Page 1

Mint Theater Company Staff Jonathan Bank Sherri Kotimsky Colleen T. Sullivan

Artistic Director General Manager Box Office Manager

Board of Trustees Geoffrey Chinn, President Elsa A. Solender, Secretary Sari Anthony Jonathan Bank Linda Calandra Carol Chinn

Jon Clark Toehl Harding Eleanor Reissa Tina Rieger Gary Schonwald M. Elisabeth Swerz

“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. Mint has a keen interest in timeless but timely plays that make us feel and think about the moral quality of our lives and the world in which we live. Our aim is to use the engaging power of the theater to excite, provoke, influence and inspire audiences and artists alike.

311 West 43rd St. suite 307 New York, NY 10036 Box Office: (212) 315-0231

Staff for The Madras House Technical Director Associate Costume Designer Sound Consultant Master Electrician Programmer Wig Supervisor Wardrobe Supervisor Board Operator Carpenters Electricians Scenic Artist House Manager Box Office Associates

Evan Schlossberg Jessica Pabst Elizabeth Rhodes Philippe Bachy Alden Fulcomer Jessa-Raye Court Jen Haines Kane Chiang Paul Burke, Kyle Jordan Kenny Komer, Dennis Luczak Joe Rayome , Steve Wargo Caroline Abella, Scott Early Randy Yonally Yana Babaev Adam Branson Janel Cooke, Toni Anita Hull

The Producers would like to thank the following: Goodspeed Musicals Costume Rental Division and Odds Costume Rentals for its assistance in this production. Jeannette Hawley, American Repertory Theater. Michael Parva, The Director’s Company. Lighting equipment provided by the Technical Upgrade Project of the Alliance of Resident Theatres/New York through the generous support of the New York City Council and the City of New York Department of Cultural Affairs.

Actors’ 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 the provisions of its various agreements with theatrical employers across the country.

Mint Theater Company

Satoko Parker Edwin Partikian & Camille Infranco Bruce & Gwen Pasquale John & Judith Peakes Albert & Cleo Pearl David & Jean Plessett Irwin & Sheila Polishook Stephen W. Porter & Arnold Somers Maria Proctor Barbara & Joseph Psotka David & Phyllis Quickel Sheldon Raab Norman & Leigh Raben Ken Raboy H. Anthony Reilly Clayton S. Reynolds Jim J. Reynolds Arleigh Richards Jeanne Richman Howard & Tina Rieger Earl S. & Phyllis Roberts Seymour & Renee Rogoff Sylvia Rosen Claire Rosenstein Barbara Rosenthal Mark Rossier Joan & Herb Saltzman Anita Sanford Anne Kaufman Schneider Irwin Schwartz Phyllis Schwartz Susan Scott William & Earlyne S Seaver Dr. Jerome S. & Harriet Seiler Joseph & Janet Sherman Rebecca & Philip Siekevitz Martin Y. & Kayla J. Silberberg Dorothy Smith Lili N. Smith Philip Smith Dr. Norman Solomon Linda & Jerry Spitzer

Nicholas Stathis Michael Stebbins Lee Steelman Frances Sternhagen Phyllis Fox & George Sternlieb Foundation Ulrich & Elaine Strauss Pamela Stubing Kathrin Perutz & Michael StuddertKennedy Isabel Stuebe Larry E. Sullivan Kathryn Swintek Gerda Taranow Leonard & Myra Tanzer Douglas Tarr Caroline Thompson & Steve Allen Thomson Tax & Accounting Peter & Roberta Tomback Ken & Linda Treitel Alan & Susan Tuck Jan Vinokour Edith & Gordon Wallace John Michael Walsh Henry & Lucille Warner Robb Webb & Pat DeRousie-Webb Saul Wechter George Weeks Reny Weigert Howard M. & Patricia Weiss Robert Wilkens & Walter Rummenie Robert & Lillian Williams Ralph M. Wynn, MD Kenneth Zarecor Burton & Susan Zwick Anonymous This list represents donations made from January 2006 through January 2007. Every effort is made to insure its accuracy. Please contact us regarding any mistakes


Something new from Mint—gift certificates! A lovely idea for your theater-going friends. You can buy a gift certificate in any value, we will personalize it and mail it to you or any other address of your choosing. Give us a call at 212-315-0231 to order one today!

Jonathan Bank, Artistic Director Sherri Kotimsky, General Manager presents


Harley Granville-Barker with

Mary Bacon, Ross Bickell, Lisa Bostnar Thomas M. Hammond, Jonathan Hogan Laurie Kennedy, Roberta Maxwell Allison McLemore, Pamela McVeagh Mark L. Montgomery, George Morfogen Angela Reed, Scott Romstadt, Kraig Swartz Sets


Charles Morgan

Clint Ramos



Ellen Mandel

Jesse Dreikosen

Gerard James Kelly

Production Stage Manager

Assistant Stage Manager

Dialects & Dramaturgy

Allison Deutsch

Andrea Jo Martin

Amy Stoller


Stuart Howard, Amy Schecter & Paul Hardt


William Armstrong Wigs & Hair

Press Representation

David Gersten & Associates

Directed by

Gus Kaikkonen Opening night February 15, 2007 Mint Theater gratefully acknowledges public support from the National Endowment for the Arts, the New York City Department of Cultural Affairs and the New York State Council on the Arts, a State agency. Production support provided by The Edith Lutyens and Norman Bel Geddes Foundation.

