Mint Theater Company
Jonathan Bank Ted Altschuler Rochele Tillman Timothey Sullivan Sherri Kotimsky
Board of Trustees Geoffrey Chinn, President Elsa A. Solender, Secretary Linda Calandra Carol Chinn Jon Clark Toehl Harding Eleanor Reissa Gary Schonwald M. Elisabeth Swerz Kate Weingarten Jonathan Bank
Artistic Director Associate Director Box Office Manager Assistant to the Artistic Director Bookkeeper
MINT THEATER COMPANY
Good stories well told.
Board of Advisors John Booth J. Ellen Gainor Charles Keating Austin Pendleton George Morfogen David Rothenberg
“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 worthy but 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. New York, NY 10036 www.minttheater.org Box Office: (212) 315-0231
By JOHN GALSWORTHY Directed By
Robert & Lynn Hanson Laura Harris George B. Hatch Darlene & Brian Heidtke Reily Hendrickson Mari Lyn Henry Joan Hirsch Lois Hirshkowitz Lee Ho Madelaine & Milton Horowitz Anna Iacucci Jocelyn Jacknis Edgar & Renee Jackson Noel Grean Jahr Lisa & Keith Jewell James & Jacqueline Johnson Roberta Jones Cynthia Kane Regina Kelly David Kirkwood & Annie Thomas Kitao Kaori Milton & Fradie Kramer Irvin Kricheff Mildred Kuner Carmel Kuperman Mikel Sarah Lambert Ruth & Sidney Lapidus Ronald Lemoncelli Barbara & Herbert Levy Carol & Stanley Levy Sheldon Lichtblau Eliot Leibowitz Susan E. Linder Ross Lipman Joel & Diane Lipset Steven Lorch & Suzanna Kochan-Lorch
Harold & Elisabeth Lorin Mary Rose Main Vivien & JF Majeski Barry Margolius Clark Marlor George Wm. Mayer, Jr. James G. McCarthy Martin Meisel John David Metcalfe Eleanor Meyerhoff Gertrud Michelson Ronald & Susan Michlow Luisa & Bernard Milch Vera Miller Ellen Monk Elaine P. Montgomery Doreen & Larry Morales Joseph Morello Janet Murnick Celeste Myers Egon & Florence Neuberger Andrew & Barry Newburger Jeffrey & Arlene Nichols Richard & Dottie Oswald Dr. Satoko Parker Edwin Partikian & Camille Infranco Gwen & Bruce Pasquale Naomi & Gerald Patlis Cleo Pearl Ellen Perecman Fred & Alice Perkins Susan & Robert Peterson-Neuhaus
Vera Pfisterer Rick Pildes Dr. Leonard & Gillis Plaine Sheila & Irwin Polishook Sidney & Phyllis Polsky Constance H. Poster Dr. & Mrs. Guy Potter Michael Printz Maria M. Proctor David & Phyllis Quickel James Reynolds Arleigh Richards & William Wise Priscilla Ridgeway John Rieck Phyllis & Earl Roberts Sylvia Rosen Barbara Rosenthal Phillip & Marcia Rothblum Dr. Marvin Rotman Martha Rozett Anita Sanford Joan & Arthur Sarnoff Irwin Schwartz Phyllis Schwartz Murray Schisgal William & Earlyne Seaver Jerome & Harriet Seiler Rosemaire Seippel Carole Shaffer-Koros Camille & Richard Sheely Andrea Sholler & Bart Mosley Rebecca & Philip Siekevitz Jeanne Sigler Martin & Kayla Silberberg Lily Smith Dr. Norman Solomon Linda Spitzer Alec Stais Nicholas Stathis Axel Stawski Lee R. Steelman Sherry & Bob Steinberg Frances Sternhagen Robert & Edna Straus Barbara Strauss Elaine & Ulrich â€ˆStrauss Pamela Stubing Larry Sullivan Sally Swift Alex Szogyi Brinton Taylor & Francis C. Parson, Jr. Christine Thomas Robert Todras Joan & Matthew Tolchin Page Tolbert Edith Tuckerman Robert E. Voelkle Gordon & Edith Wallace Grace & Arthur Wasserman Tamara & Gerlad Weintraub Richard Wiesman Howard & Patricia Weiss Mr. & Mrs. Maurice J. Willey Robert Williams Vincent & Marcia Williams Daisy Wincor Michael Wolf Ralph M. Wynn, M.D.
