Temporal Powers Program

Mint Theater Company Jonathan Bank, Artistic Director Sherri Kotimsky, General Manager presents

Temporal Powers

by Teresa

DEEVY

with

Rosie Benton, Paul Carlin, Robertson Carricart, Bairbre Dowling, Con Horgan, Eli James, Aidan Redmond, Wrenn Schmidt, Fiana Toibin

set design Vicki R. Davis

costume design Andrea Varga

sound design Jane Shaw

properties design Joshua Yocom

dramaturgy Heather J. Violanti

dialect & dramaturgy Amy Stoller

production stage manager Lisa McGinn

lighting design Jeff Nellis

assistant stage manager Andrea Jo Martin, Lauren McArthur

production manager Sherri Kotimsky

press representative David Gersten & Associates

illustration Stefano Imbert

graphics Hey Jude Graphics Inc.

casting Stuart Howard, Amy Schecter & Paul Hardt

advertising & marketing The Pekoe Group

directed by Jonathan Bank

op e n i n g n i g h t Au g u s t 2 9 t h

Temporal Powers 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.

t e m p o r a l p ow e r s c a s t

Act 1 Afternoon in the early autumn of 1927

Intermission

Act 2 A few hours later

Intermission

Act 3 The following morning Michael Donovan Min Donovan Moses Barron Lizzie Brennan Daisy Barron Ned Cooney Maggie Cooney Jim Slattery Father O’Brien

Rosie Benton

CAST

Fiana Toibin

Aidan Redmond Rosie Benton Eli James Wrenn Schmidt Fiana Toibin Con Horgan Bairbre Dowling Paul Carlin Robertson Carricart

Aidan Redmond

Con Horgan

Eli James

Bairbre Dowling

Paul Carlin

Wrenn Schmidt

Robertson Carricart

t e m p o r a l p ow e r s t e r e s a d e e v y

Teresa Deevy

(1894-1963)

Teresa Deevy was born on January 21, 1894 at Landscape, her family’s home in Waterford. Nicknamed Tessa, she was the youngest of 13 children. Her father died when she was two, so Tessa formed an especially close bond with her mother. Mrs. Deevy fostered young Tessa’s imagination, encouraging her to make up stories about the people and things she saw about the house. Details were important--the way light fell across a door frame, the difference between an August morning and an October afternoon—all these made a difference. This stayed with Tessa throughout her writing life.

In 1913, Tessa enrolled at University College, Dublin. She wanted to become a teacher, but after a few months, she was struck by a mysterious illness. Her ears rang; she would suddenly get so dizzy so she couldn’t stand up; her head throbbed.

Doctors eventually diagnosed her with Meniere’s disease, an incurable condition caused by fluid imbalance in the inner ear.

Meniere’s can cause deafness, and by 1914, at the age of 20, Tessa had completely lost her hearing.

Teresa Deevy

uncanny appreciation for meaning hidden between the lines. Years after her death, Tessa’s nephew Jack would recall her striking ability to read people’s thoughts even before they spoke them—a sixth sense perhaps heightened by her deafness.

She was sent to London to study lip-reading. To practice, she went to the theater.

Night after night, she sat in the front row, entranced. The plays of Shaw and Chekhov were her favorite. She admired their richly drawn characters, finely crafted dialogue, and serious themes. Long ago, her mother had encouraged her to write stories. Now In 1930, at Robinson’s urging, the Abbey Tessa knew how she wanted to tell them. accepted Tessa’s Reapers, a sweeping family She decided to become a playwright. epic set in a rural “big house.” In 1932, Tessa won first prize in the Abbey’s new play It was an unusual ambition. Tessa had no contest with Temporal Powers. After seeing theatrical connections. As a woman and as Temporal Powers, author Frank O’Connor a person who was deaf, she didn’t fit the sent Tessa this note: “When I saw Reapers, then-typical image of a playwright. But I knew something was happening. When I she was undaunted. Tessa had a quiet ge- saw your new play, I realized it had hapnius for understanding the intricacies of pened with a vengeance.” the human heart. Her plays would show not only a distinct gift for dialogue, but an The years from 1930 to 1936 were among

continued

ABOUT THE playwright

In 1925, at age 31, Tessa finally felt ready to send her plays to the Abbey, Ireland’s national theater. They were rejected, but one reader had been particularly impressed.