The Madras House by Harley Granville-Barker CAST


Jonathan Hogan * Laurie Kennedy *

their daughters:


Lisa Bostnar Mary Bacon Angela Reed Allison McLemore Pamela McVeagh Mary Bacon


George Morfogen * Roberta Maxwell *

his wife and Henry’s sister



Thomas Hammond * Lisa Bostnar * Mark L. Montgomery *


Kraig Swartz Angela Reed Scott Romstadt Laurie Kennedy Mary Bacon Kraig Swartz Ross Bickell Mary Bacon Allison McLemore Pamela McVeagh

* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

London, October 1910 Act I

Act II

The Huxtable House, Denmark Hill. Sunday morning

The office of Roberts & Huxtable, Peckham. The following Monday morning


* * *

Act IV

The Madras House, Bond Street. Monday afternoon

Philip and Jessica’s house, Phillimore Gardens.

* * * * *

Kathleen Kelly David H. Kirkwood & Annie Thomas Kaori Kitao Caral G Klein Karl Kroeber Leonard Kreynin Carmel Kuperman Anne Lanigan Richard Laster Raymond & Lyette Lavoie Gordon Leavitt Ira & Gloria Leeds Robert & Jane Lehrman Eliot & Jane Leibowitz Al & Sally Leizman Ronald Lemoncelli Neil & Harriet Leonard Barbara & Herbert Levy Stanley & Carol Levy Sheldon & Lucille Lichtblau Vincent & Beth Lima Ross Lipman Joel & Diane Lipset Steven Lorch & Susanna KochanLorch Ruth Lord Mary Ellen Low Jeni Mahoney Mary Rose Main John & Vivian Majeski Barry Margolius Joan & Robert Matloff George W. Mayer, Jr. Betsy McKenny Martin & Martha Meisel Richard Mellor, Jr. Ivan & Leila Metzger Radley Metzger Susan & Ronald Michelow Bernard Milch Judith K.& Allan Mohl Elaine & Richard Montag Doreen & Larry Morales George Morfogen Ronald & Elaine Morris Munsell Family Foundation Janet Murnick Egon & Florence Neuberger Dorinda J. Oliver Shelly G. Orringer Richard & Dorothy Oswald



* *

Bruce & Adele Fader Marlene Rosen Fine & Michael J Fine Angela T. Fiore Eva & Norman Fleischer Barbara Fleischman Fred Forrest Donald Fowle Jessica Franken & David Korr Mio Fredland Monroe Freedman Robert Freedman Sandra & Burton Freeman Ellen Gibbs James C. Giblin Ardian Gill David & Suellen Globus Joyce Golden Charles & Jane Goldman Gordon & Mary Gould Anna Grabarits Richard Grayson Noel Grean Anita & Edward Greenbaum Greenwich House Senior Center Pat Griffith Marta Gross & Richard Barnes Lois & Stewart Gross Martin Gruber Victoria Guthrie James C & Julia Hall Mimi Halpern Robert Hanson & Lynne Alfred Reily Hendrickson Sigrid Hess Anita Highton Ellen & Harvey Hirsch Eleanor Hodges Milton & Madelaine Horowitz Anne Humphreys Harriet & Elihu Inselbuch Joseph Iseman Jocelyn Jacknis Edgar & Renee Jackson Irwin & Ann Jacobs Peter & Ellen Jakobson Roberta A. Jones Ronald & Hildegaard Jones Gus Kaikkonen Jane Kapsales Ursula & Frank Karelsen Annette Karan


The Ellen M. Violett & Mary P. R. Thomas Foundation, Inc Jill Tran Litsa Tsitsera anonymous First Priority Club Marilyn & Meyer Ackerman Eleanor Aitken Laura Altschuler Carmen Anthony Earl Bailey Judith Barlow Larry Beers Robert & Ellie Berlin Lori & Rick Berman Mary & Jeffrey Bijur Evelyn Bishop Steven Blier Allan & Joan Blumenthal Barbara & Ronald Blumenthal Constance Boardman Rose-Marie Boller & Webb Turner Lori & Rick Borman Len & Barbara Bornstein Lynn Brenner Leslie Bryant Ann Butera Elaine B. Bye Richard Carroll Andrew H. Chapman Robert Chlebowski Herbert & Phyllis Cohen Grover Connell Kathleen H. Corcoran Samuel Costello Penelope & Peter Costigan Bruce Deal Patricia & Charles Debrovner Anthony & Ruth Demarco Gennaro A. DeVito Bernard & Katherine Dick M. Burton Drexler Martin & Mina Ellenberg Monte Engler Rachel & Mel Epstein Don & Grace Eremin Sharon Esakoff Judith Eschweiler H. Read Evans