$50 - $99 Annon Adams Robin Bahr Milford & Christine Fulop David & Elaine Chapnick Wanda Davenport & Martin Cohen Patricia B. & Charles DeBrovner Rhoda R. Dreifus Thomas Giallorenzi Fletcher Hodges Robert & Mary Hogan Rick Howard Ann & Irwin Jacobs Herta Levine Miles & Janet Marek Betsy McKenny Russell Moore & Patsy Wygle Barbara & Joseph Psotka Shannon Randall Kathleen Regan Dalzeu Clayton S. Reynolds David Rothenberg Alison Ryley Barbara Schwarz Jay & Fran Schwartz John Scott Shirley M. Stewart Meryl Stoller Faye Tall Ken & Linda Treitel Virginia Wilhelm $25 to $49
Robert J. Berenson Louise B. Brown Kathie Coblentz Norman & Stefanie Findling Cyril & Violet Franks Carolyn Gentile Elise Goldberg Gloria Goldenberg Diane Gover Alan Howe Ken Kliban Eleanor Lupino Albert & Barbara Lyons Judith & Allen Mohl Mary M. Oâ€™Brien Dr. Mary L. Pfaff Tamara Pristin Marilyn Pugliese Zaphra Reskakis Ronald Sauers Ellen & Sherman Saxl Mary A. Sears Francess & Kenda Shaw Janet & Joseph Sherman Gail Shulman David Simonoff Lois & Leonard Stein Frances & Teddy Tarson Leonard & Naomi Tucker Albertine van Theil Terry Warm Joseph Weiss Janet White Loeb
This list represents donations made over the last year. Every effort is made to insure its accuracy. Please contact us regarding any mistakes.
The Following Generous Individuals Support Mint Theater
$2,500 and above Carol & Geoffrey Chinn M. Elisabeth Swerz $1,000 - $2,499
Karl Lunde Toehl Harding Henry Guettel & Mary Rodgers Theodore C. Rogers Gary Schonwald Romulus Linney & Laura Callanan Malvin and Lea Bank Ruth & Samuel Perelson Elsa & Stephen Solender Michael Solender & Holly Fogler Penny Luedtke/The Ludtke Agency Eleanor Reissa & Roman Dworecki Anonymous (1)
$500 - $999 Gilbert & Ildiko Butler Linda Calandra Jon Clark Edward Forstein Ricard Frankel & Kathleen Clark Burry Fredrik Patricia S. Joseph Peter Haring Judd Fund Edward Karam Eugene Kelly Mildred Kuner Vincent & Beth Lima Wallace Schroeder Marion & Leona Simon Janet & Mike Slosberg Suzanne & Jon Stout Frank & Denie Weil Kathleen & Semour Weingarten
$250 - $499 (First Priority Gold Club ) Anonymous (2) Carmen Anthony Lael & Brian Ackerman Bernice & Frederick Block Virginia Brody Ruth & Robert Diefenbach Edward & Jirina Emerson Edward Forstein Ella Foshay Ruth Friendly Virginia Gray George & Antonia Grumbach Calla & Ralph Guild Barbara Hill Edward & Dorothea Hoffner Polly Holliday Linda Irenegreene & Martin Kesselman Patricia S. Joseph Joan Kedziora, M.D. Emily Kunreuther Samuel & Gabrielle Lurie Robert & Marcia Marafioti George Morfogen Muriel Gold Morris Alex & Luisa Pagel Peter & Susan Ralston Joe Regan, Jr. Donna B. Rich Anne Kaufman Schneider Rob Sinacore Dennis Swanson Caroline Thompson & Steve Allen
Olga Troughton John Michael Walsh
$100 - $249 (First Priority Club) Anonymous (7) Carrie & Leigh Abramson Eleanor Aitken Laura Altschuler Norma Asnes Earl L. Bailey William Barnes Robert Beach Anne Bernstein Paul Betram Nidia & Victor Besso Elizabeth Bicknell Evelyn Bishop David M. Blank Dr. & Mrs. Allan Blumenthal & Phillip Smith Constance Boardman Robert & Frances Boehm Rose-Marie Boller & Webb Turner Dr. & Mrs. Jeffrey S. Borer Charles & Rosemary Brennan Ian Brett Alexis Brosen Gabrielle Brussel & Hugo Fari Lee Bryant Elaine Bye Andrew Chapman & Stefania De Kenessey Stephen & Elena Chopek Herbert & Phyllis Cohen Kathleen Corcoran Robert Corrington Samuel & June Costello Penelope & Pete Costigan Anthony Demarco Edwin & Paula DeYoung Jane & Jim Dillon Marilyn Dunn Susan Ekman Martin & Mina Ellenberg Monte Engler Anne Epstein Sharon Esakoff Judith Eschweiler H. Read Evans Wendy Fantl Frank H. Ferraro Jr. Maureen & Micha Fine Barbara G. Fleischman Donald Fowle Ed & Joan Franklin Monroe H. Freedman Robert Freedman Barbara Friedman Barbara Gaba J. Ellen Gainor Mary Ann & John Garland David L. Globus Ruth Golbin Judith & Robert Goldman Carolyn Goodman Mary Ellen Goodman Anna C. Grabarits Ilse Grafman Richard Grayson Adrienne & Robert Greenbaum James C. Hall
Mint Theater Company Jonathan Bank, Artistic Director presents
Nick Berg Barnes, Denis Butkus, Monique Fowler, James Gale, Leo Kittay, Diana LaMar, Nicole Lowrance, Pat Nesbit, Carl Palmer, Stephen Rowe, John C. Vennema, Richard Waddingham by
Scenery Vicki R. Davis
Lighting Traci Klainer
Costumes Tracy Christensen
Sound Bruce Ellman
Production Stage Manager Amber Wedin
Mandy Berry & Denise Renee Zeiler
Props Judi Guralnick
Dialects/Dramaturgy Amy Stoller
Graphics Jude Dvorak
Assistant Stage Managers
Casting Stuart Howard, Amy Schecter & Paul Hardt
Press Representative David Gersten & Associates Directed by Eleanor Reissa
The Skin Game by John Galsworthy CAST in order of appearance
HILLCRIST..................................................................................................John C. Vennema
JILL (his daughter).................................................................................Nicole Lowrance FELLOWS (his butler)/SOLICITOR..............................................Richard Waddingham MR. JACKMAN (his tenant)/STRANGER....................................................Carl Palmer MRS. JACKMAN/ANNA (Chloe’s maid).........................................................Pat Nesbit DAWKER (his agent)..................................................................................Stephen Rowe AMY HILLCRIST (his wife)...................................................................Monique Fowler HORNBLOWER (a man newly rich)..............................................................James Gale CHARLES HORNBLOWER (his elder son)....................................................Leo Kittay CHLOE (wife to Charles)..............................................................................Diana LaMar ROLF HORNBLOWER (his younger son)...................................................Denis Butkus AUCTIONEER/STRANGER.................................................................Nick Berg Barnes Act I, Scene 1 -Hillcrist’s study. Act I, Scene 2 -A month later. An auction room. Intermission Act II, Scene 1 - The evening of the auction. Chloe’s boudoir. Act II, Scene 2 - The following day. Hillcrist’s study. Morning. Act II, Scene 3 - The same. Evening.