This was Lennox Robinson, the Abbey’s managing director and a playwright himself. (Mint audiences may remember his Is Life Worth Living? from 2009). He encouraged Tessa to keep writing.

t e m p o r a l p ow e r s t e r e s a d e e v y

ABOUT THE PLAYWRIGHT

the happiest in Tessa’s life. She moved to Dublin with her sister, Nell, who served as a companion and interpreter. She had six plays produced at the Abbey and was considered one of Ireland’s most promising playwrights. Her most popular play, Katie Roche (1936), about a servant girl who longs for adventure, was produced in Dublin and London and was included in the Abbey’s 1937 American tour.

It was also published in Victor Gollancz’s influential anthology “Famous Plays.”

Then, in the 1940’s, the Abbey mysteriously turned down Tessa’s next play, Wife to James Whelan (seen at the Mint in 2010).

Tessa’s career at the Abbey was effectively over, though they continued to revive some of her older work (Katie Roche was revived five times during her lifetime) and they produced her one act Light Falling at their experimental space, the Peacock, in 1948. (Light Falling was read at the Mint’s benefit in 2010). Deevy eventually managed to find other venues for her new work: Wife to James Whelan was produced at Dublin’s tiny Studio Theatre in 1956, Light Falling was the curtain-raiser for Jack McGowran’s production of Shadow of A Gunman at London’s Lyric Theatre, Hammersmith in 1957. Meanwhile, to support herself, Tessa turned her attention to the burgeoning field of radio. Between 1938 and 1946, she wrote over a dozen plays for the B.B.C. and Radio Eireann, as well as adapted her stage plays for broadcast.

She supervised rehearsals by reading the actors’ lips and amazed everyone with her precise orchestration of sound.

Teresa’s beloved sister Nell died in February 1954. Without Nell as her interpreter, Tessa could not survive in Dublin. Heart-

broken, she returned home to Landscape.

Tessa was now removed from the center of Ireland’s artistic life, but she was not yet forgotten. In October 1954, she was elected to the Irish Academy of Letters, Ireland’s highest literary honor, though without Nell, the triumph was bittersweet.

Gradually, as the years passed, people forgot Tessa.

Many Waterford townsfolk weren’t aware she was a playwright.To Landscape, Deevy’s Home them, she was a sweet old lady on a bicycle who wore mismatched socks. Poet Sean Dunn recalled her eccentric reputation: In the Fifties, she was a thin woman on a bicycle, her gray hair tucked under one of an assortment of strange hats. She rode through the streets of Waterford and those who knew her tensed as she passed in case a car might hit her. She heard nothing and just cycled on with the nonchalance of a girl cycling along a country lane. Her clothes never seemed to match. She was seen wearing sandals or runners even in the middle of winter. Some people thought she’d once written plays. Others knew it, but it was a long time ago.

In her final years, Tessa’s vertigo—a recurrent symptom of Meniere’s—worsened.

Hardly able to stand on her own, and losing her eyesight, she was moved to May Park Nursing Home. She died there on January 19, 1963. James Cheasty, a poet and one of Tessa’s protégés, wrote in her obituary for the Irish Independent: Teresa Deevy is dead, but she will not be forgotten. Those of us who were her friends can never forget her kindness and her great humanity. For remembrance among the general public she has left behind her work, which is monumental.

by Heather J. Violanti

t e m p o r a l p ow e r s d i a l e c t A Note about Dialect One of the more interesting aspects of my job as a production dialect designer is researching the language of the play I’m working on. (Well, actually, I think all aspects are fascinating; but then, I should!)

While the languages of the play and the company are (usually) both English, varieties of English can be very different indeed.

I’ve done several Irish plays, including three at the Mint. But Temporal Powers poses the most linguistic challenges for American speakers and listeners. Why is Irish English so different from American English? And why is it “denser” in this play than in Teresa Deevy’s Wife to James Whelan, which we did here last season? To find out, I had to hit the books.