When The Madras House was written in 1909, there was little security in the life of an Edwardian shop-assistant. There were no set meal breaks, no holidays or days off, no health or unemployment insurance. As Mint audiences saw in Cicely Hamilton’s Diana of Dobson’s (1908; produced here in 2001), shopworkers not only lived in, but could work 80 hours a week on starvation wages. Low pay and management fines for a bewildering list of transgressions made saving for the future difficult, and even better-paid senior employees could be terminated at a moment’s notice. Among the reasons for job-loss given were: carrying matches in one’s pocket; asking two days’ leave to arrange and attend a funeral; going through the wrong door to dinner; being ill one day; becoming engaged to someone employed by the same firm. A worker could simply be replaced by someone younger and cheaper, or an employer’s relation, at any time. With a reference, they might hope for comparable employment elsewhere; without one, their chances were slim. For a female shopworker that generally left, if she was lucky, descent from the lower middle class to the working class via unskilled or sweatshop labor; if unlucky, the Workhouse or prostitution. If a worker had family relying on any portion of their earnings, they too were vulnerable. The specter of the Workhouse, known to most of us nowadays through Oliver Twist, was terrifying. Nineteenth-century Poor Law assistance was organized on the local level, purposely designed to be so meager and humiliating as to discourage voluntary application for aid. As the Victorian era gave way to the Edwardian, some of the burden on local authority was lightened by the advent of “friendly societies,” trade union insurance plans, and religious and other charitable organizations. But without help from one of these, or from family, a dismissed worker’s prospects were bleak. In 1891, a national union for retail workers was formed. They did much to publicize the plight of shop assistants, fighting against the living-in system, and for reduced working hours. Still, there was no old-age pension scheme until 1908; no minimum wage or labor exchange until 1909. Finally, in 1911, the Shops Act succeeded in establishing limited working hours, a weekly half-day off, and regular meal breaks. That same year, the National Insurance Act created health and unemployment insurance in Great Britain for the first time. The British Welfare State would not be formed until after WWII, but its foundation had been laid. — Amy Stoller

Program notes

Linda Irenegreen & Martin Kesselman James & Jacqueline Johnson Joseph Family Charitable Trust Peter Judd Joan Kedziora, MD Rose Klimovich Anna Kramarsky & Jeanne Bergman Mildred C. Kuner Eugene M. Lang Foundation Kent Lawson & Carol Tambor Levenstein Family Foundation Samuel & Gabrielle Lurie Daniel Loos Macken Robert & Marcia Marafioti The Memorial Foundation for the Arts John D. Metcalfe Eleanor S. Meyerhoff Joel & Susan Mindel Joseph Morello The New York Times Company Foundation Peter & Marilyn Oswald Naomi & Gerald Patlis Pfizer Foundation Stephen Porter Jeffrey & Judith Prussin Susan & Peter Ralston The Tony Randall Theatrical Fund Inc. Joe Regan, Jr. Eleanor Reissa & Roman Dworecki Richard Frankel Productions Irven Rinard George Robb Rubin Foundation Judy & Sirgay Sanger The Martin E Segal Revocable Trust Carole M. Shaffer-Koros & Robert M. Koros Stephen Siderow Rob Sinacore Bob & Sherry Steinberg David Stenn Dennis & Katherine Swanson

“Living-in” The Madras House is not only the title of Granville-Barker’s 1909 play, it is the name the playwright gives to his equivalent of the sprawling Edwardian department store, an amalgamation of drapery shop and fashion house. (Contemporary audiences made the immediate connection to Selfridge’s, the London retail mecca established by American entrepreneur H. Gordon Selfridge.) In Act II, we meet some of the workers who “live in.” A descendant of the preindustrial apprenticeship, “living in” was a system whereby employees lived in or near their place of work, in dormitory-type housing provided by their employer.


Mint audiences might recall another play, Diana of Dobson’s (written by Cicely Hamilton in 1908, produced by the Mint in 2001), whose first act portrays life in a typical drapery shop dormitory. Conditions were brutal. Six to twenty employees shared a room. The room was sparsely furnished—a bed for each employee, some pegs for clothes, a box for storage, and a single stove or gas jet were all the amenities usually provided. “Everything plain and comfortless to the last degree,” was how Hamilton described it.

Employees, whose salaries were already reduced to cover the costs of room and board, were charged for any infraction of house rules. These included burning a candle after “lights out,” putting on the gas after hours, or coming in after curfew. Behavior at work was also subject to fines. Any employee caught in “unbusinesslike conduct”—such as being rude to a customer or, heaven forbid, not dusting the shelves properly—would see a reduction in salary for the week.

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

Robert Brenner Lucille Lortel Foundation National Endowment for the Arts New York State Council on the Arts The James B. Oswald Co. The Shubert Foundation, Inc. Michael Tuch Foundation anonymous

Artistic Directors Circle Geoffrey & Carol Chinn Barbara Bell Cumming Foundation The Gladys Krieble Delmas Foundation Mary Rodgers Guettel Edgar & Renee Jackson DJ McManus Foundation New York City Department of Cultural Affairs The Fan Fox & Leslie R Samuels Fnd Inc The Ted Snowden Foundation Mary Elisabeth Swerz

First Priority Platinum Circle American Theater Wing Axe-Houghton Foundation Linda Calandra Adam D. & Linda Chinn Edward & Lori Forstein The Heidtke Foundation Kendal at Oberlin Karl Lunde Edith Meiser Foundation The New York Times Company Foundation Fund for Mid size Theaters, a project of A.R.T./New York Tina & Howard Rieger Gary A. Schonwald Wallace Schroeder Stephen D & Elsa A Solender

The Dorothy Strelsin Foundation Sukenik Family Foundation

First Priority Gold Club Lisa Ackerman American Friends of Theatre Inc Sari Anthony Jonathan Bank Malvin & Lea Bank Bank of America Ezra Barnes Andre Bishop Bernice & Frederick Block Dr. & Mrs. Jeffrey S. Borer Virginia Brody Jon Clark Jeffrey Compton & Norma Ellen Foote Robert & Ruth Diefenbach Cory & Bob Donnally Charitable Fund ExxonMobil Foundation Fine Family Foundation Nicholas & Edmee Firth Barbara Fleischman Charles Flowers Edward & Joan Franklin Burry Fredrik Ruth Friendly Mr & Mrs Ciro Gamboni The Gramercy Park Foundation Inc Virginia Gray Kristen Griffith Antonia & George Grumbach Guilford Publications Guild Family Foundation Ron Guttman Toehl Harding George B. Hatch Hickrill Foundation Barbara Hill Edward & Dorothy Hoffner Anna B. Iacucci