STAFF Technical Director..........................................................................Evan Schlossberg Assistant Costume Designer.........................................................Colleen Kesterson Props Assistant.....................................................................................Kim Lorenzo Master Electrician............................................................................Andrew Dickey House Managers..........................................Danielle Quisenberry & Brian Wallace Box Office Associates................................................Janel Cooke & Larry Pontius Carpenters...........Justin Cheairs, Christopher Connolly, Adam Shive, Nick Yeager Painters.............................................................Amanda Boulton, Vanessa Mrovich Hair Designer......................................................................................Kristian Kraai Fight Choreographer............................................................................Michael Chin SPECIAL THANKS Pearl Theatre Company; Purchase College, Props Department, West Connecticut University, , The Costume Collection, Jean Cocteau Scene Shop,
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. The Director is a member of the Society of Stage Directors and Choreographers, an independent national labor union.
Foundation Corporate & Government Support
$25,000 and above Robert Sterling Clark Foundation $10,000 - $24,999 Lucille Lortel Foundation The Shubert Foundation
$5,000 - $9,999 Jean & Louis Dreyfus Foundation Irving & Gloria Fine Foundation DJ McManus Foundation Ted Snowdon Foundation Michael Tuch Foundation $2,500 - $4,999 American Theatre Wing Axe-Houghton Foundation The Barbara Bell Cumming Foundation JP Morgan/Chase Foundation The Dorothy Strelsin Foundation The Andrew W. Mellon Foundation Gladys Krieble Delmas Foundation
Up to $2,500 Alliance of Resident Theatres/New York American Friends of Theater Anonymous Edith C. Blum Foundation Gilbert & Ildiko Butler Foundation The Charina Foundation Jane F. Curran Charitable Trust Cory & Bob Donnalley Charitable Fdn. Phyllis Fox & George Sternlieb Fdn. The Gramercy Park Foundation Hickrill Foundation Peter Harring Judd Fund John L. McHugh Foundation The Memorial Foundation for the Arts The New York Times Company Fdn Fund for Midsize Theatres, a project of A.R.T./New York Pfizer Foundation Prospect Hill Foundation Rodgers Family Foundation Sukenick Family Foundation
Corporations & Matching Gifts Aegon Transamerica Time Warner AT&T Foundation Matching Gifts American International Group, Inc. Bank Of America I.B.M International Foundation The J.P. Morgan Chase Foundation McGraw Hill Merrill Lynch & Co. Foundation Newsweek, Inc. The New York Times Foundation The James B. Oswald Company Pfizer Inc. UBS Matching Gift Program
This event is made possible with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a State agency.
Biography of John Galsworthy (1867 -1933)
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English novelist and playwright, winner of the Nobel Prize for Literature in 1932, Galsworthy became known for his portrayal of the British upper middle class and for his social satire. His most famous work is The Forsyte Saga (1906-1921). Galsworthy was a representative of the literary tradition which has regarded the novel as an instrument of social debate. He believed that it was the duty of an artist to examine a problem, but not to provide a solution.
He was born in Kingston Hill, Surrey, into an upper-middle-class family. He studied law at Harrow and New College, Oxford. In 1890 he was called to the bar. However, he never settled into practice, but chose to travel - partly to forget an unlucky love affair. In 1893 Galsworty met the writer Joseph Conrad while on a South Sea voyage. This meeting convinced Galsworthy to give up law and become a writer instead. Later Galsworthy helped Conrad financially.