Historians agree that Ireland’s first exposure to English occurred in the 12th century, but its progress was slow until the mid16th century, when the English Tudors launched a series of invasions and colonizing resettlements that lasted through the Stuarts and finally Oliver Cromwell.

The last mass migration from England to Ireland took place in the 17th century— thereafter the traffic all ran the other way.

That’s why Irish English can sound like Shakespeare, or the King James Version of the Bible, with word order and usage that seems archaic to us.

So, how is Irish English different from British and American Englishes? For starters, there are English terms that have both standard English and special Irish English meanings. This can be very confusing until you sort out which meaning applies!

You could write a book about every difference, including grammar and syntax (and people have), but I won’t. I’ll just list a few words and idioms that we’ve encountered in our play.

Whisper can mean listen • Till can mean so, in order that • And can mean as, while, with, even who • After can mean has just done, just happened • Over can mean eastwards, in the east • True for you [him, her] means You’re right [he’s, she’s right] • Have a right to means should And did you know that so long, meaning goodbye, comes from the Gaelic slán? I’d had no idea. That’s why I love doing this part of the work; I always learn something!

Slán for now …

Amy Stoller DIALECTS

The other main influence on the development of English in Ireland was Irish Gaelic. While some aspects of Irish English can be traced to Shakespeare’s day or earlier, a great proportion of its syntax (everything from word order to verb tenses and beyond) and some vocabulary are directly traceable to Gaelic—which enriched the English language even as Ireland’s native language (and its speakers) were systematically impoverished and suppressed.

Gaelic influence tended (and tends still) to be heard more strongly in rural areas, where there was less direct contact with British English. This effect was somewhat lessened during the 20th century, as “talkies” and radio, then television, carried more urban, Anglo-influenced language to the wider population. This may partly explain why Wife to James Whelan (written only a few years later than Temporal Powers, but set in a different era) was more accessible to the Americans in our company; but so perhaps does the nature of the community and its characters.

the teresa deevy project Wife to James Whelan July 29th- Oct. 3rd, 2010 Temporal Powers Aug. 3rd- Sept 25th, 2011 Katie Roche Sept. 11th- Nov. 5th, 2012 Publications Teresa Deevy Reclaimed Available 2012 Shawn Fagan and Rosie Benton in Wife to James Whelan

FURTHER READINGS...

The King of Spain’s Daughter Sept.19th, 2010 at 7:30pm Light Falling Spring Benefit 2011 Apr. 11th, 2011, The Players Club

In the Cellar of My Friend Aug 22nd, 2011at 8pm Shawn Fagan and Ellen Adair at the 2011 Spring Benefit reading of Light Falling

A Special EnrichMint Event

with Professor Christopher Morash from the National University of Ireland In the Cellar of My Friend: A one-act play by Teresa Deevy A World Premiere Reading, Monday, August 22nd 8:00 pm Dinner: 6:00 pm | Reading: 8:00 pm Reception: 9:00pm $125 per person.

Reading and reception only: $35 Tickets available online at www.minttheater.org or call 212-315-0231

Join Professor Morash and Mint Artistic Director Jonathan Bank for dinner at Elsewhere (on the corner of 43rd and 9th). Enjoy a delicious gourmet meal while Chris and Jonathan talk about this remarkable short play which has never been published or produced. Then hear the play read at the Mint, followed by a Q & A with Chris and the cast; then we can all mingle over cookies and coffee.

t e m p o r a l p ow e r s b i o g r a p h i e s ROSIE BENTON (Min Donovan) The Mint: Wife to James Whelan. Broadway: Accent on Youth (MTC), Les Liaisons Dangereuses (Roundabout Theatre Company).

OffBroadway: Saturn Returns (Lincoln Center Theatre), Howard Katz (Roundabout).

Regional: A Time To Kill (Arena Stage), Stick Fly (Huntington Theatre), Dissonance, The Night Season (Bay Street Theatre), Spike Heels (Syracuse Stage), Betrayal (Hangar Theatre) The Winter’s Tale (Shakespeare on the Sound), Film: “Return”, “A Bridge to Bourne”. TV: “Law & Order: SVU”, “All My Children”.