Program notes

Many employers considered a separate bathroom an unnecessary luxury. Some firms even limited workers to one pint of hot water a week for washing. Food was often stale; week-old bread was not uncommon. In some dormitories, rats scampered across the room at night, or lice infested the bedclothes.


ley, Fringe Festival: Trouble in Shameland; Workshop: Red; Reading: Grand and Glorious. Favorite regional credits include: Hair, Little Shop of Horrors, The Who’s Tommy, Macbeth, Zombie Attack!, and The Diviners. Thanks to Jonathan, Gus and Allison for bringing me to the Mint. 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) & the original La Cage Aux Folles. Off Broadway: I Love You, You're Perfect, Now Change & The Normal Heart. Happily casting for The Mint for the past 2 seasons

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

JONATHAN BANK (Artistic Director) Bank has been the artistic director of Mint since 1996 where he has unearthed and produced more than two dozen lost or neglected plays. Bank 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 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. Bank also directed The Truth about Blayds and Mr. Pim Passes By both by A.A. Milne and performed in rotating repertory with a single group of actors under the title Milne at the Mint, as well as this summer’s Susan and God.. 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 Candida and Mr. Pim Passes By for the Peterborough Players. This spring Bank taught directing in the graduate program of The New School for Drama. He earned his M.F.A. from Case Western Reserve University in his hometown of Cleveland, OH.

Any mistake, such as miscounting inventory or giving the wrong change, was also grounds for salary reduction. Even behavior outside of work was subject for punishment. An employee caught smoking, or reading novels, could find his or her wages cut. Conditions were grim, but a shop assistant’s workday was “only” 14 hours, as opposed to the 16 hours or more expected from a household servant. This made “living in” a more attractive option than domestic service for an increasing number of workers. In 1891, 450,000 assistants “lived in” their shops. By 1914, five years after Granville Barker wrote The Madras House, 400,000 employees still “lived in.” Employers argued that “living in” promoted morality among the workforce, another factor in ensuring the system’s survival. In the interests of “morality,” each dormitory was segregated by gender. A strict forewoman or foreman, usually an older employee of many years standing, kept watch over the other workers (Miss Chancellor in The Madras House and Miss Pringle in Diana of Dobson’s). Actions deemed “immoral” were grounds for docked wages, or depending upon their severity, dismissal. Unwed pregnancy was one cause for dismissal. Marriage, surprisingly, was another. Workers were expected to remain single. Family life could interfere with obligations to the firm. One employer remarked, “I would rather they go elsewhere and get married; we do not want people in our employ like that…it tends to make them—well, certainly not honest.” In The Madras House, Granville Barker exposes the hypocrisy behind such sentiment. By 1910, the year the play premiered, avant-garde audiences had seen many “shopgirl” dramas recounting the horrors of “living in.” Madras House nevertheless proved a shock. Not only did Granville Barker gave us a vibrant shopgirl (Miss Yates) who does not atone for her “wrong-doing,” he had the audacity to compare the exploitation of drapery shop workers to the entrapment of middle-class women. Heather J. Violanti

When The Madras House was first produced, the Englishman’s average yearly wage was £50–60; for women it was about £20. At the time, a comfortable income was defined as £160–700 per annum, with any larger figure signifying true wealth. Is it any wonder Mr. Brigstock says £30 a year is not enough to “live out” on? Miss Yates might hope to support herself and her child for a little over a year on the nearly £200 she has saved. On the other hand ... While it isn’t possible to determine an exact value for the 1910 pound in today’s currency, a reasonable estimate of the £1200 salary that Philip Madras forgoes would be just over a half-million pounds — or roughly a million dollars. — Amy Stoller

Program notes


DAVID GERSTEN & ASSOCIATES (Press Representatives) is proud to continue our relationship with Mint. DGA currently represents the Off-Broadway hits Altar Boyz (3rd year - NYC and National Tour), Naked Boys Singing! (8 full frontal years) and The Awesome 80s Prom (3rd year - NYC, Chicago). Other current clients include New World Stages (the Clinton entertainment complex formerly known as Dodger Stages), Stage Entertainment US, York Theatre, Ensemble Studio Theatre, The Lucille Lortel Foundation, and The League of Off-Broadway Theatres & Producers' annual Lortel Awards, which David also writes and co-produces. Also a producer, David presented Tea At Five starring Kate Mulgrew as Katharine Hepburn, as well as the musicals Dr. Sex and Eleanor and Hick.

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.