Galsworthy's first four books were published at his own expense under the pseudonym John Sinjohn. He considered these early efforts, written under the influence of Kipling and Russian novelists, heavy and exaggerated. After reading Maupassant and Turgenev, Galsworthy published Villa Rubein (1900) in which he started to find his own voice. The Island Pharisees (1904) was the first book which came out under his own name. In 1905 he married Ada Person Cooper with whom he had lived in secret for ten years, because his father had disapproved of the relationship. Ms. Cooper had formerly been married to Galsworthy’s cousin. Although Galsworthy chronicled changes in the middle-class family in England, he stated in the preface of The White Monkey that the English character had changed very little since the time of Victoria. Galsworthy also gained recognition as a dramatist with his plays that dealt directly with the unequal division of wealth and the unfair treatment of poor people. The Silver Box (1906) stated that there is one law for the rich and another for the poor, Strife (1909), depicted a mining strike, and Justice (1910) encouraged Winston Churchill in his program for prison reform. Later plays include The Skin Game (1920), filmed by Alfred Hitchcock in 1931, Loyalties (1922), dealing with the theme of anti-Semitism, and Escape (1926).
During World War I Galsworthy tried to enlist in the army but he was rejected due to his shortsightedness. In France he worked for the Red Cross, and helped refugees in Belgium. Galsworthy refused knighthood in 1917 in the belief that writers should not accept titles. He also gave away at least half of his income to humanitarian causes. In 1924 Galsworthy founded with Catherine Dawson Scott PEN, an international organization of writers. The trust fund was financed by his Nobel Prize money. The organization was named PEN when someone pointed out at the first meeting that the initial letters on poet, essayist and novelist were the same in most European languages.
John Galsworthy died on January 31, 1933. He produced 20 novels, 27 plays, 3 collections of poetry, 173 short stories, 5 collections of essays, 700 letters, and many sketches and miscellaneous works.
For further reading: The Life and Letters of John Galsworthy by H.V. Marrot (1935); John Galsworthy by V. Dupont (1942); John Galsworthy by R.H. Mottram (1953); The Man of Principal by D. Baker (1963); John Galsworthy by N. Croman (1970); John Galsworthy by C. Dupré (1976); John Galsworthy as Dramatic Artist by R.H. Cotes (1978); John Galsworthy by A. Frechet (1982); The Language and Style of John Galsworthy by F.A. Mooty (1982); John Galsworthy's Life and Art by J. Gindin (1987); John Galsworthy by S.V. Sternlicht (1987)
The Press Quotes John Galsworthy “I hope I am an artist, but I do not set up to be a reformer by any means. I have not made the necessary, scientific study of society; so I must write about what I see and feel just as I see and feel it...
The difference between novels and plays is that one knows a novel will be read as it is written, whereas a writer is by no means certain that a play will be produced as it has left the author’s hand. I don’t believe in preaching from the stage, but I do believe that art must be inspired by sincerity of mood. One really must say something - not merely throw out that which may serve to satisfy momentary taste.” from Galsworthy in the Theatre -The New York Times, Feb. 5, 1933
“I feel very strongly,” he said, “that the modern trend of civilization proceeds far too much on a machine-made footing. There seems to be a continual game of producing fresh means to satisfy material appetities, which all the time are increasing with the satsifaction they are receiving, so as to force us to an increased rate of speed. So we go on a continual wild-goose chase. And we don’t seem to get any nearer to happiness in life.” from Our Civilization is “Permanent Indigestion” -The New York Times, Feb. 23, 1919
It has been proposed to the author that “The Forsyte Sage” be dramatized, either by himself of some one else. Having conceived the work as a novel, however, he is unable to see it in the different frame of the theatre...
As Galsworthy was born with a silver spoon in his mouth, he never has had to consider the money return from his work. His contracts with producers are simple affairs. Unlike Bernard Shaw, he will consider, and oftentimes accept, suggestions for the cutting of lines or scenes. He attends rehearsals of his plays religiously if he happens to be in the same country. Actors who have worked with him express a high regard not only for his knowledge of acting and direction but for the manner in which he makes his wishes known.
from Galsworthy’s Record In America -The New York Times, Nov. 26, 1927
“... If it occurs to the artist to deal with the English landowner, and if he sees the English landowner from a different angle and makes a faithful picture of what he sees, the picture will appear destructive and satiric. Most people will talk about its ‘purpose.’ Yet the artist had no conscious purpose. He has simply written what he has seen and felt. It is only that he had a different point of view. He has painted the picture and colored it with his own temperament...His work is art....It is not, you see, the business of the artist to work for a practical end. And the nearer a writer gets to the manner of the pulpit - and I use the word pulpit in no slighting sense - the farther he gets from art and therefore from effectiveness. The moment he begins to work with a definite practical end, he runs grave danger of bad art.” from Galsworthy Denies That He is a Reformer -The New York Times, March 10, 1912
Research by Amy Stoller and Jonathan Bank, edited by Ted Altschuler. For more information on John Galsworthy go to:www.minttheater.org/onstage/notes.html
Been Here Before (Pearl Theatre Company); the Drama League DirectorFest (third season); Ezekiel's Revelation, a film by Katherine Sharp. Coming soon: Doctor Dolittle national tour for Troika Entertainment. For more information, please visit www.stollersystem.com.