MFA from the NYU Graduate Acting Program.

PAUL CARLIN (Jim Slattery) NY Stage: Long Day’s Journey into Night at Irish Repertory Theatre (Jamie), director Charlotte Moore; After the Ball, Irish Rep (Lord Windermere), director Tony Walton; Apple Cove, Julia Miles Theatre (Gary), dir. Gio Sardelli; Woyzeck, Ensemble Studio Theatre (Woyzeck); Bella, Lincoln Center (Jacob); The Milk of Paradise, The Women’s Project (Billy), dir. Joan Vail Thorne; Twelfth Night, Phoenix Theatre Co. (Orsino), dir. John Barton, RSC; Paint Your Wagon, Musicals Tonight (Ben Rumson); Salvation, Hudson Stage (Jack). Regional Stage: The Boyfriend, Goodspeed Opera House (Percy Browne), dir.

Julie Andrews; Where’s Charley? Goodspeed (Sir Francis), dir. Tony Walton; Shenandoah, W.V. Public Theatre (Charlie Anderson); On the 20th Century, Goodspeed, (Max Jacobs); Brigadoon, Goodspeed (MacLaren); 1776, Goodspeed (Chase); Hamlet, N.J. Shakespeare Fest. (Laertes); Song of Singapore, Piper’s Alley, Chi. (Hans); A Christmas Carol, Indiana Repertory Theatre (Scrooge x 2); The Herbal Bed, Indiana Rep (Goche). TV: “30 Rock”; “Law & Order”; “Ryan’s Hope” 1980-82; other soaps.

BAIRBRE DOWLING (Maggie Cooney) The Mint: Is Life Worth Living? by Lennox Robinson. BROADWAY: Da with Brian Keith. .…and a Nightingale Sang, Lincoln Center. OFF-BROADWAY: Flying Blind, Clurman Theater; Early Irish Poetry Public Theatre w/ Siobhan Mc Kenna and Barnard Hughes. REGIONAL: Great Lakes Theatre Festival (roles include Ophelia, Beatrice, Mrs. Page, Laura in Glass Menagerie, Peg in Peg o’ My Heart, The Life and Adventures of Nicholas Nickleby, A Childs Christmas in Wales) Mark Taper, Asolo Theater, Laguna Playhouse, Studio Arena Buffalo, Dancing at Lughnasa, South Coast Rep, Secret Rapture, David Grimm’s Sheridan, La Jolla Playhouse (Mrs. Pope) director Mark Brokaw. Amanda Private Lives; Mrs. Patrick Campbell Dear Liar; Honey, Gravity of Honey; Esther Franz, The Price; Lady Macbeth, A Macbeth; Athena, Wanderings of Odysseus GETTY; Penny, You Can’t Take it with You; Vi, Memory of Water, director Jenny Sullivan. Over twenty plays with California Artists Radio Theatre . TV: “Crossing Jordan”, “Murder She Wrote”, “ER”, “Star Trek: Voyager” and John Huston’s last film, “The Dead”. Bairbre has two stories in “Monday Morning Memoirs, Women in the Second Half of Life.”

CON HORGAN (Ned Cooney) Riders to the Sea (Fountain Theater LA and The Cornelia Connely Theater NY) Dir. Tony Torn. Twenty Five, Arrah Na Pogue, Shaughraun (Storm Theater) Dir. Peter Dobbins. The Plough and The Stars (The Irish Repretory) Dir. Charlotte Moore. Translations (Irish Arts Center) Dir. Brian Doyle. Moon of The Carribes (The Bat Theater) Dir. Simon Hammerstein. The Personal Equation (Provincetown Playhouse) Dir. Stephen Kennedy Murphy. Rocking the

BIOGRAPHIES

ROBERTSON CARRICART (Father O’Brien) Returns to the Mint after his performance as John Ferguson in John Ferguson. Broadway credits include On The Waterfront, Zoya’s Apartment, Marriage Of Figaro (with Christopher Reeve), Design For Living (directed by George C. Scott) and Oklahoma!. Among his favorite roles OffBroadway and regionally are: Billy Budd, Last Night Of Ballyhoo, A Touch Of The Poet,

Treasure Island, Our Town, Long Day’s Journey Into Night, Moon For The Misbegotten, Sleuth, Hamlet, Midsummer Night’s Dream.

