PRODUCING ARTISTIC DIRECTOR
JONATHAN BANK FINANCE & PRODUCTION
JOHN VAN DRUTEN Directed By DAVIS McCALLUM
enrichMINT events at the Mint Theater EnrichMINT Events are post-performance discussions that feature world class scholars discussing complex topics in an accessible way. They are always free and open to the general public. SATURDAY, FEBRUARY 8 after the matinee: MAYA CANTU JOHN VAN DRUTEN: SEX AND THE SINGLE GIRL SUNDAY, FEBRUARY 9 after the matinee: WILLIAM J. MANN AUTHOR OF BEHIND THE SCREEN: HOW GAYS AND LESBIANS SHAPED HOLLYWOOD SATURDAY, FEBRUARY 15 after the matinee: JULIE K. BEREBITSKY AUTHOR OF SEX AND THE OFFICE: A HISTORY OF GENDER, POWER AND DESIRE SUNDAY, FEBRUARY 16 after the matinee: MARGARET BOE BIRNS AUTHOR OF “JOHN VAN DRUTEN” IN THE COLUMBIA ENCYCLOPEDIA OF MODERN DRAMA SATURDAY, FEBRUARY 22 after the matinee: JUDITH R. WALKOWITZ AUTHOR OF NIGHTS OUT: LIFE IN COSMOPOLITAN LONDON.
All events take place immediately after the performance and usually last about fifty minutes. They are free and open to the public, no ticket necessary, though seating is subject to availability. Speakers and dates may change. EnrichMINT Events are supported in part by a grant from the Michael Tuch Foundation.
video archives online at minttheater.org
You can watch past events through our EnrichMINT VIDEO ARCHIVES page. Visit our website www.minttheater.org and click on the EnrichMINT tab to learn more.
MINT THEATER COMPANY
Jonathan Bank, Producing Artistic Director Sherri Kotimsky, Finance & Production presents
JOHN VAN DRUTEN with
JULIA COFFEY, KATIE GIBSON , MATTHEW GUMLEY, JONATHAN HOGAN , LAURIE KENNEDY, ELISE KIBLER, STEPHEN PLUNKETT, CHRISTOPHER SEARS , ALEX TROW Sets MA R I ON WI L L I AM S
Costumes MARTH A H ALLY
L i gh t s N I CO L E P EAR CE
Props JOS HU A YOC OM
Sound JAN E SH AW
Wi gs G ER A R D KEL L Y
P r o d u ction S ta g e Man ag e r A L L I S ON DEU T S C H
Asstistant Stage Manager AN D R E A JO MARTIN
D r amat u rgy & D i al e ct s AMY STO L L ER
P r o d u ction M a na g e r S H E R RI KOT I M S KY
Casting JUDY B OWMAN
I l l us t r at i o n ST EFAN O I MBERT
G r ap h i c s H E Y JU DE G R A P H I C S I NC .
Adver tising & Marketing TH E PEKOE G R OUP
Press Rep DAV I D G ER ST EN & ASSO CI AT ES
LONDON WALL is presented by special arrangement with Samuel French, Inc. LONDON WALL is supported in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
cast IN ORDER OF APPEARANCE BIRKENSHAW
MISS PAT MILLIGAN
MR. HEC. HAMMOND
JONATHAN HOGAN ACT One
The general office of Messers. Walker, Windermere & Co., in London Wall. Lunchtime. - Intermission ACT Two Scene One: Mr Walker’s room in the office. 3:00 in the afternoon. Three weeks later. Scene Two: The general office. 5:45 on the same day. - Intermission ACT Three: Scene One: Mr Walker’s Room. 9:30 the next morning. Scene Two: The general office. 3:00 on the same afternoon.
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From the mid-1920s through the mid-1950s, the prolific British-born playwright and director John Van Druten captivated audiences on both sides of the Atlantic with his bittersweet dramas and “delicious comedies on that peculiarly warm and sophisticated level that is his alone” (as described by William Hawkins of The New York World-Telegram). Best known today for such Broadway hits as Old Acquaintance, The Voice of the Turtle, I Remember Mama, I Am a Camera, and Bell, Book and Candle, Van Druten wrote deftly observed, character-driven plays that ranged from the realistic atmosphere of his early West End plays, to the sentimental charm of his wartime hits, to the daring allurements of his final works. Born on June 1, 1901, the son of Dutch banker Wilhelmus Van Druten and his English-born wife Eva, Van Druten grew up in a cultured middle-class London household. Though a precociously well-read and stage-struck youth, who scrawled his first play at the age of seven (on Mary, Queen of Scots), Van Druten dutifully obeyed his father and studied law. After earning his law degree at London University in 1922, Van Druten qualified as a solicitor of the Supreme Court Judicature and taught legal history at the University College of Wales. During this time, Van Druten continued to write plays, and with Young Woodley, the 24 year-old Van Druten realized his dream of writing professionally for the West End theatre. Banned in London until 1928, for its frank sexuality and caustic “attack on the British public school system,” Young Woodley arrived on Broadway in 1925. Following the New York success of Young Woodley, Van Druten won acclaim as among “the most popular of our serious dramatists in the younger generation” (according to The London Times’ Charles Morgan). In such early West End plays as After All (1929), There’s Always Juliet (1932), and The Distaff Side (1933), Van Druten became noted for the “truthful naturalism” of his settings, as well as for his sensitive portrayals of young romantics and would-be bohemians. For London Wall (1931), Van Druten drew upon his former experience as a clerk in a solicitor’s
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office. Although the playwright, in his memoirs, recalled the job as “sordid and routine,” with “almost none of the drama of litigation of which...a lawyer’s life is full,” it inspired a play of which The Play Pictorial noted, “Nothing in the office of Walker, Windermere and Co. is dull while Mr. Van Druten presides over it.” With numerous Broadway productions of his London hits throughout the Depression, Van Druten enjoyed a transatlantic success that carried him to Hollywood, where he co-wrote the screenplays of such classics as Night Must Fall (1937) and Gaslight (1944), and also contributed (uncredited) to Gone with the Wind (1939). Van Druten enjoyed phenomenal Broadway success in the WWII era, with a string of critically acclaimed smash hits. After the effervescent Old Acquaintance (1940), centered on two best friends and rival women of letters, Van Druten wrote the three-character romantic comedy The Voice of the Turtle (1943), which ran for a stunning 1,557 performances (the play was revived in 2001 by the Keen Company, whose production was later presented at the Mint). Recounting an actress’s whirlwind affair with a soldier on leave, the play frankly explored themes of female desire and premarital sex, while also striking resonant wartime chords as “a civilized, highly polished entertainment in which New Yorkers could recognize some ideal of themselves,” according to The Guardian.