Amber Wedin (Production Stage Manager) Amber is pleased to be working with Mint Theater Company for the first time on The Skin Game. New York Credits include Embedded (The Public Theater, Writer/Director Tim Robbins); Spin Moves (Summer Play Festival); Rose and Walsh (MTC/Geffen Playhouse; pre-production); Requiem for William, Fetching Water (Transport Group); Taming of the Shrew (Hamptons Shakespeare Festival). Regional and Tour: Burn The Floor (International); Dinner With Friends (Geffen Playhouse and national tour); My Fair Lady, Twelfth Night, Blur, and The Front Page (Dallas Theater Center); Julies Dance (Triad Stage), The Vagina Monologues (The Cannon Theater); and five seasons with Shakespeare Festival/LA.
Mandy Berry (Asst. Stage Manager) After toiling away for 4 long years at East Carolina University, Mandy walked away with her BFA and the world at her fingertips. She proceeded on a tour of some of the countries great opera houses including Yale, Indianapolis, and Santa Fe. Making her way to the only city able to keep her attention, she began working with the likes of The Invictous Theater Company, Women Seeking…, Theater Faction and The Juilliard School. She has since made New York her home, having just bought her first apartment.
Denise R. Zeiler (Asst. Stage Manager) is delighted to be working on this production. Favorite OffBroadway credits include Henry V, Threepenny Opera, Arms and the Man and Dames at Sea. Credits also include national tours and regional work. Thank you to the cast, crew and staff of Mint Theater, also to my parents and friends for their love and support.
Jonathan Bank (Artistic Director) Under Bank's leadership, Mint has been awarded both an Obie and a Drama Desk in the last three years. Bank has unearthed and produced more than two dozen worthy but neglected plays including Echoes of the War by J.M. Barrie, The Daughter-In-Law by D. H. Lawrence and Arthur Schnitzler's Far and Wide and The Lonely Way which he adapted and directed. He is 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 at Mint, along with five other Mint rediscoveries. He also edited Mint's latest volume: Arthur Schnitzler Reclaimed. Bank directed 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. He earned his M.F.A. from Case Western Reserve University in his hometown of Cleveland, OH.
Ted Altschuler (Associate Director) Directing: operas: at New York City Opera, Santa Fe Opera, Rode Hoode (Amsterdam), and Juilliard where he taught for nine years Plays include: the long-running, award-winning Virginia (Cloud 42, Chicago), On the Verge, The Road to the Graveyard, Hot Fudge, Icarus's Mother, Play with Repeats and The Glass Menagerie. Former Artistic Director of Clavis Theater Ensemble, Milwaukee. Recent projects include: an opera of Poe's A Tell Tale Heart, Georgia O'Keefe x Catherine Rogers.
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. Currently: On Golden Pond starring James Earl Jones. Upcoming: the Broadway revival of The Caine Mutiny Court Martial.
David Gersten (Press Representatives) is proud to continue our relationship with Mint. DGA currently represents the off-Broadway hits Altar Boyz and The Awesome 80s Prom as well as the upcoming Dr. Sex, the musical comedy about Alfred Kinsey, opening this fall. Other current clients include Victoria & Michael Imperioli's Studio Dante, Jean Cocteau Repertory, Ensemble Studio Theatre, Storm Theatre, Edge Theatre Company, The Lucille Lortel Foundation, and The League of OffBroadway Theatres & Producers' annual Lortel Awards (10th year!), which David also writes and co-produces. David serves on the Board of Governors of ATPAM, the Association of Theatrical Press Agents & Managers
Wishful Thinking (2000 Dorothy Silver Playwright Award). Thicker Than Water (New Play Festival at Cleveland Play House, Fringe Festival at Stamford Center for the Arts). Artistic director of the Folksbiene Theatre from 1998-2002. An actress on and off-Broadway, most recently her one woman show: Hip, Heymish and Hot (John Houseman Theatre) Recordings: Songs in the Key of Yiddish; Going Home - Gems of Yiddish Song.
Tracy Christensen (Costume Designer)) Recent design projects include Regina at The Kennedy Center, Candide at Avery Fisher Hall with the New York Philharmonic, Sunday in the Park with George at Chicago's Ravinia Festival, (all starring Patti LuPone), Souvenir, starring Judy Kaye at the York Theater, Macbeth for the Shakespeare Festival of St. Louis, a ballet of The Sorcerer's Apprentice for ABT's Studio Company, Blue Horizons, the new 2005 whale and dolphin show for Sea World in Orlando, Florida. and the off Broadway revue, Jerry Herman's Showtunes. Represented on Broadway as a design associate with Beauty and the Beast and Fiddler on the Roof
Vicki R. Davis (Set Designer) Mint: The Lonely Way, Echoes of the War, Far and Wide, Welcome to Our City, The Voysey Inheritance, Miss Lulu Bett, August Snow & Night Dance, The House of Mirth, The Time of Your Life, and costumes for Pericles. NYC-Scenery: A Novel Romance, Songs of Paradise, An American Family, and Yoshke Muzicant (Folksbiene Yiddish Theater). 'Til The Rapture Comes (WPA). Richard III, Black Mask (The Ontological). Costumes: Adobe's Meanwhile on the Other Side of Mt. Vesuvious, Andre Serbans's Caucasian Chalk Circle at LaMama, American Silents (dir. Anne Bogart), O'Neill (Blue Heron). Off-Broadway: The Occupation, Slasher, Out to Lunch, Relative Values. Regional: Arena Stage, Alliance Theatre, Dallas Theater Center, Madison Repertory Theater, Milwaukee Repertory Theater, Utah Opera Co, Lyric Opera of Kansas City,Starlight in Kansas City, Georgia Shakespeare Festival, Utah Shakespearean Festival, Barter Theatre, Capital Repertory Theatre, The Miniature Theatre of Chester, Music Theatre North, Passages, Theatre of the Stars, Boston Lyric Opera, Lake George Opera Festival. TCG/NEA Design Fellow. Member USA Local 829.