ROSS BICKELL (Eustace Perrin State) recently appeared in the world premiere of Durango by Julio Cho at Long Wharf and N.Y. Public. Broadway: Noises Off, The Iceman Cometh, and A Few Good Men (also the national tour). OffBroadway include the OBIE Awardwinning Waste, Remembrance, Privates on Parade, Somewhere in the Pacific, The Crucible, and Down by the Ocean. Regional theater credits include productions for Pittsburgh Public Theatre, The Repertory Theatre of St. Louis, Arena Stage, Alley Theatre, Huntington Theatre Company, Cincinnati Playhouse in the Park, Guthrie Theater, Kennedy Center,

Pioneer Theatre Company, Virginia Stage Company, Philadelphia Theatre Company, and Buffalo’s Studio Arena Theatre. Film and Television credits include “Airport ‘77”, “Major Payne”, Fantasy Island”, “WKRP in Cincinnati”, and many other canceled series. Mr. Bickell is a repeat offender on “Law & Order” and has also guest starred on Comedy Central’s “Strangers with Candy” and “The Chappelle Show”. This is for Jack. LISA BOSTNAR (Minnie Huxtable, Jessica Madras) Mint regulars have seen Lisa in Schnitzler's Far and Wide and The Lonely Way; as well as The Voysey Inheritance, The Truth About Blayds, Mr. Pim Passes By, The House of Mirth, August Snow & Night Dance, and going as far back as Quality Street and Oroonoko. Some favorite roles have been Beatrice in Much Ado About Nothing, Kate in The Taming of the Shrew, Beth in A Lie of the Mind. Lisa has guest starred in several “Law & Order” episodes as well as “Conviction”. She can be seen in the soon to be released “The Sensation of Sight” with David Straithairn. THOMAS HAMMOND (Philip Madras) In New York, Tom was most recently seen portraying Will Shakespeare in Swansong at the Summer Play Festival. Other New York credits include Brutus in Julius Caesar, All’s Well That Ends Well, Cymbeline, Richard III, and The General from America, all with Theatre for a New Audience. Regional performances include playing Macbeth at the Old Globe Theatre, Pericles in Pericles at the Shakespeare Theatre of D.C. and at the New Jersey Shakespeare Festival where he also played Berowne in Love’s Labors Lost. Also, The Rainmaker and Permanent Collection at Baltimore Centerstage, and All My Sons at the Westport Country Playhouse. TV Credits include “Law and Order”, “All My Children”, and the role of John Proctor for PBS’ American Masters film on Miller and Kazan.

coming summer will be the second time his work will be on exhibit at the Prague Quadrennial in the Czech Republic. He received his M.F.A. in Set Design from Purdue University and has received both regional and national awards for his designs. GERARD JAMES KELLY (Wigs and Hair) has designed extensively for North Shore Music Theater, The Walnut Street Theater, and The Public Theater/New York Shakespeare Festival, N.Y.U. and many Off-Broadway productions including the world premiere’s of Fanny Hill at The York Theater, and The Internationlist at The Vineyard Theatre. Other regional credits include The Lake Tahoe Shakespeare Festival, Westchester Broadway Theater, Goodspeed Opera, Paper Mill Playhouse, The Williamstown Theater Festival, San Diego Repertory Theater, San Francisco’s Theater Works and The Magic Theatre, The Westport County Playhouse, Main State Music Theater, the New Jersey and Idaho Shakespeare Festivals, the Sacramento Theater Company, The Carousel Theater, New Freedom Theater, The Northern Stage Company, Downtown Cabaret Theater and The Geva Theater. Gerard has also created wigs for performers such as Harvey Fierstein, Felicity Huffman, Laura Linney, Marlo Thomas, The B-52’s , Sandy Duncan, Jennifer Holiday, Ru Paul, Lypsinka, Varla Jean Merman, and Brini Maxwell. Gerard's films include “Transamerica”, “Girls Will Be Girls” and soon to be released “The Ten” and “The Savages”. AMY STOLLER (Dialect Coach, Dramaturge) With Gus Kaikkonen at the Mint: The Voysey Inheritance, The Cha-rity That Began at Home. This is Amy’s twelfth production at the Mint, where her credits also include John Ferguson, The Daughter-in-Law, and the double-bills Echoes of the War and Milne at the Mint. She recently completed work on Austin Pendleton’s production of Toys in the

Attic at the Pearl, where she worked on last season’s I Have Been Here Before, directed by Gus Kaikkonen. Other clients include Keen Company, Theatreworks/USA, Drama League DirectorFest, FringeNYC, Summer Play Festival, Hypothetical Theatre, Boomerang, Peter-borough Players (NH), and Distilled Spirits Theatre (for whose Northanger Abbey Amy won an OOBR Award). She is also Co-Director of Karen Eterovich’s touring play, Cheer From Chawton: A Jane Austen Family Theatrical, which was dubbed “the hit of the Festival” at the 2006 Jane Austen Festival in Bath. For more information, please visit Member, Voice and Speech Trainers Association. ALLISON DEUTSCH (Production Stage Manager) is thrilled to return to the Mint Theater where her stage managing credits include The Voysey Inheritance, also directed by Gus Kaikkonen, No Time For Comedy, directed by Kent Paul, Far & Wide and August Snow & Night Dance, both directed by Jonathan Bank. Other credits include: Ford’s Theatre: Trying, starring James Whitmore, directed by Gus Kaikkonen; Peterborough Players: five seasons including Cookin’ at the Cookery, starring Ernestine Jackson, directed by Marion J. Caffey; Tuesdays With Morrie, starring James Whitmore and James Whitmore Jr., directed by Gus Kaikkonen, Mr. Pim Passes By, directed by Jonathan Bank; York Theatre: The Great Big Radio Show, directed by David Glenn Armstrong, and I Can Get it For You Wholesale, directed by Richard Sabellico. Proud member of Actors’ Equity Association. ANDREA JO MARTIN (Assistant Stage Manager) is pleased to be working with the talented cast and crew of Madras. NYC credits include off-Broadway: WASPs in Bed, A Fine and Private Place, Fanny Hill, the 2005 Musicals in Mufti; Benefit Performance: Busker Al-