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The nostalgic I Remember Mama, based on Kathryn Forbes’ novel Mama’s Bank Account, similarly moved wartime audiences as an impressionistic “family album” set among the Norwegian immigrant community of turn-ofthe-century San Francisco. Van Druten – who had emigrated to the United States in 1940 – himself became a naturalized American citizen in 1944. A second-generation Englishman, the playwright reflected in his memoirs, “I had absorbed much from (England)...but I had little feeling that I was one of its sons. I knew that I loved America, and that I was at home there.” As handsomely produced by Rodgers and Hammerstein, the memory play ran for 713 performances. The late 1940s and early 1950s brought Van Druten continued success as a playwright, with works streaked with poetic realism and political allegory. His Bell, Book and Candle (1950), about a seductive witch secretly practicing sorcery in modern Manhattan, was not only a “wonderfully suave and impish fancy” that served as an inspiration for TV’s “Bewitched,” but as a subtle affirmation of Van Druten’s homosexual identity in the midst of the McCarthy-era witch hunts (the play was revived, to glowing reviews, at Hartford Stage in 2012). A gay subtext similarly informed 1951’s I Am a Camera, adapted from his close friend Christoper Isherwood’s The Berlin
Stories, which provided an iconic role for Julie Harris as the decadent Weimar chanteuse Sally Bowles. Together, Isherwood’s stories and Van Druten’s play inspired the landmark 1966 musical Cabaret. Van Druten, who directed all of his plays from 1942 onward, also left his mark on Broadway musical theater with his graceful direction of Rodgers and Hammerstein’s 1951 classic The King and I. In his later years, Van Druten spent much time on his ranch in California’s Coachella Valley, writing fiction, plays and a series of critically praised memoirs (including Playwright at Work, 1953; and The Widening Circle, 1957). His final Broadway play, I’ve Got Sixpence (1952), about lovers searching for religious faith, reflected the playwright’s late-life spirituality and interests in Christian Science and Vedantic Buddhism (he served on the editorial board of the journal Vedanta and the West alongside fellow British expatriates Isherwood and Aldous Huxley from 1951 onward). The industrious playwright died of a heart ailment in Indio, California on December 20, 1957, having written twenty-five produced plays and over a dozen screenplays. Now in the midst of a theatrical resurgence, with more revivals in the works (including the Transport Group’s I Remember Mama in March 2014), Van Druten merits critical reevaluation. In his own lifetime, the playwright was
(l-r) Michael Keyloun, Ruth Williamson & Kate MacCluggage in the Hartford Stage revival of Bell Book and Candle. Photo by T. Charles Erickson
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esteemed, but often overshadowed by more thematically ambitious dramatists. In his Best Plays of the American Theatre Vol. 2, critic John Gassner observed, “Mr. Van Druten happens to be one of those playwrights who do not evoke lengthy critical ponderings. This is the case because instead of heaving with the world’s problems and proferring political or philosophical comment, he has been content to study people and mores, and to set them down for what they are rather than what they may be worth as symbols.” In a 1951 interview, Van Druten himself asserted, “I have never been a man for messages.” Yet throughout his plays, Van Druten created non-didactic yet nuanced explorations of personal politics and sexual identity. With unusually detailed attention to the desires of his female characters, Van Druten portrayed British and American moderns uncertainly
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but wholeheartedly navigating the changing moral landscape between the two World Wars. His plays consistently examine the effects of institutions upon the choices of the individual, whether influenced by the forces of home and family, or (as in London Wall) the economy and the workplace. Infused with wit and generosity, as well as keen social insight, Van Druten’s “amusing, touching plays, written lightly and expertly, and with beguiling style” (as described by The New York Times’ Brooks Atkinson) continue to offer seductive and substantial enchantments. MAYA CANTU Maya Cantu is a theater historian, scholar and a dramaturgical adviser for the Mint, where she most recently worked on George Kelly’s Philip Goes Forth. She is currently completing her Doctor of Fine Arts degree at Yale School of Drama, where she received her MFA in Dramaturgy and Dramatic Criticism in 2010.
JOHN VAN DRUTEN: A WRITER’S WRITER FEATURING TREASURES FROM THE JOHN VAN DRUTEN PAPERS AT THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS Bruno Walter Auditorium, 65th & Amsterdam Join Mint Theater Company and the New York Public Library for the Performing Arts for an intimate celebration of LONDON WALL playwright, John Van Druten. Some writers are not only commercial successes admired by the public—but are so excellent at what they do that their talents are admired and respected by their literary peers. John Van Druten was one of those writers. His correspondence and journal entries—which are contained in the New York Public Library’s Billy Rose Theatre Collection—reveal a writer who was in constant contact with other playwrights and novelists. These treasures prove Van Druten to be a thoughtful artist who valued the critiques of his literary peers and who formed critiques of established writers as a means of further developing his own craft. Excerpts from Van Druten’s unpublished essays, letters, diary and plays will be read, revealing the playwright’s relationship with such literary peers as Tennessee Williams, Christopher Isherwood, Carson McCullers, and Rodgers & Hammerstein.