Bruce Ellman (Sound Designer) New York credits include Echoes of the War at Mint and Iron, Rose's Dilemma, Bad Dates, Last Dance, Polish Joke, Kimberly Akimbo, The Tale of The Allergist's Wife (Broadway), Runt of the Litter, Ctrl+Alt+Delete,
Fully Committed (LA Drama Critics Circle nomination), The Waverly Gallery, Full Bloom, Yard Gal, Comic Potential (Drama Desk nomination), House and Garden, Fuddy Meers, Full Gallop, Three Viewings, The Radical Mystique, Current Events, Four Dogs and a Bone, Beggars in the House of Plenty, Tea, Wolf-Man, Jenny Keeps Talking, Pretty Fire, Mambo Mouth, Political Animal, Beauty's Daughter, The Old Boy, and To Gillian on Her 37th Birthday.
Judi Guralnick (Prop Designer) is the Prop Shop Supervisor for the Conservatory of Theater Arts and Film at Purchase College, and freelances in the NY and Connecticut areas. She spent five years as Prop Designer at the Walnut Street Theatre in Philadelphia, and many summers at Maine State Music Theater. Some favorite props she has created: the fruit for a Fruit of the Loom commercial, carousel animals for a production of Joseph…, a macramé ass's head for A Midsummer's Night Dream and a lamb for Winter's Tale. Judi has also designed sets for small theaters from Maine to Washington, DC and in Israel. She was part of the Arad Arts Project in Israel, where she had a onewoman exhibition of her drawings, sculpture and macramé hangings. She is the resident Prop Designer at Mint.
Traci Klainer (Lighting Deisgner) New York credits include: Echoes of the War at Mint, directed by Eleanor Reissa; Five By Tenn, directed by Michael Kahn (Manhattan Theatre Club); the Broadway production of Prune Danish starring Jackie Mason; Christopher Shinn's Four at Manhattan Theatre Club (Lucille Lortel nomination); Dragapella, Upstairs at Studio 54, directed by Glenn Casale; Betty Buckley in Concert at Maxim's; and BC/EFA's Nothing Like a Dame 2001-2004. Regional credits include: Top Dog/Underdog directed by Leah Gardner at Philadelphia Theatre Company; Cowgirls directed by Eleanor Reissa at Capital Rep; Gypsy starring Andrea McArdle, directed by Jason Eagan; Bingo directed by Glenn Casale; the 20th Anniversary production of Pump Boys and Dinettes (Metrolina Theatre Award Nomination) and Let Me Sing, both directed by Michael Bush. Ms. Klainer is a partner in the design firm Luce Group.
Amy Stoller (Dialects/Dramaturg) With Eleanor Reissa at the Mint: Echoes of the War; Diana of Dobson's. Other Mint: Milne at the Mint, The Daughter-in-Law, The Charity That Began at Home, Rutherford & Son, The Voysey Inheritance, and Mr. Pim Passes By. Also this season: I Have
Landscape with Chimneys taken in the Potteries with the caption "20th Century Hell"
The 6 towns of Burslem, Hanley, Stoke, Longton, Tunstall and Fenton are collectively known as the Potteries. The area of Stoke-on-Trent is also confusingly known as the 'Five Towns' as a result of Arnold Bennet's novels. Industry has made Stoke-on-Trent the successful city it is today and pottery has been produced in the area since the 14th century. Poverty in the Potteries from a mural in the Potteries Shopping Centre
"...from the north of the county right down to the south, they stand alone for civilisation, applied science, organised manufacture.... you cannot drink tea out of a teacup without the aid of the Five Towns; because you cannot eat a meal with decency without the aid of the Five Towns.
For this the architecture of the Five Towns is an architecture of ovens and chimneys; for this its atmosphere is as black as mud; for this it burns and smokes all night so that Longshaw (Longton) has been compared to Hell."