MARY BACON (Clara Huxtable, Marion Yates, Mannequin, Maid at Denmark Hill) Broadway: Arcadia., Lincoln Center. Off-Broadway: Treason, Perry Street Theatre. Mother Lolita and Dream of Wealth at Urban Stages, and workshops/productions with The Culture Project, The Lark, Old Vic New Voices, Primary Stages, Lincoln Center Lab, New Dramatists, Directors Company, Drama League, Ensemble Studio Theatre, New Georges, the Women’s Project, Lincoln Center Institute, and TACT. Regional: This summer Julia in The Rivals at Shakespeare Theatre of New Jersey, Iron Kisses, world premiere (Geva), Hypatia in Misalliance (Old Globe), Hazard County (Humana Festival), Stephen Wadsworth’s adaptation/translation of Don Juan (Old Globe, Seattle Rep, McCarter Theatre) and The Triumph of Love (Seattle Rep, Long Wharf), Radium Girls (Playwrights Theatre of New Jersey), Last Night of Ballyhoo (world premiere at the Alliance), and productions with Capital Rep, Dallas Theatre Center, Hartford TheatreWorks, Baltimore Center Stage, Denver Center, Cincinnati Playhouse, Williamstown. TV/Film: “Alexander Hamilton” PBS American Experience, “Jonny Zero”, “Third Watch”, “Law & Order”, “Suzanna Most”, “The Gaveltons”. TACT company member.

for over 100 shows in Chicago, New York and Boston. In the Boston area he has designed for the Peterborough Players, Merrimack Repertory Theater, American Stage Festival, the Nora Theater, Worcester Foothills, and Gloucester Stage Company. Special thanks to Mystic Scenic Studios, where he is senior designer, for supporting his theatre habit and KC, Nora, Catherine & Miles for sharing the adventure with him.

WILLIAM ARMSTRONG (Lights) is pleased to be returning to the Mint having previously lit The Voysey Inheritance, The Flattering Word & A Fare-

ELLEN MANDEL (Sound) has composed music for over forty plays including at the Mint Welcome to Our City,, The Flattering Word, and The Voysey Inheritance, and for the Jean Cocteau Rep, Riverside Shakespeare, and Phoenix Theatre Ensemble in NYC, and the Asolo, Peterborough Players, Arkansas Rep, Tennessee Rep, and other regionals. She has written five film scores, and has released three CDs: Every Play's an Opera, a collection of her theatre music, a wind has blown the rain away, her E.E. Cummings songs; and the first of all my dreams, new songs with lyrics by Cummings and Seamus Heaney. JESSE DREIKOSEN (Props) Recently moved from Miami where he was the resident set designer for three seasons at New Theatre, in Coral Gables, Florida. Favorite shows at New Theatre include Madagascar (Carbonell nomination), Paradise, and The Sunken Living Room, which was co-produced with Southern Repertory Theatre and was produced once again in New Orleans this past January. Other recent credits include: A Midsummer Night’s Dream, Of Mice and Men, and Forever Plaid for the Texas Repertory Theatre Company in Houston, Texas; The Triumph of Love and The Taming of the Shrew for The Shakespeare Theatre of New Jersey; The Importance of Being Earnest and Proof for Viterbo University in La Crosse, Wisconsin. He also designed The Red Fern Theatre Company’s production of Two Rooms, which is played at the 78th Street Theatre Lab. He has assistant designed at The Indiana Repertory Theatre. This

JONATHAN HOGAN (Henry Huxtable) has appeared On Broadway in Comedians, Otherwise Engaged, Fifth of July, The Caine Mutiny Court Martial, As Is (Tony and Drama Desk nominations), Burn This, Taking Steps, and The Homecoming. Plays he appeared in as a member of Circle Rep include The Hot l Baltimore, The Mound Builders, and Balm in Gilead. Other performances Off Broadway include Getting Out, The Red Address, Book of Days, and In the Matter of J. Robert Oppenheimer. Regionally he has acted at The McCarter Theatre, George Street Playhouse, La Jolla Playhouse, The Repertory Theatre of St. Louis, and Hartford Stage: On film – “In Country”, “The House on Carroll Street”, “A Fish in the Bathtub”. 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: SVU”, “L&O: CI”, “L&O: Trial by Jury”, and four appearances on “Law & Order”, the mothership. Mr. Hogan is a graduate of The Goodman Theatre and School of Drama. LAURIE KENNEDY (Katherine Huxtable & Miss Chancellor) Broadway: Copenhagen, Angels in America, Major Barbara, Man & Superman (Tony, Drama Desk nominations): Spoils of War Off-Broadway includes: All’s Well That Ends Well, Andorra, Master Builder, Recruiting Officer, He & She, Ladyhouse Blues, Candida which was directed by Gus Kaikkonen. National tour of Three Tall Women. 21 seasons at Williamstown Theatre. 12 seasons at O’Neill Theatre Center. Numerous theatres across the US—most recently Big Mama in Cat on a Hot Tin Roof at Dallas Theatre Center. TV: “Bedford Diaries”, “Oz”, “Third Watch”, “Criminal Intent”, “Law and Order”, “ Homicide”, “Love Letter”, “Choices”, “Path to Paradise”, “Perfect Tribute” “Kennedy”. Awards: Theater World Award, Clarence Derwent Award, 1999 Fox Fellowship.