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As a dramaturge, my job is to explain topical and other obscure references in a text; and to provide historical background, setting the play in context. Usually this involves a lot of research. For London Wall, I started with an unusual advantage: personal experience. I am old enough to remember typewriters and carbon paper. I have operated a private branch exchange switchboard—plugs, switches, and all—barely different from the one on our stage. Thanks to a few years as a junior legal secretary, I’ve taken dictation—albeit not Gregg or Pitman, as our play’s shorthand typists would use. I’ve drafted legal correspondence and other documents; I know what cover sheets look like. So I began knowing I could personally guide our cast in a great deal of the office equipment and procedure specified in our text—but of course, there were gaps in my knowledge. The whole back wall is occupied by cupboards with sliding-panel doors,… the top of them forms a shelf on which are dictionaries, presscopier, files etc., etc. … When the curtain rises, BIRKINSHAW… is sitting L. of the table, indexing a letter-book. — London Wall, stage directions
press copier circa 1920
What on earth was a press-copier? What was a letter-book, and how did you index it? I found the answers in a volume titled Office Practice, published in 1917. The press-copier was a specially designed vise, in which you placed the letter-book, after first inserting freshly typed letters between its onion skin leaves. The letters were done in special ink and moistened with copying solution. Each sandwich of letters and pages was separated by blotting paper to avoid
bleeding through. You turned the handle at the top till it could go no further—presto!—exact replicas of all outgoing correspondence. The originals were left to dry before folding and mailing. Outgoing correspondence was kept chronologically in letter-books, but incoming letters were filed in drawers. So a crossreferencing system was needed to keep track of the full correspondence. Each book contained a set of blank pages for that purpose, and the indexing process is given in minute detail in Office Practice. You’ll see Birkinshaw updating the index at the start of the play. My favorite find of the show may surprise you. PAT sits at the table and begins to sew up the document with the green silk. —London Wall, stage directions I knew the expression “red tape” was based in the actual red or pink twill ribbon used to tie large bundles of legal papers together. But green tape? Sewing documents?!? I found an article online, with precise instructions on how to use a bodkin (something like an awl) to punch holes through the papers, the size and type of needle for the sewing, the color ribbon (or “silk”)—black for wills and probate papers, green for everything else—and the method for stitching neatly and securely. But this article did not date back to 1917. It was written two years ago, and the author explains that sewing documents was one of the first things she had to learn on becoming a legal secretary. Although other types of binding are now used for many purposes, certain deeds still require sewing. I was charmed, and also intrigued. I contacted the author, Maria Richards, and at my request she made a video showing us, step by step, exactly how Pat sews her document. She also clarified some other procedures. We are grateful to Maria for keeping us connected to a long-standing tradition in the legal profession. Like Miss Janus, Miss Hooper, Miss Bufton, and Pat, we feel she’s one of us at Walker, Windermere. AMY STOLLER
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JULIA COFFEY (Miss Janus) previously appeared at the Mint as the title character in The Widowing of Mrs. Holroyd (Drama League Nomination). Regional credits include Arcadia, Maple and Vine and Once in a Lifetime at American Conservatory Theater in San Francisco; Tales from Hollywood at The Guthrie Theater; Portia in The Merchant of Venice at The Shakespeare Theater in DC; Juliet in Romeo and Juliet at Chicago Shakespeare Theater, as well as productions at Barrington Stage, Playmakers Repertory, Cincinnati Playhouse, A Noise Within and Mark Taper Forum to name a few. She is a graduate of Florida State University and London Academy of Music and Dramatic Art. KATIE GIBSON (Miss Bufton) was born in Detroit, Michigan but at a young age moved with her family to the U.K. She started dancing at 3 years old and then couldn’t get enough of performing. Katie attended one of London’s most prestigious Musical Theatre Colleges ‘Arts Educational’ and worked on various shows in and around the U.K after graduating. Theatre credits include Jack and Beanstalk, Legally Blonde and Odyssey. She appeared in BBC’s “Tess of the D’Urbervilles” and the pilot “High Class Problem” and has worked on a number of short films. She is thrilled to be part of London Wall and making her Off-Broadway debut at the Mint Theater. MATTHEW GUMLEY (Birkenshaw) is proud to be making his Mint Theater debut! Broadway: Elf the Musical, Addams Family, Mary Poppins, Beauty and the Beast. Off-Broadway: Lost In Yonkers (TACT Theatre Co.), Distracted (Roundabout). Regional: Sacramento Music Circus’ Oliver! and The Music Man, A Thousand Clowns (Two River Theater Co). Film: “Theresa Is A Mother.” “Blowtorch 2013”. TV: “Modern Family”, “The Americans”, “Psych”, “Supah Ninjas”, “NYC 22”, “Law & Order: SVU,” “Drake and Josh”, “Wonder Pets”, “Dora the Explorer”. Huge thanks to Marc Lewis, Nancy Carson and my loving family!
JONATHAN HOGAN (Mr. Walker) has had the pleasure of appearing in The Madras House and A Picture of Autumn at the Mint Theater. He has appeared on Broadway in Comedians, Otherwise Engaged, Fifth of July, The Caine Mutiny Court Martial, As Is (Tony and Drama Desk nominations for Best Actor), Burn This, Taking Steps, and The Homecoming. A few of the plays he appeared in as a member, for 25 years, of the celebrated, award-winning Circle Rep include The Hot l Baltimore, The Mound Builders, and Balm in Gilead (in collaboration with Steppenwolf). Other performances OffBroadway include Molly Sweeney, Heroes, Book of Days. Recently regionally, he was in Anna Christie and A Delicate Balance at The Berkshire Theatre Festival, both directed by David Auburn. He has also performed at The McCarter Theatre, George Street Playhouse, La Jolla Playhouse, The Repertory Theatre of St. Louis and Hartford Stage. Films include “In Country”, “The House On Carroll Street”, “A Fish In The Bathtub” and “Revolution #9”. On television he has been seen on “As The World Turns”, “One Life To Live”, several Movies of the Week, “L.A. Law”, “Quantum Leap”, “Law & Order”, “Law & Order: SVU”, “Law & Order: Criminal Intent”, and “Law & Order: Trial by Jury”. Mr. Hogan is a graduate of The Goodman Theatre and School of Drama. LAURIE KENNEDY (Miss Willesden) Mint Theater: Madras House, What the Public Wants. Broadway: Copenhagen, Angels in America, Major Barbara, Man and Superman, Spoils of War, Macbeth. Off-Broadway: All’s Well That Ends Well, Richard II, Richard III, Master Builder, Recruiting Officer, He and She, Candida among others. National Tour of Three Tall Women. 21 Seasons at Williamstown Summer Theatre. 12 Seasons at O’Neill Theatre Center. Numerous Repertory Theaters. TV – “Bedford Diaries”, “Law & Order”, “Law & Order SVU”, “Oz”, “Third Watch”, “Law & Order CI”, “Homicide”, “Love Letter”, “Choices”, “Perfect Tribute”, “Path to Paradise”, “Kennedy”. FILM – “Iris”, “Armless”, “All Good Things”, “Kennedy”, CONTINUED