Most recently on television he has been seen in 3 episodes of “Law and Order”. He has worked with Lauren Bacall, Anthony Quinn, Bob Hope, Jackie Gleason, Bill Cosby, James Gandolfini, and Robin Williams and been directed by George C. Scott, Andrei Serban, Michael Blakemore, Adrian Hall and Michael Kahn.

BIOGRAPHIES

Bronx (Lehman Center for Performing Arts) Dir. Ray Yates. Macaire (Theater for The New City) Dir. Thomas G. Waites and Mary Fassino. Portia Coughlin, In the Boom Boom Room (Show World NY), Dir. Aaron Bell.

The Passion Play (Park Theater Performing Arts Center), directors Eric Hafen and Daniel Quinn. The Beauty Queen of Leenane (The Actor’s Theater of Louisville) Dir. Bill McNulty. Under Milkwood (Irish Arts Center LA) Dir. See Glassman. The Shattering (Cherry Lane Theater) Dir. Olympia Dukakis, Anna Christie (Actors Studio East and West) Dir. Wilson Milam. A Reed in the Wind (Blueberry Pond Arts Center) Dir. Ernie Martin. Film credits include: “Pizza” Dir. Donald Gregory; “God And Generals”, “Gettysburg” Dir. Ron Maxwell; “Crimson Tide” Dir. Tony Scott; “Batman” Dir. Christopher Nolan; “Beyond the Pale” Dir. George Bazala; “Luminous Motion” Dir. Bette Gordon; “Some Fish Can Fly” Dir. Robert Kane Pappas. Television: “New York Under Cover”, “One Life To Live”, “Law & Order: SVU”. Lifetime member of Actor’s Studio.

ELI JAMES (Moses Barron) is making his Mint debut. His solo play William and the Tradesmen has been performed at numerous venues around the city, including Ars Nova, La Mama, and The Drilling Company.

Stage credits include the original Broadway production of Bloody Bloody Andrew Jackson, The Four of Us at Manhattan Theatre Club, Becky Shaw at Boston’s Huntington Theater, and the world premiere of Jason Grote’s Maria/Stuart. Further regional credits include the East Coast premiere of Tom Stoppard’s The Invention of Love at The Wilma Theater, Gross Indecency with Philadelphia Theater Company, and Howie the Rookie with Brat Productions; TV credits include “Lights Out” on FX and “Mercy” on NBC. His essay “Finding the Beat” was published in the Random House anthology Twentysomething Essays by Twentysomething Writers, a “Boston Globe” bestseller. He co-founded, wrote and performed with the comedy group Quiet Library at New York’s Upright Citizens Brigade Theater and People’s Improv Theater. www.eli-james.com.

AIDAN REDMOND (Michael Donovan) Aidan is thrilled to be back at the Mint and to be a part of Temporal Powers. Previous

New York theater engagements include: Wife To James Whelan (Mint), Blood Guilty (The Bronx Co./Wholeinthewall), Sive, (IRT), Anna Christie (Boomerang), Dirty Works and The Pitchfork Disney (Stiff Upper Lip). His work in film includes the recently released “Daylight” by David Barker, “I Sell The Dead”

by Glenn McQuaid, and “79 Parts”, directed

by Ari Taub.

WRENN SCHMIDT (Lizzie Brennan) most recently appeared in the world premiere of Bekah Brunstetter’s critically acclaimed Be a Good Little Widow at Ars Nova. Broadway: Come Back, Little Sheba (Manhattan Theatre Club). National tour: Who’s Afraid of Virginia Woolf? with Bill Irwin and Kathleen Turner. Off-Broadway: Jailbait (Cherry Lane Theater), Sive (Irish Repertory Theatre), Phantom Killer (Abingdon Theatre Company), Caesar & Cleopatra (Resonance Ensemble), Crazy for the Dog (Jean Cocteau Repertory), The Dudleys! (Dream Up Festival, Theatre for a New City). Regional: Proof (Cape May Stage) and Heaven (Kitchen Dog Theater).