ROBERTA MAXWELL (Amelia Madras) began her career in Canada and England. As a resident of NYC she has been the recipient of several awards including 2 Obies for the Public and Mercury Theatres. She has worked in theatres on both coasts and many in between. Her film credits include “Philadelphia”, “Dead Man Walking” and “Popeye”. Her television credits include “Law & Order”, “All My Children”, “Morning Becomes Electra” (PBS) and many, MANY Movies of the Week. In 2006 she was seen in the Oscar winning film “Broke Back Mountain”, the Movie of the Week “The Mermaid Chair” (Lifetime) and as Queen Margaret in the NJ Shakespeare production Richard III. Later this season (2007) she will be seen in The Middle March production of “Alexander Hamilton” (PBS) and the Origin Theatre Co. North American Premiere of Thomas KilRoy’s play The Shape of Metal Ms. Maxwell is a proud member of 5 unions including AEA. ALLISON McLEMORE (Emma Huxtable, Mannequin), is pleased to make her New York debut at The Mint Theater. She has recently completed her MFA at Ohio University. Some favorite regional credits include: Antigone (Cincinnati Playhouse in the Park, touring company), Enchanted April (Creede Repertory Theatre), Little Women (Peterborough Players). PAMELA McVEAGH (Jane Huxtable, Mannequin, Maid at Phillimore Gardens) is thrilled to be part of a Mint Theater Production and to have the honor of working with such incredible artists. Previous New York credits include Pen Pals at the Blue Heron Theater and Ten Grand Productions' Titanic Voices. She is originally from Northampton, England and has a B.F.A in Acting from Otterbein College, OH. Many thanks to Stuart, Paul, Amy, Gus, Ed and my family.



CLINT RAMOS (Costumes) Mint : Soldiers Wife, Susan and God Off Broadway : Trial By Water (Ma-Yi Theater), And God Created Great Whales (Culture Project), Santa Concepcion (Public Theater), References To Salvador Dali Make Me Hot (Public Theater), Caucasian Chalk Circle (Vineyard Theater/Ma-Yi) Other NY designs : Ensemble Studio Theater, The Play Company, Rude Mechanicals, Foundry Theatre, La Mama, Here Arts Center, PS 122, Dance Theater Workshop, Dancespace, Duke Theater, Ohio Theater, SPF, MCC, Red Bull Theater and others. Regional : American Repertory Theater, Merrimack Repertory Theater, Commonwealth Shakespeare Co., Baltimore Center Stage, Dallas Theater Center, Speakeasy Stage, East West Players, Opera Boston, Opera Theater of St.Louis and others. International: Barbican (London), Noorlaand Operan (Stockholm), Kanon Dance ( St. Petersburg), Teatro Pilipino (Manila), Ballet Stuttgarter (Stuttgart), DeNederlandse Opera (Amsterdam). Awards: NYTW Design Fellowship, Gary Kalkin Memorial Award, Audelco Nomination, 2 IRNE Nominations. Recently features in Live Design magazine as one of 2007’s Designers to Watch. 2006 and 2007 Guest Artist at Georgetown University. MFA from NYU.

well to the Theatre, and The Charity The Began at Home. Mr. Armstrong has lit numerous productions in New York City, both on and off Broadway, as well as for many of the regional theatres across the country. For the past twenty years he has also worked as an architectural lighting consultant and designer with his company, William Armstrong Lighting Design.

MARK L. MONTGOMERY (Major Hippisly Thomas) The Public: Macbeth. Broadway: Mamma Mia! Off– Broadway: Rose Rage (CST). Regional: The Time of Your Life (Steppenwolf), Cat on a Hot Tin Roof (Apple Tree), 12 productions with Chicago Shakespeare Theater plus work with Remy Bumppo, Northlight, About Face, Writer's Theatre, The Goodman, Hope and Nonthings and many others. For In the Belly of the Beast, Mark received a Joseph Jefferson nomination and an After Dark Award. TV/film: “Repetition”, “Under the City”, "Law & Order" and "Guiding Light". Love to Amy and Lewis. Proud member of Actor's Equity.

ANGELA REED (Julia Huxtable, Freda Brigstock) is pleased to be back at the Mint where she was seen as Minnie in The Daughter-in-Law, and Lulu in Miss Lulu Bett. Other NY credits include He and She (TACT), Therese Raquin (CSC),

SCOTT ROMSTADT (Belhaven) is most lucky and proud to be working with the Mint. He is a recent graduate of Hofstra University and originally from Toledo, Ohio. Many thanks to this cast, Gus Kaikkonen, Jonathan Bank, Sherri Kotimsky, Allison Deutsch, Amy Stoller, and Jean Dobie Giebel. This one's for Mom. KRAIG SWARTZ (William Brigstock, Mr. Windlesham) last appeared at the Mint as Edward Voysey in The Voysey Inheritance. Recently, he played Betty/Edward in Cloud 9 at the Wilma Theatre (2006 Barrymore Award Nom.) At Philadelphia Theatre Company, he played Mason in Take Me Out (2005 Barrymore Award) and Sam in Fully Committed (2003 Barrymore Award). Other regional credits include: Milwaukee Rep: Angels In America; Guthrie Theatre: A Christmas Carol and Macbeth; MeadowBrook Theater: Broadway Bound (opposite Jayne Houdyshell, Detroit Free Press Theatre Excellence Award.) Also, Goodman Theatre, Victory Gardens, and Chicago Shakespeare