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“Sherlock Holmes”. Awards: Drama Desk and new webseries “Twenty Five.” Other credits Tony Nominations, Theare World, Clarence include The Lover, Much Ado About Nothing, the Derwent, Fox Fellowship 1999 friendship of her thighs, and elijah (Yale School ELISE KIBLER (Miss Pat Milligan) is a of Drama). Alex received her BA in theatre female with brown hair and a strong immune studies and English from Yale College and her system. She graduates this spring from New MFA from Yale School of Drama. She’d like to York University’s Tisch School of the Arts. She thank her awesome family and friends. www. is deeply thankful for her family and friends, of alextrow.com
which she has the very best. www.elisekibler. DAVIS McCALLUM (Director) NEW YORK: com Quiara Hudes’ Water By The Spoonful (Second STEPHEN PLUNKETT (Mr. Brewer) Stage, Pulitzer Prize), Sam Hunter’s The Whale Broadway: War Horse (Vivian Beaumont). Off- (Playwrights Horizons; Lucille Lortel Award for Broadway: Now Circa Then (Ars Nova), On Outstanding Play, Callaway Award Nomination), The Levee (The Duke), The Orphans’ Home Gabe Kahane and Seth Bockley’s February House Cycle Parts I, II and III (Signature Theatre), (Public Theater), Andy Bragen’s This Is My Office This Beautiful City (Vineyard Theatre), Gone (Play Company), Sarah Ruhl and Todd Almond’s Missing (Barrow Street Theatre), The Horton Melancholy Play (13P), Michael Mitnick’s Sex Foote Project (78th Street Theatre Lab). Lives of Our Parents (Second Stage), Hunter’s A Regional: Actor’s Theatre of Louisville, Hartford Bright New Boise (Partial Comfort; Drama Desk Stage, Center Theatre Group, Studio Theatre, Nominations for Best Play and Best Director), Huntington. Film: “The Mend”, “Sina Forma”, Greg Moss’s punkplay (Clubbed Thumb), Chuck “Half Brother”, “Care”, “Rolling on the Floor Mee’s Queens Boulevard (Signature Theater), Laughing”. TV: “The Good Wife,” “Elementary,” Quiara Hudes’ Elliot: A Soldier’s Fugue (P73; “Mercy,” “Law & Order: Criminal Intent.” Pulitzer Prize Finalist), Henry IV, Part One (The Stephen is an Associate Artist of The Civilians. Pearl), Henry V (New Victory), Jane Eyre, The BFA, University of Evansville. MFA, NYU Tempest, The Turn Of The Screw (The Acting Company). REGIONAL: the Guthrie, the Old Graduate Acting. Globe, Humana, Hartford Stage, Long Wharf, CHRISTOPHER SEARS (Mr. Hec. Hammond) Oregon Shakespeare Festival, Williamstown, was born in Brooklyn but raised in Webster Alliance, Chautauqua, the O’Neill, Playmakers Groves, Missouri. He learned plenty at Rutgers Rep, Two River, New York Stage & Film, others. University and since has played in Lord of the OTHER: Drama League Alum; NEA/TCG Flies (BSC) and How I Learned to Become a Career Development Program. UPCOMING: Superhero (Apothecary Theatre Company). TV Sam Hunter’s The Few at Rattlestick. includes “Law and Order” and “The Michael J Fox Show”. He loves his tremendous family and MARION WILLIAMS (Sets) Previously at the Mint: The Widowing of Mrs. Holroyd. friends with his whole heart. Previously with Davis McCallum: Alliance ALEX TROW (Miss Hooper) is chuffed to Theatre and Boise Contemporary Theatre. New be making her Mint debut. New York credits York credits include: MCC Theater, Primary include Kate Hardy in The Detour (Metropolitan Stages, The Juilliard School, José Limón Dance Playhouse), Gracie in Scarlett Fever (New York Company, Manhattan School of Music, Parsons International Fringe Festival), Sara in Stop Kiss Dance, Performance Space 122 and the Women’s (Sanguine), and Raphael in an all-day reading Project. Regional credits include: McCarter, of Milton’s “Paradise Lost” (Upstart Creatures); CENTERSTAGE, South Coast Rep, The Old regionally, she has appeared in Owners (Yale Globe, Alliance Theatre, Actors Theatre of Repertory Theatre), Othello and Love’s Labor’s Louisville, Cincinnati Playhouse in the Park, Lost (Shakespeare Santa Cruz), and the hip Round House Theatre, PlayMakers Repertory
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Company, Barrington Stage Company, Triad Stage, The Folger Theatre, Berkshire Theatre Festival, Cincinnati Ballet, Louisville Ballet, Tulsa Ballet, Two River Theater Company, Sacramento Theatre Company, The Shakespeare Theatre of New Jersey and Williamstown Theatre Festival. International credits include Hochschule für Music und Theatre (Leipzig, Germany) and Introdans (Holland). MFA from the University of Washington (Seattle), Princess Grace Award and a Princess Grace Special Projects Grant recipient. MARTHA HALLY (Costumes) Designs for the Mint include: Katie Roche; Wife To James Whelan; Mary Broome; Is Life Worth Living? and The Widowing of Mrs Holroyd. Other New York work includes: The Field; Banished Children of Eve; Gaslight (Irish Rep); Secret Order (59E59); The Late Christopher Bean, Bedroom Farce (TACT) and Treason (Perry St Theater). She has designed at regional theaters across the country including Milwaukee Repertory Theater, Pittsburgh Public Theater, CenterStage, Cincinnati Playhouse in the Park, Dallas Theater Center, The Repertory Theater of St. Louis, Alley Theatre, Great Lakes Theater Festival and Resident Ensemble Players (Univ. of Delaware). Among her opera designs are the world premiere of The Insect Comedy for The Center For Contemporary Opera, La Resurrezione and Dido and Aeneas for Chicago Opera Theater, Tales of Hoffmann and Aida for Virginia Opera, and L’Olimpiade and Tamerlano for Little Orchestra Society of Lincoln Center. NICOLE PEARCE (Lights) Previously with the Mint: Katie Roche, Wife to James Whelan, Rutherford and Son, and Mary Broome. Selected NY credits include: The American Dream & The Sandbox directed by Edward Albee; Beebo Brinker Chronicles directed by Leigh Silverman; US Drag & Edgewise directed by Trip Cullman; Carmina Burana (Carnegie Hall); Savage in Limbo directed by Pam MacKinnon, Penalties & Interests (LABrynth Theatre Company); The Golden Dragon directed by Ed Sylvanus Iskandar; Betrothed (Ripetime);Trial by Water (Ma-Yi). Regionally: Sugar Syndrome; A
Nervous Smile and Blithe Spirit directed by Maria Mileaf (Williamstown Theatre Festival). Dance with choreographers Mark Morris, Aszure Barton, Robert Battle, Jessica Lang, and Andrea Miller; Netherlands Dance Theater; Introdans; Birmingham Royal Ballet; The National Ballet of Japan; Ballet Memphis & The Joffrey Ballet. JANE SHAW (Sound) At the Mint: Eighteen productions including A Picture of Autumn, Katie Roche, Love Goes To Press, A Little Journey, Wife to James Whelan, Return of the Prodigal, Fifth Column, and The Widowing of Mrs. Holroyd (Lortel Nomination). New York: Grounded (Page 73), Jackie (Women’s Project, Lortel nomination), Around the Bend (Tami Stronach), Basilica (Rattlestick), Food and Fadwa (New York Theater Workshop), The Coward (Lincoln Center 3), Merchant of Venice (TFANA/ RSC/ National Tour/ Eliot Norton Nomination), En el tiempo de las Mariposas (Repertorio Español/Premios ACE award currently performing in Costa Rica), Not What Happened (Pick Up Performance Company, BAM Next Wave). Regional: Macbeth and La Dispute (Hartford Stage), as well as productions at the Cleveland Playhouse, Denver Center Theatre Company (Henry Award for The Catch), City Theater (Pittsburgh), Williamstown Theater Festival, Capital Rep (Albany), Yale Repertory, Shakespeare Theater of New Jersey, and the Dorset Theater Festival. Upcoming shows include Pinkolandia (Two River Theater), The Killer (Theater for a New Audience), 4000 Miles (Asolo Rep) and No Exit (The Pearl). Recipient: NEA-TCG Career Development Grant, Meet the Composer. Graduate of Harvard and the Yale School of Drama. JOSHUA YOCOM (Props) collaborates with the Mint yet again on London Wall. He also propped their productions of Philip Goes Forth, A Picture of Autumn, Katie Roche, Rutherford and Son, A Little Journey, Love Goes to Press, Mary Broome, and Temporal Powers. Joshua has worked as a properties master and freelance artisan with a number of New York companies, including Keen Company, Epic CONTINUED