Film & TV: “Client 9”, “Our Idiot Brother”, “Body of Proof”, “Mercy”, “The Necklace”, “Javelina”, “Law & Order”. Training: BFA, Meadows School of the Arts, Southern Methodist University. Proud member of AEA. FIANA TOIBIN (Daisy Barron) The Mint: The Glass Cage. BROADWAY: Long Day’s Journey into Night (with Vanessa Redgrave), The Weir (Royal Court) and Shining City (MTC). OFF-BROADWAY: Sive, The Yeats Project, My Scandalous Life (Irish Repertory Theatre), The Boys (Outhouse), The Ginger Man (IAC), Fire Eater (CSV), Lovers (Abingdon). REGIONAL: Mrs. Packard (McCarter), Conversations on a Homecoming (Druid/Donmar Warehouse), Cyrano (Shakespeare Theatre DC), The Weir (Pittsburgh Public, Geffen Playhouse), A Streetcar Named Desire, Fen (Ovation Nomination, Open Fist LA), After Miss Julie (Purple Heart), Hamlet, The Witches, A Doll’s House. FILM: “Twelve” (Joel Schumacher), “The Boxer”. TV: “Boardwalk Empire” (recurring), “The Sopranos”, all three “Law & Order” shows, “All My Children”, “Fair City”.

Fiana was chosen by Backstage for their Best Performances of The Year for her performance as Olive in Crestfall (Origin/59E59) and

recently had the pleasure of recording the radio play “I’m with Ya’ Duke” with Jerry Stiller.

VICKI R. DAVIS (Scenic Designer) Previous productions at the Mint: Wife to James Whelan, The Fifth Column, The Skin Game, The Lonely Way, Echoes of the War, Far and Wide, Rutherford & Son, The Voysey Inheritance, Miss Lulu Bett, Welcome to our City, August Snow & Night Dance, The House of Mirth, and The Time of Your Life. Off Broadway: Shpiel, Shpiel, Shpiel, Pirates of Penzance, A Novel Romance, Songs of Paradise, An American Family, Yoshke Muzicant (Folksbiene), Meanwhile, On...Mount Vesuvius (Adobe), Caucasian Chalk Circle (LaMaMa), ‘Til The Rapture Comes (WPA), The Occupation, Slasher, Out To Lunch and Relative Values.

Regional: Arena Stage, The Alliance, Milwaukee Repertory Theater, Dallas Theater Center, Laguna Playhouse, Starlight Kansas City, Madison Rep., The Barter, Capital Rep., Passages, Georgia Shakespeare, Utah Shakespearean Festival, Utah Opera, Kansas City Opera, Omaha Opera, Theater of the Stars, Boston Lyric Opera, Lake George Opera Festival, Chester Theatre, and Music Theater North.

Ms. Davis received a TCG/NEA Design Fellowship and is a member of United Scenic Artists Local 829.

JEFF NELLIS (Lighting Designer) At the Mint: The Daughter-In-Law, John Ferguson, Fifth Column, Power of Darkness, Rutherford and Son, and others. Other designs include Broadway’s Prymate, Off-Broadway’s Tryst

JANE SHAW (Sound Designer) At the Mint: A Little Journey, Wife to James Whelan, Dr. Knock, Return of the Prodigal, Susan and God, Fifth Column, Walking Down Broadway, Widowing of Mrs. Holroyd. Off Broadway: Hamlet, Merchant of Venice (TFANA/RSC/ National Tour), The Coward (Lincoln Center 3), The Sneeze (The Pearl), Liberty City (NYTW), among others. Off-off Broadway: En el tiempo de las Mariposas (Repertorio Espanol), The Wonder (Queen’s Company), Rise and Fall of Annie Hall (Theater Row), CROOKED (Women’s Project), Sounding (HERE), Septimus and Clarissa (Ripe Time).