-The Old Wives' Tale, (1908) Arnold Bennett (whose face you see center rear of image)
Nick Berg Barnes (Auctioneer/Stranger) A native Londoner, Nick has appeared in numerous projects on both sides of the Atlantic. US theatre: Someone Who'll Watch Over Me (The Tank), Twelfth Night and The Invisible Man (Aquila). London theatre includes: Alan Ayckbourn's Comic Potential, Guiteau in Assassins, Possible Worlds, Incest & Plastic Surgery (Royal Court), Romeo & Juliet (RSC), & Charlton Heston's production of The Caine Mutiny Court Martial; other UK and International theatre includes Elyot in Private Lives, Bottom in A Midsummer Night's Dream, As You Like It, The Tempest, Ivanov, Antigone, Candida, Saint Joan, and Little Women. TV and Radio: Anna Karenina, My Hero, Chambers, Casualty (BBC), The Bretts (Central), Adrian Mole: The Wilderness Years (BBC Radio) and many others. Films include: Outland, Ball-Trap On The Côte Sauvage, Scoop and The Guys. Nick's first play: A Celebrity Chef Ate My Hamster! was produced at London's Bridewell Theatre in 2003. Denis Butkus (Rolf Hornblower) is an actor and musician. NY theater includes: The Seven (Workshop, NYTW), directed by Jo Bonney; Prometheus Bound (Lincoln Center Theater Director's Lab), Greater Messapia (Queens Theater in the Park), St. Crispin's Day (Rattlestick), Three-Cornered Moon (Keen Company). Regionally: Spuyten Duyvil (Seven Devils Playwrights Conference), Arcadia (Sacramento Theater Company). Artistic Associate of Rising Phoenix Repertory and a graduate of Juilliard.
Monique Fowler (Amy Hillcrist) Broadway: You Can't Take It With You. Off-Broadway: London Suite, Tamara, Dandy Dick, The Girl of the Golden West, Mary Barnes. Regional includes: Vincent in Brixton (Virginia Stage Company), Loves and Hours, Vita and Virginia, Things We Do For Love, and many others (The Old Globe Theatre), Much Ado About Nothing (Dramalogue Award -La Jolla Playhouse), Night of the Iguana (Dallas Theatre Center), Hay Fever (Alley Theatre). International: Elizabeth Bishop in Brazil, Ouro Preto, Brazil. Film: Celebrity, Mind the Gap. Television: Law and Order, Criminal Intent, The Skin of Out Teeth. Monique is an Associate Artist of The Old Globe Theatre.
James Gale (Hornblower) has appeared in productions both on and off Broadway including: Major Barbara (Roundabout) Playboy of The Western World (Irish Rep) Engaged (Theater For A New Audience) The Beard Of Avon (NYTW) among
others. He is a member of The Athens ST. Co who perform regularly at the 92nd St "Y". He most recently performed as William in Dael Orlandersmith's latest play Raw Boys (Wilma Theatre, Philadelphia). Among the many roles he has played in regional theaters all over the U.S. are, Macbeth, Henry, in Lion In Winter, Robert, in Blue Orange, Titus Andronicus, Benedick, in Much Ado About Nothing, George, in Who's Afraid Of Virginia Woolf, Alberto Barcos in The Magic Fire, and Shylock in The Merchant Of Venice. James is a long time member of Actors Equity and trained at Webber Douglas Academy of Dramatic Art in London.
Leo Kittay (Charles Hornblower) Broadway: Impossible Marriage. New York: Demon Baby, Belle’s Strategem, the Poetry/Playwright Project with the Vinyard Theater. Regional: Mrs. Warren's Profession (Frank) at The Guthrie, Picnic (Hal) at Baltimore Centerstage, Importance of Being Earnest (Algernon) at Actors' Theater of Louisville. Also Hay Fever at Playmakers, as well as works by Jane Martin and Arthur Kopit at The Humana Festival. Television: Law & Order, Law & Order SVU, 100 Centre Street, Education of Max Bickford, One Life to Live, Guiding Light, All My Children.
Diana LaMar (Chloe) This is Ms. LaMar's first production for Mint Theatre Company. On Broadway, she appeared in Leonard Foglia's production of Wait Until Dark. Other New York credits include several productions at Ensemble Studio Theatre including The Observatory directed by Jim Simpson. As a member of The Acting Company, she performed in Romeo & Juliet and The Two Gentlemen of Verona. Her regional credits include: Charlotte in The Real Thing (ACT); Rosalind in As You Like It, Desdemona in Othello, and Beatrice in Servant of Two Masters (Center Stage); Miriam in Meshugah (Trinity Repertory Theatre); Mary Ann in Escape from Happiness, Denise in Problem Child, and Harper in Angels In America (Milwaukee Repertory Theatre); Queen Elizabeth in Richard III (The Shakespeare Theatre); Celimene in The Misanthrope (The Long Wharf); Stella in A Streetcar Named Desire (The Alliance); Lemon in Aunt Dan and Lemon (The Empty Space); and Nina in The Seagull (Dallas Theatre Center). Ms. LaMar's film and television credits include: Ten Hundred Kings, Law & Order, All My Children, One Life To Live, and the CBS miniseries American Tragedy.