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Theatre Ensemble, Red Bull Theatre, Pearl Theatre Company, Second Stage, Frankel Green, Primary Stages,Theatre for a New Audience, Gotham Chamber Opera, NYC Ballet, Lincoln Center, Dreamlight Theatre Co, Mannes Opera, Queens Theatre, Summerworks, Across the Aisle Productions, Snug Harbor, the Atlantic Theater Co., The New School of Drama, and the York Theatre Company. Joshua also props and styles bedding and rooms for print through collaboration with the Mayo photography studios. AMY STOLLER (Dialects & Dramaturgy) Mint resident dialect designer/coach (and occasional dramaturge) since 1996—most recently for A Picture of Autumn. Mint highlights include Teresa Deevy’s Katie Roche, Temporal Powers, and Wife to James Whelan; Love Goes to Press; The Daughter-in-Law; Rutherford and Son. Currently represented on Broadway by Beautiful: The Carole King Musical. Recent Off-Broadway: The (curious case of the) Watson Intelligence (Playwrights Horizons). Amy works regularly with Anna Deavere Smith as her dialect coach, and as an associate teacher of acting courses and workshops. Dialect coaching Ms. Smith includes 20 different real-life people’s speech patterns for Let Me Down Easy at Second Stage (also national tour; televised on PBS Great Performances); Watching Wilson and Watson (World Science Festival); and recent developmental residencies for On Grace in San Francisco and Chicago. Teaching assistance includes an HBO MasterClass (to air later this season). www.stollersystem.com. ALLISON DEUTSCH (Production Stage Manager) Previous Mint Theater credits include Katie Roche, Rutherford and Son, The Widowing of Mrs. Holroyd, The Fifth Column, Power of Darkness, The Madras House, Far & Wide, The Voysey Inheritance; Other OffBroadway credits include: New World Stages: White’s Lies with Betty Buckley and Peter Scolari; Perry Street Theatricals: A Dangerous Personality; Rattlestick: Down South; Om Productions: WASPs In Bed. Regional credits include: Ford’s Theatre: Trying starring James
Whitmore; Geva Theatre Center: Gem of the Ocean; Peterborough Players: twelve seasons including, Laughing Stock, Absurd Person Singular, This Verse Business, The 39 Steps, The Admirable Crichton, Measure for Measure, Dr. Knock, 2 Pianos 4 Hands, Tartuffe, Little Shop of Horrors, Heartbreak House, Doubt, Our Town, Last 5 Years, The Heiress, Cookin’ at the Cookery, Inherit the Wind, Candida, and Mr. Pim Passes By. Proud member of Actors’ Equity Association. ANDREA JO MARTIN (Asst. Stage Manager) is happy to be back at the Mint where credits include: Katie Roche, Rutherford and Son, Temporal Powers, A Little Journey, The Widowing of Mrs. Holroyd, The Glass Cage, The Madras House; Broadway: RENT (sub); six years and counting with Broadway Cares/Equity Fights AIDS fundraiser Broadway Backwards. Off-Broadway: The Vineyard – Checkers (with Anthony LaPaglia & Kathryn Erbe); The York Theatre – Busker Alley (with Glenn Close & Jim Dale), Fanny Hill, A Fine and Private Place, and 10 Musicals in Mufti; at New World Stages – La Barberia; White’s Lies (with Betty Buckley & Peter Scolari); Love Child (with Daniel Jenkins & Robert Stanton); Naked Boys Singing! (sub); at Theatre Row – NEWSical (sub), Beauty on the Vine (with Olivia Wilde & David Strathairn); WASPs In Bed; Regional – Heat Wave: The Jack Cole Project (with David Elder); at NYMF: Date of a Lifetime, Judas & Me. ALEXANDER LASS (Assistant Director) recently completed a year as a trainee director at The Orange Tree Theatre, in London. He read History of Art at the University of Cambridge (Downing College), where he was awarded the inaugural Judy C Petty Scholarship in Music and Theatre for his contribution to college artistic life. After Cambridge, Alex trained at LAMDA on the Post-Graduate Directing Course. Previous directing credits include: Unrivalled Landscape, Horse and Carriage (Orange Tree Theatre), Last Manor Standing (Pleasance, Islington), The List (Old Red Lion), The Relapse, Donkey’s Years (Howard Theatre). Previous credits as associate director include Holes by Tom
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Basden and Threeway by DC Jackson (Invisible Dot). While at The Orange Tree, Alex assisted several directors including Sam Walters MBE, Christopher Morahan CBE, Auriol Smith, and David Lewis. JUDY BOWMAN (Casting) For the Mint: A Picture of Autumn & Philip Goes Forth. Recent productions include: And Miles to Go (PCP/Hal Brooks), Master & Margarita (Bard Summerscape/Janos Szasz), Luft Gangster (Abingdon/Austin Pendleton), & Lee Blessing’s User’s Guide to Hell: Featuring Bernard Madoff (Project Y/Michole Biancosino). With Davis McCallum A Bright New Boise (PCP), February House (NYSF) Regional Theater: Woolly Mammoth, Actors Theater of Louisville/ Humana Festivals, Dorset Theater Festival, SF Playhouse, Kitchen Theatre & American Repertory Theatre (2003-08). Film: “Dynamite: A Cautionary Tale”, “Copenhagen”, “Drawing Home”, “The Word”, “Tiger Lilly Road”, and many short films/webseries. Adjunct Asst. Professor at Columbia University’s MFA film program. THE PEKOE GROUP (Marketing) is a fullservice advertising and marketing company for theatrical events and attractions, specializing in niche marketing and tailor-made strategic campaigns based on each event’s target demographic. Clients include Mint Theater Company, Second Stage Theatre, TACT, Peter And The Starcatcher, Natasha Pierre and the Great Comet of 1812, Murder for Two, Riding the Midnight Express with Billy Hayes, Brooklyn Botanic Garden, and more. www.thepekoegroup. com DAVID GERSTEN & ASSOCIATES (Publicist) has served as press representatives and marketing consultants on Broadway and off for over twenty-five years. Current clients several not–for–profit theater companies, including INTAR, Keen Company, the National Asian-American Theater Company, New Federal Theater, Red Bull Theater, and Summer Shorts, as well as the long – running hit Cuff Me – The 50 Shades of Gray Parody and the upcoming return engagement of the landmark show, Tony
n’ Tina’s Wedding, and the new national tour of Man of La Mancha. David serves on the Board of Governors of ATPAM, the Association of Theatrical Press Agents & Managers and is a member of the Off-Broadway League and a founder of the Off-Broadway Alliance. SHERRI KOTIMSKY (Finance & Production) has been working happily at the Mint since 2005. Previously 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. JONATHAN BANK (Producing Artistic Director) has been the artistic director of Mint since 1996. Most recently at the Mint, he directed Katie Roche, Temporal Powers and Wife to James Whelan by Teresa Deevy. Other Mint credits include: Mary Broome by Allan Monkhouse; Maurine Dallas Watkins’ So Help Me God! at the Lucille Lortel, which received four Drama Desk nominations, including Outstanding Revival and Outstanding Director; Lennox Robinson’s Is Life Worth Living?, the American Professional Premiere of The Fifth Column by Ernest Hemingway, The Return of the Prodigal by St. John Hankin (Drama Desk nomination for Outstanding Revival) and Susan and God by Rachel Crothers. Bank both adapted and directed Arthur Schnitzler’s Far and Wide and The Lonely Way which he also co-translated (with Margaret Schaefer). These two plays were published in a volume entitled Arthur Schnitzler Reclaimed which Bank edited. He is also the editor of four additional volumes in the “Reclaimed” series (Teresa Deevy, volumes One and Two, Harley Granville Barker, and St. John Hankin) as well as Worthy But Neglected: Plays of the Mint Theater Company.