Dance: Big Dance Theater (collaboration for over 12 years, Bessie Award, 2010), Susan Marshall, David Dorfman. Regional theater includes: Denver Center Theatre Company, City Theater (Pittsburgh), Williamstown Theater Festival, Capital Rep (Albany), Yale Repertory, Dorset Theater Festival, Merrimack Repertory Theatre. Recipient: NEA-TCG Career Development Grant, Meet the Composer. Nominations: Lortel, Eliot Norton, Henry Award, Connecticut Critics Circle. Graduate of Harvard and the Yale School of Drama.

James Griffin is a Photographic Digital Artist based in the old harbour town of Greystones, Co Wicklow, the Garden of Ireland. James studied art and design in Lincolnshire and Derbyshire, England, before moving to Ireland. He has extensively travelled and documented the beautiful landscapes and seascapes of Ireland in a unique and personal representation by combining photography and artistic creativity. “Photographic Art” a

BIOGRAPHIES

ANDREA VARGA (Costume Designer) works as both a freelance costume designer in NYC and a faculty member in the Theatre Arts Department at SUNY New Paltz. Most recently she designed costumes for Next, a new play directed by Michael LoPorto at HERE. Last summer she designed Annie Get Your Gun at The Park Playhouse in Albany, NY. At the same time she designed costumes for a new musical I’ll Be Damned produced by Jaradoa Theater Company at The Vineyard Theatre and worked on a new independent film, “Small of Her Back” by Russell Sharman. She is a member of United Scenic Artists and a proud alumna of Florida State University where she met her scenic designer husband, Nathan Heverin.

(New York Outer Critics Circle Nomination), The Milliner, Zanna Don’t!, From Door to Door, One Shot One Kill, Our Sinatra, Cobb, 2 ½ Jews, Coyote on a Fence, Men on the Verge of an Hispanic Breakdown, My Italy Story, The IT Girl, and others. Jeff has worked around the country at theatres including Milwaukee Repertory Theatre, Centerstage, Alley Theatre, Westport Country Playhouse, Actor’s Theatre of Louisville, Bay Street Theatre, Walnut Street Theatre, Hartford Stage, Williamstown Theatre Festival, Repertory Theatre of St. Louis, North Shore Musical Theatre, Los Angeles Opera, Trinity Repertory Company, Florida Stage, and others.

selection of James’ work can be viewed online at his website www.jegphotoart.com where a range of prints and limited editions are available to purchase.

HEATHER J. VIOLANTI (Dramaturg) also worked on A Little Journey and Susan And God at the Mint. Other dramaturgy: Pearl’s Gone Blue by Leslie Kramer (NY Fringe Festival), The Odyssey Project: Which Direction Home?

(The Internationalists), and Valiant adapted

by Lanna Joffrey (Unofficial New York Yale Cabaret). She is a reader for the O’Neill Theater Center’s National Playwrights and Music Theater Conferences. MFA, Dramaturgy and Dramatic Criticism, Yale School of Drama.

BIOGRAPHIES

AMY STOLLER (Dialect Design, Additional Dramaturgy) celebrates 15 happy years as resident dialect designer/coach (and occasional dramaturg) at the Mint, most recently on Teresa Deevy’s Wife to James Whelan. Other Mint highlights include Is Life Worth Living?, The Widowing of Mrs Holroyd, The Fifth Column, The Daughter-in-Law, The Madras House, Echoes of the War, Milne at the Mint, and The Voysey Inheritance. Other New York credits include Anna Deavere Smith’s Let Me Down Easy at Second Stage (and the subsequent national tour), and shows at the Pearl, Keen, and Origin, among many others. Regional credits include world premieres by Athol Fugard, Paula Vogel, Anna Deavere Smith, and Aditi Brennan Kapil at the Long Wharf, plus productions at Arena Stage, A.R.T., People’s Light & Theatre, and Peterborough Players. Television work includes animated series, commercials and a documentary. Amy is Associate Editor for NYC at International Dialects of English Archive, and an officer of the Voice and Speech Trainers Association.