Nicole Lowrance (Jill Hillcrist) New York: Engaged (Minnie, Dir. Doug Hughes), Tatjana in Color (Antonia, dir. Will Pomerantz), Don Juan (Charolette, dir. Bartlett Sher), Measure for Measure (u/s Isabella, dir. Mary Zimmerman). Washington DC: Romeo and Juliet (Juliet, The Folger Theater), The Little Foxes (Alexandra) and Hamlet (Ophelia, both at Shakespeare Theater of D.C. where she earned her Equity Card). Television: Guiding Light, Whoopi, American Masters: Miller/Kazan. Education: The Juilliard School, BFA 2001. www.nicolelowrance.com
Pat Nesbit (Mrs. Jackman/Anna) is very happy to be returning to Mint Theater where she appeared last summer with Frances Sternhagen in The Old Lady Shows Her Medals. Broadway credits include: The Young Man From Atlanta, The Last Night of Ballyhoo, the National Tours of Copenhagen and Biloxi Blues. She has done various productions with Manhattan Class Company. Regional Theater includes: The Little Foxes (San Jose Repertory), The Last Night of Ballyhoo (Coconut Grove Theater), Blithe Spirit (Asolo Theater), The Young Man From Atlanta (Goodman Theatre), Cat on a Hot Tin Roof (Alliance Theatre), Eleemosynary (The Spoleto Festival), Collected Stories (Caldwell Theatre) and Copenhagen (Geva Theatre).
Carl Palmer (Mr. Jackman/Stranger) Carl is very happy to be returning to the Mint where he previously played St. Clare in Uncle Tom's Cabin. OffBroadway theater includes: the Culture Project, Abingdon Theatre, Transport Group, and the Ensemble Studio. Regional theater includes: The Hudson Valley Shakespeare Festival, Milwaukee Rep, Barrington Stage, the Schoolhouse Theatre, Swine Palace, PCPA Theatrefest, and Arkansas Rep. Recent favorite roles include Al in The Baby Dance (Schoolhouse) and Dr. Cecil Bonner in Texas Homos (Abingdon Workshop). Carl's Film and TV credits include The Sopranos, Law & Order: Criminal Intent, Special Victims Unit, Ed, Third Watch, The Pelican Brief, and As The World Turns.
Stephen Rowe (Dawker) Broadway: The Goat, Some Americans Abroad, Serious Money, The Nerd. Off-Broadway: A Picasso (Manhattan Theater Club): Big Bill (Lincoln Center Theater); Tiny Alice (Second Stage); O Jerusalem (Flea Theater); Coming of Age in Soho, The Normal Heart (NY Shakespeare Festival); Regional: Romeo and Juliet, School for Scandal (McCarter Theater); The Crucible (A Contemporary Theater);
So Many Words: DramaLogue Award (South Coast Rep); Sight Unseen (World Premiere, South Coast Rep; Berkeley Rep; Bay Area Critics Award). Founding Member, American Repertory Theater (7 seasons). Albee's Men (ART), Albee Directs Albee (International Tour); The Zoo Story, Who's Afraid of Virginia Woolf? (Vienna English Theater). Film: The Pink Panther, Basic Instinct, Imaginary Heroes, Red Doors ('05 Tribeca Film Festival: Best Narrative Film, NYC). Queens College Theater Faculty.
John C. Vennema (Hillcrist) Mr. Vennema played Tom in the Off-Broadway and Broadway productions of The Ride Down Mt. Morgan by Arthur Miller. He has also been seen on Broadway in The Royal Family, Otherwise Engaged, The Elephant Man, and Racing Demon. Recent Off-Broadway includes Bud in The Secret Narrative of the Phone Book, Hugo in Good Morning, Bill, and Gavin Ryng-Mayne in House and Garden at the Manhattan Theatre Club. Film principal roles: The Cat's Meow, City Hall, Subway Stories, Sabrina, Die Hard with a Vengeance, Kiss of Death, Basketball Diaries, and Separate But Equal. He studied Politics at Princeton, and trained at the London Academy of Music and Dramatic Art
Richard Waddingham (Fellows/Solicitor) a native of Titusville, Pennsylvania and a graduate of Rutgers University (MFA) can next be seen in The Importance of Being Ernest at the Shakespeare Theatre of New Jersey. A member of The Drove Theatre Company, he recently appeared in their NYC premiere of Tracks Beneath the Wheels by Greg Scot Mihalik and The DTC's Tribeca Screenplay Reading Series. He is currently developing Lincoln Logues, a one-man show portraying the life of Abraham Lincoln. Thanks to Jonathan Bank and Eleanor Reissa for this great opportunity and to Patty and his family for their continued love and encouragement.
Eleanor Reissa (Director) Broadway: Those Were the Days (Tony Nomination), Nothing Like a Dame (Marquis Theatre); Mint Theater: Echoes of The War (with Frances Sternhagen and Richard Easton), Diana of Dobson’s. Off-Broadway: Cowgirls (Minetta Lane); Songs of Paradise (NY Shakespeare Festival); Sweet Dreams, A Klezmer's Tale, An American Family (Folksbiene Theatre), Out of Sterno (Cherry Lane Alternative) Regional: Avenue X, Syncopation, Somewhere Over The Rainbow: Yip Harburg's America. As a playwright: The Last Survivor (Northlight Theatre, Chicago; Taper Too, LA, dir. Gordon Davidson),