BOARD OF TRUSTEES Jonathan Bank John P. Harrington
Bob Donnalley Eleanor Reissa John Yarmick
Ciro A. Gamboni Kathryn Swintek
MISSION AND PROGRAMMING 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 Producing 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 sharing with our audience 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. These post-performance discussions feature world class scholars discussing complex topics in an accessible way and are always free and open to the general public. We not only produce lost plays, but we are also their advocates. We publish our work and distribute our books, free of charge to libraries, theaters and universities. Our catalog of books now includes an anthology of seven plays entitled Worthy but Neglected: Plays of the Mint Theater plus five volumes in our “Reclaimed” series, each featuring the work of a single author: Teresa Deevy, Harley Granville Barker, St. John Hankin and Arthur Schnitzler.
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Assistant Production Manager...... Wayne Yeager
Producing Artistic Director.......... Jonathan Bank
Asst. Costume Design................ Barb L Hughes
Finance & Production ����������������Sherri Kotimsky
Costume Assistant.........Leah Mitchell Benedetti
Marketing & Audience Relations................ Christina Roussos
Costumes construction...................Kay Stuntz & Heather Coiner Asst. Lighting Designer/ Light Board Programmer �������������� Alling Langin Asst. Sound Designer/ Board Operator............... Adam Schofield-Bodt Fight Director..........Jacob Grigolia-Rosenbaum Wardrobe Supervisor.................. Melissa Matto
Assistant to the Artistic Director......................... Jesse Marchese Box Office Manager...............Andrew Hendrick Development Consultant........... Ellen Mittenthal Casting �������������������������������������Judy Bowman Auditor...........................Kristin Krauskopf, CPA
Production Assistant........................ Maya Knell Deck Crew.................................. Adam Sowers Interns....................................Lauren Henning, Sebastian De La Cruz, Sarah Meisel House Manager.............................Jose Ramos Videographer....................Joshua Paul Johnson Program Desgin/ Graphics..... Christina Roussos Advertising, Marketing & Web Site Design................. The Pekoe Group Amanda Pekoe, Jessica Ferreira, Christopher Lueck, Jason Murray, Negeen Ghaisar, Alex Barnard, Erin Wilson, Marivic Tagala, Mara Szabo, Ryan Meitzler, Lisa Richardson Press Representation...David Gersten Associates David J. Gersten, Daniel DeMello
Lighting installed by the Lighting Syndicate. Set constructed by Carlo Adinolfi. LONDON WALL rehearsed at Manhattan Theater Club’s Creative Center.
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.
The producers would like to thank: Maria Richards of the Institute of Legal Secretaries and PAs (England and Wales) and TDF Costume Collection for its assistance with this production. As well as Helen Uffner LLC and Daybreak Vintage Clothing.
Opening Night February 24, 2014
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.
The following generous Individuals, Foundations, & Corporations support the Mint Theater, and we honor their contributions: CrĂ¨me de Mint: $10,000 and above Lea & Malvin Bank Barbara Bell Cumming Foundation The Bodman Foundation The Max & Victoria Dreyfus Foundation Inc. The Fan Fox & Leslie R Samuels Foundation Mr. & Mrs. Ciro A. Gamboni The Andrew W. Mellon Foundation New York Theater Program New York City Department of Cultural Affairs New York Foundation for the Arts New York State Council on the Arts The National Endowments for the Arts The Shubert Foundation, Inc. The Ted Snowdon Foundation The Harold & Mimi Steinberg Charitable Trust The Geraldine Stutz Trust Inc. SilverMint: $5,000 to $9,999 Axe-Houghton Foundation Virginia Brody The Gladys Krieble Delmas Foundation Lori & Edward Forstein Lila Teich Gold The Heidtke Foundation Blanche & Irving Laurie Foundation The Little Family Foundation / Jann Leeming Lucille Lortel Foundation The Richenthal Foundation The South Wind Foundation The Dorothy Strelsin Foundation Kathryn Swintek & Andre Dorra Litsa Tsitsera Michael Tuch Foundation John Yarmick ChocolateMint: $2,500 - $4,999 Cory & Bob Donnalley Charitable Fdn. William Downey Janet & John Harrington Dorothy Loudon Foundation Executive Director, Lionel Larner New York City Council for the Humanities Dorinda J. Oliver Wallace Schroeder Sukenik Family Foundation Helen S. Tucker, The Gramercy Park Foundation Anonymous
SpearMint: $1000 - $2,499 Harry & Gay Abrams/ Abrams Artists Agency Kim & David Adler Mary Andryc Louise Arias Jonathan Bank & Katie Firth Allison M. Blinken Rose-Marie Boller & Webb Turner Robert Brenner Russell Charlton & Julie Norwell Lynne Charnay Jon Clark & Ryan Franco Grover Connell Lewis B. & Dorothy Cullman Foundation Inc Jennifer & Greg Ezring Edmee & Nicholas Firth Joan & Edward Franklin Ruth Friendly Agnes & Emilio Gautier Mary Geissman Bernadette Goggin The Gordon Foundation Ronald Guttman Sarina Gwirtzman Carol & Patrick Hemingway Hickrill Foundation Roberta Jones Christopher Joy & Cathy Velenchik Drs. Robert M. Koros & Carole M. Shaffer-Koros Sarah-Ann Kramarsky Jonathan Landers & Sandra Reimers Tina & Michael Lobel Charlene & Gary MacDougal George Morfogen Jeanine Parisier Plottel James Periconi & Alice McCarthy Lorna Power Eleanor Reissa George Robb Karen Kelly Sandke Judy Goetz Sanger & Sirgay Sanger Rob Sinacore Karen & John Q Smith David Stenn Suzanne & Jon Stout â€“ Moving Man, Inc Katherine & Dennis Swanson M. Elizabeth Swerz Teen Ink Bertram Teich Michael Thomas Hilda Wenig Anonymous