Theatre, Alabama Shakespeare Festival, Pioneer Theatre, Rep. Theater of St. Louis, Asolo Theatre, Coconut Grove Playhouse, Kennedy Center, Ordway Theatre, Caldwell Theatre, and eleven summers in New Hampshire at the Peterborough Players, where he appeared in Our Town, Inherit The Wind and You Can’t Take It With You with James Whitmore and Six Degrees of Separation with Mary Beth Hurt. He has appeared on SNL and in the film “World and Time Enough” HARLEY GRANVILLE-BARKER (Playwright) was born in London in 1877. He began his stage career on tour, performing with Mrs. Patrick Campbell, before he made his first London appearance in 1892. He was only twenty-three when George Bernard Shaw in 1900 cast him as Eugene Marchbanks in Candida, from which there grew a fifteen-year professional and personal relationship so binding that many came to believe Barker was Shaw's illegitimate son. He joined forces with the manager John E. Vedrenne to found the Court Theatre, London, in 1904 which was to become the first modern repertory theatre in the English-speaking world. GranvilleBarker's best known plays are The Voysey Inheritance, Waste and Madras House. As a stage director he introduced to the London stage plays by Galsworthy, Masefield, Maeterlinck, Schnitzler, Hauptmann. As an actor he was acclaimed for his Shaw interpretations, creating the roles of John Tanner, Frank Gardner, Adolphus Cusins, and Louis Dubedat, and appearing successfully as well in such parts as General Burgoyne, Major Sergius Saranoff, and Mr. Valentine. He was one of the foremost champions of a national theatre for Great Britain, and the first to call for a subsidized theatre. His stagings in 1912 of The Winter’s Tale and Twelfth Night revolutionized Shakespearean production in the modern theatre through their concentration on stripped-down productions and analytical probing of character. In later

years, his greatest achievements were the Prefaces to Shakespeare, recognized as among the finest contributions to Shakespearean criticism. Barker was 68 at his death in Paris on August 31, 1946, at which time Shaw recalled him as "altogether the most distinguished and incomparably the most cultivated person whom circumstances had driven into the theatre." GUS KAIKKONEN (Director) credits include productions of Antigone (Wall Street Journal Best of 2006) for the Phoenix Theatre Ensemble, Arms and the Man, The Gentleman Dancing Master, I Have Been Here Before, and Heartbreak House at the Pearl, Macbeth with Stephen McHattie and Candida with Laurie Kennedy at Playhouse 91, Richard III with Austin Pendleton at Riverside Shakespeare, Susan Sandler's Under The Bed at HB Playwrights, People Like Us at NYMF; and at the Mint, the New York premieres of The Voysey Inheritance and Farewell To The Theatre (both with George Morfogen and by Granville Barker), and The Charity That Began At Home by St. John Hankin. For the last four years he has been a Guest Artist at the Juilliard School. In the regions, he has directed at Ford's Theatre (Trying with James Whitmore), the Philadelphia Theatre Company, the Asolo, GeVa, Northlight, BoarsHead, and the Coconut Grove Playhouse (About Time with Theodore Bikel). Since 1996 he has been the Artistic Director of the Peterborough Players, an award-winning AEA CORST theatre in New Hampshire where he has staged 50 plays, including Mary Beth Hurt in Six Degrees Of Separation, James Rebhorn in Later Life, and James Whitmore in Our Town, You Can’t Take It With You, About Time, and Inherit The Wind. CHARLES MORGAN (Sets) is pleased to return to the Mint where he previously designed The Charity That Began at Home. Mr. Morgan has designed scenery



GEORGE MORFOGEN (Constantine Madras) Mint: Voysey in The Voysey Inheritance, The Lonely Way, Farewell to the Theatre, Uncle Bob (also L.A. Drama-Logue Award). Broadway: Fortune’s Fool, An Inspector Calls, Arms and the Man, John Gabriel Borkman, Kingdoms. Off-Broadway: Duke of York in Richard II (Bayfield AwardClassic Stage Company), King of France in All’s Well That Ends Well (Theatre For a New Audience), Heartbreak House (Pearl Theatre), Hannah and Martin (Epic Theatre), Hamlet, Othello, Cymbeline, Henry V, As You Like It (Public Theater), Mrs. Warren’s Profession (Roundabout Theatre), The Disputation (Jewish Rep.). Regionals: Baltimore, Dallas, Pittsburgh, Arizona, Manitoba, Seattle, Long Wharf, Williamstown. Films include: “20 Bucks”, “What’s Up Doc?”, They All Laughed”, (also Producer). TV includes “OZ” (Rebadow) HBO. Fox Foundation Fellow, 2000. Brown University and Yale School of Drama.

and standing by for Lizzie in The Rainmaker on Broadway. Regionally, Angela has performed in Rabbit Hole (Cleveland Playhouse), After Ashley (Denver Center), Olly's Prison (ART), Talley's Folly (Pasadena Playhouse & Arizona Theatre Company), Proof (Coconut Grove), Camille (Round House), The Real Thing and Crimes of the Heart (Syracuse Stage), numerous productions at Actors Theatre of Louisville including How I Learned to Drive, Angels in America and Othello, as well as productions at St. Louis Rep., Merrimack Rep., Baltimore Center Stage, Indiana Rep. and the Shakespeare Theatre of NJ, among others. Her TV and film credits include “Law and Order”, “L & O: Criminal Intent”, “Third Watch”, and the upcoming “The Girl in the Park”, written and directed by David Auburn. She is most happily married to Todd Cerveris.

The Madras House  

By Harley Granville Parker Directed by Gus Kaikkonen

Read more
Read more
Similar to
Popular now
Just for you