc.

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 Kaitlin Stilwell Literary Associate BOARD OF TRUSTEES Jonathan Bank Jon Clark Gary Schonwald

Linda Calandra Eleanor Reissa

“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