DoubleMint (First Priority Club) Actors Equity Foundation Mary & Thomas Adams Gretchen Adkins Wilma & Arthur Aeder Judith Aisen & Kenneth Vittor Toni Albanese Shihong & Peter Aldin Louis Alexander Dean Alfange Linda Alster Linda & Lloyd Alterman Laura Altschuler Margaret & James Andreassi Marc Anello Carmen Anthony Judith Barlow Richard Barnes & Marta Gross Peter Belmont & Mary Zulack Jeanne Bergman & Anna Kramarsky William Berley Barbara Berliner & Sol Rymer Al Berr Nidia Besso Clinton Best Joan Bilsky Evelyn Bishop Joann & Gene Bissell Steven Blier & James S. Russell Zelda & Julian Block Ronald Blumer & Muffie Meyer Dorothy & Stuart Blumner Jeffrey S. Borer Carol & Kenneth Boudreaux Audrey Boughton Alice Boyle Rosemary & Charles Brennan Deborah & James Breznay Bristol- Myers Squibb Co. Debra Brockway, in memory of Clinton Brockway Edgar Brown Stephen Brown Lois Burke Ann Butera E. Ralph Buultjens Linda Calandra Maureen & James Callanan Peter Cameron Alice B. Cannon & G. Frederic Perkins Robbie Capp James Carroll Fairfid Caudle Aurelie Cavallaro Christopher Cayaba Robin Chase Carolyn Chave Elena & Stephen Chopek
Jean Churchill & Elizabeth Smith Steven R. Coe Toni Coffee Phyllis & Herbert Cohen Jane Condon Julie Cushing Connelly Chuck Cordray JoAnn Corkran Penelope & Peter Costigan Audrey & Fergus Coughlan Tandy Cronyn Susan & George Crow Michael Crowley Sue & Stuart Davidson Ann DeInnocentiis Ruth & Anthony DeMarco Denny Denniston & Christine Thomas Pat DeRousie-Webb & Robb Webb Edwin & Paula DeYoung Katherine & Bernard Dick Ruth & Robert E. Diefenbach Thomas Dieterich Nancy M. Donahue Martin Dooley Suzanne Dowling Kevin Duffy & D.G. Duffy-Weber Teresa Dziedzic Herzl Eisenstadt Mina & Martin Ellenberg Marjorie Ellenbogen Monte Engler & Joan Mannion Sara & Fred Epstein Grace & Donald Eremin Judith Eschweiler Ellen & Frank Estes H. Read Evans Tom Evans & Barbara Farrar Robert Ewing Sylvia Farrington Colleen Fay Benjamin Feldman & Frances Stern Orinda & Thomas J. Filipi Irving and Gloria Fine Foundation Leslie Fine Angela T. Fiore Robert Flaherty Eva & Norman Fleischer Barbara Fleischman Helene Foley Charles Forma Donald W. Fowle Jamie Fowler Charlotte Frank Diana & Jeffrey Frank Vicki & Bobby Freeman Dr. H. Paul & Delores Gabriel Barbara & Robert Gaims-Speigel Eugene Ganzthorn Michael Garber Mary Ann & John Garland William Garvin & Susan Stockton
Patty Gelfman James Giblin Ardian Gill & Anna L. Hannon Suellen & David Globus Betty & Joshua Goldberg Joyce Golden Gloria Goldenberg Beverly & Herbert Goldfarb Jane & Charles Goldman Goldman, Sachs & Co. Ann Goldsmith Margaret Goodman Mary Ellen Goodman Joyce Gordon & Paul Lubetkin Stanley Gotlin & Barry Waldorf Mary & Gordon Gould Anna Grabarits Virginia Gray Annette Green Anita Greenbaum Caroline Greenberg Tosia Gringer Arnold Grossman Vincent Grosso Ethel & Alan Groudan Jeffrey Grover Antonia & George Grumbach Carol & Steven Gutman Gunilla Haac Lanie Hadden Edith & James Hammond Joseph Hardy Frederica Harlow Patricia Harrington Laura & David Harris Phyllis & Robert Haserot Arlene & Jules Haskel Henry Hecht & Sally Wasserman Carol Hekimian Reily Hendrickson Michael Herko David Herskovitzs Karin & Henry Herzberg Sigrid Hess Barbara Hill Linda & George Hiltzik Dorothy & Edward Hoffner Robert & Mary Barbera Hogan Heather & Bruce Horner Tobey Horowitz Anne Humphreys Cathy Hull & Neil Janovic Harriet Inselbuch Linda Irenegreene & Martin Kesselman Dana Ivey Jocelyn Jacknis James W. Jackson Gale & James Jacobsohn Ellen & Peter Jakobson Weslie & William Janeway Susan & Stephen Jeffries
Wendy & David Johnston Joseph Family Charitable Trust Sandra Joys Peter Haring Judd Fund Margaret & William Kable Gus Kaikkonen & Kraig Swartz Thomas Kane Joan Kedziora, MD. Frances & Carter Keithley Laurie Kennedy & Keith Mano Roberta & Gerald Kiel Rosemary & James Kindler Joseph Kissane Kaori Kitao Caral Klein Elizabeth & William Kloner Paul Knierieman Allegra Kochman Carol Kochman Marlene & Gerald Kolbert Sarah & Victor Kovner Jean Kroeber Mildred G. Kuner Carmel Kuperman George LaBalme Paul LaFerriere & Dorrie Parini George LaForest Julie Laitin Mary & David Lambert William & Robert Lang Thomas Langston Judith & John LaRosa Kent Lawson & Carol Tambor Danny Lawrence Pearl & Karl Lazar Margaret & Gordon Leavitt Gloria & Ira Leeds Jane & Eliot Leibowitz Laura & Rodney Leinberger Dr. Albert Leizman & Ann Hartz David Lerner David J. Lesenger Linda Levine Gloria & Mitchell Levitas Carol & Stanley Levy Eva Lichtenberg & Arnold Tobin Claire Lieberwitz & Arthur Grayzel, MD Christopher LiGreci & Robert Ohlerking Madeleine Long Mary & Boyd Lowry Joan M. Lufrano Jon Lukomnik & Lynn Davidson Bette Lyons Mary Rose Main Vivian & John Majeski Miriam Malach Florence Mannion Barry Margolius Jean & Robert Markley Jacqueline Maskey
Jill Matichak Margaret Mautner Cheryl & Harris May George Mayer Pamela Mazur, PhD Sabra Jones McAteer Mary & Lloyd McAulay Carolyn McGuire Betsy McKenny Martin Meisel Ilse Melamid Richard Mellor, Jr. Joan & John Mendenhall John David Metcalfe Leila & Ivan Metzger Radley Metzger Ellen & Leonard Milberg Lusia & Bernard Milch Susan & Joel Mindel Ellen Mittenthal Elaine & Richard Montag Charlotte Moore Doreen & Larry Morales Joseph Morello Ann Morfogen Zachary Morfogen Frank Morra Elaine & Ronald Morris Muriel Morris Marion Moskow Carole & Theodore Mucha Georgia & Mark Munsell Janet & Daniel Murnick Karol Murov Amanda Nelson Mary Martin Nelson Nancy Newcomb & John Hargraves Oanh Nguyen Jean & B.W. Nimkin Tim Nolan Stephanie & Robert Olmsted Linda Oprysko Patricia O’Shea Dotti & Richard Oswald Frances Pandolfi Jonathan Parker Gwen & Bruce Pasquale Cheryl S.& Mitchell Patt Judith & John Peakes Pfizer Foundation Pitney Bowes Sheila & Irwin Polishook Mary & Larry Pollack Georgette & David Preston Carlo & Bob Prinsky Rose Marie Proietti
Gerryl Puelle Judith Quillard Susan & Peter Ralston Theresa Ranellone Linda Ray RBC Foundation* Betty Reardon Joe Regan Edith Rehbein Laurence Reich Cordelia & David Reimers Ota & Clayton Reynolds Irvin Rinard Phyllis & Earl S. Roberts Richard V. Robilotti Peter Robbins & Paige Sargisson The Rodgers Family Foundation/ Mary R. Guettel Renee & Seymour Rogoff Sylvia Rosen Mark Rossier Marcia & Marvin Rotman Marcia & Michael Rubin Meryl & Charles Rubin Lynn & Thomas Russo Joan & Herb Saltzman Deborah Samuelson Mary Jane & Peter Sander J.B. Sandler Catherine Scaillier Judith & Richard Schachter Maxine Scherl Barbara Schoetzau Michael Schussler Daphne & Peter Schwab Marilyn & Joseph Schwartz Norma Segal Harriet Seiler John Settel Barbara & Donald Shack Marjorie & George Shea Kenneth Sheedy Camille & Richard Sheely Janet & Joseph Sherman Stuart Sherman Virginia C. Shields Susan & Zachary Shimer Shelley & Joel Siegel Kayla J. & Martin Y. Silberberg Joyce Silver Mel Silverman Adrienne & David Singer Susanna Sitner Rayna & Martin Skolnik Barbara Madsen Smith Lily Smith
Barbara & Stanley Solomon Dr. Norman Solomon Arthur & Henrietta Sorin Charitable Trust Sandra & Graham Spanier Charles Sperling Linda & Jerry Spitzer Martha S. Sproule Alec Stais & Elissa Burke Marcella Stapor Melissa Steele – Erika’s Freynds - In Memory of Bob Sickinger* Sherry & Bob Steinberg Gary Stern Faith Stewart-Gordon Doina & Mihail Stoiana Ilene Stone Edna & Robert Straus Elaine & Ulrich Strauss Stella Strazdas Pamela Stubing Carol & Will Sullivan Larry E. Sullivan Bryna Sweedler Myra & Leonard Tanzer Douglas G. Tarr Madeline Taylor Lynda & Stephen Tepperman Tiger Management Annie Thomas & David H. Kirkwood Joan Vail Thorne Jeanne & Lee Toole Madelene Towne Linda & Ken Treitel Susan & Charles Tribbitt Martha van Hise Helen & William van Syckle Joan & Bob Volin Jacob Waldman Louise & Milton Wallach John Michael Walsh Robert G. Walsh Gina & Earl Weiner Tamara & Gerald Weintraub Patricia & Richard White Wien Family Fund Lillian & Robert Williams Marsha & Vincent Williams Elizabeth Williamson Jerald Zimmer Barbara & Donald Zucker Claire & Albert Zuckerman Sue & Burton Zwick Anonymous
This list represents donations made from July 2012 – January 2014. Every effort is made to ensure its accuracy. *Donations were made in honor of Leonard Stein and Bob Sickinger
To learn more about contributing to the Mint or becoming a member of our First Priority Club, go to minttheater.org or call (212) 315-0231.
PUBLICATIONS from the Mint Theater Company TERESA DEEVY RECLAIMED: VOLUME ONE Temporal Powers, Katie Roche, Wife to James Whelan “Deevy’s work should, and hopefully will, be known to a wider audience. This edition of her three act plays, the first of two planned volumes, could do much to help that hope. The critical introductions by Christopher Morash, John P. Harrington and the director Jonathan Bank are concise and informative, perfect for students and those new to Deevy’s work. They give insight into the plays, contextualise Deevy’s life, work, and production history, illuminating both Deevy’s brief success on the Abbey stage, and the resistance to her work that she encountered even with the successful plays.” - Emilie Pine, Canadian Journal of Irish Studies WORTHY BUT NEGLECTED: PLAYS OF THE MINT THEATER Mr. Pim Passes By by A.A. Milne, The House of Mirth by Edith Warton & Clyde Fitch, Alison’s House by Susan Glaspell, Miss Lulu Bett by Zona Gale, Welcome to Our City by Thomas Wolfe, Diana of Dobson’s by Cecily Hamilton & Rutherford and Son by Githa Sowerby ARTHUR SCHNITZLER RECLAIMED New English Versions of Far and Wide (Das weite Land) & The Lonely Way (Der einsame Weg) HARLEY GRANVILLE BARKER RECLAIMED The Madras House, The Voysey Inheritance & Farewell to the Theatre ST. JOHN HANKIN RECLAIMED The Return of the Prodigal & The Charity that Began at Home
Want to learn more about the Mint’s playwrights and shows? Check out our bookstore in the lobby!
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“When it comes to the library,” our Obie citation states, “there’s no theater more adventurous.” 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: (866) 811-4111