Learn more at www.stollersystem.com and find Stoller System on Facebook.

LISA McGINN (Stage Manager) is thrilled to be joining the Mint Theater for this production. NYC credits include How to Build a Forest (PearlDamour + Shawn Hall), Sing Sing and Stay With Us as part of NYU’s grad program Freeplay Festival, Next! (Abraxas Stage Company); In Quietness (Ensemble Studio Theatre); Ivanov (Chekhov at Lake Lucille); Once Upon a Time in New Jersey (Prospect Theater); Shakespeare’s Richard

II…on Trapeze! (Matchbook Productions/ Sonnet Rep); Limonade Tous Les Jours (New Voice Project/the cell theatre, starring Austin Pendleton); A Question of Mercy and Therese Raquin (PTP/NYC); Or, and Smudge (Women’s Project), Complete (2009 NYC Fringe Festival); The Shanghai Gesture (Mirror Rep); Elephant in the Room! (Stage 13); A Stone Carver (Soho Playhouse); Lisa has also worked regionally at Trinity Repertory Company, Two River Theater Company, Passage Theatre Company, Playwrights Theatre of NJ, The Old Globe, Charlotte Rep, NJPAC, Berkshire Theatre Festival.

ANDREA JO MARTIN (Assistant Stage Manager) is happy to be back at the Mint!

Credits include: Broadway: Rent (sub); Broadway Backwards 3, 4, 5 and 6. OffBroadway: A Little Journey, The Widowing of Mrs. Holroyd, The Glass Cage, The Madras House (Mint); Busker Alley, Fanny Hill, A Fine and Private Place, and 10 different Musicals in Mufti (The York Theatre); with various companies: White’s Lies; Love Child; Signs of Life; De Novo; Beauty on the Vine; WASPs In Bed; A Dangerous Personality. Festivals: at NYMF: Judas & Me; Fringe Festival: Dancing With Abandon, and Trouble in Shameland.

Andrea is also a sub at Naked Boys Singing! and NEWSical, Full Spin Ahead.

LAUREN MCARTHUR (Assistant Stage Manager) Lauren is exited to be working with the Mint team again! Previous Mint productions include: What the Public Wants, The Wife to James Whelan, So Help Me God! and Is Life Worth Living? Other NYC credits: This Side of Paradise (Culture Project); Life in a Marital Institution (59E59 Theaters & SoHo Playhouse); American Jornalero (Working Theater); Widows (59E59/Reverie); The Kids Left, The Dog Died, Now What? (NYMF); Savage in Limbo (The Process Group); The Program (NY Fringe Festival). Regional/Tour: The Wild Duck (Bard Summerscape); The Laramie Project & The Laramie Project: 10 Years Later Tour (Tectonic Theater Project).

Film: Production Designer-‘Wunderkind’ (Dir: Lauren Rosen). She would like to thank her parents for their love and continued support.

Proud member of AEA.

DAVID GERSTEN & ASSOCIATES (Press Representatives) also represents the OffBroadway hits, Black Angels Over Tuskegee, Girl’s Night the Musical, and its sequel, Girl Talk, and Naked Boys Singing, as well as INTAR, Keen Company, Woodie King’s New Federal Theater, New World Stages, Red Bull Theater, and Stage Entertainment US. David serves on the Board of Governors of ATPAM, The Association of Theatrical Press Agents & Managers. www.davidgersten.com The Pekoe Group (Advertising & Marketing) is a full service advertising and marketing company for events and attractions, specializing in niche marketing and tailormade strategic campaigns based on each event’s target demographic. Clients include Ripley’s Believe It Or Not! Times Square, Freud’s Last Session, Mint Theater Company, The Rap Guide To Evolution, Puppetry of the Penis, Theatre For A New Audience, and more. www.thepekoegroup.com STUART HOWARD, AMY SCHECTER & PAUL HARDT (Casting) have cast hundreds of shows over the past 25 years. Happily casting for the Mint since 2004.

JONATHAN BANK (Director/Artistic Director) has been the artistic director of Mint since 1996 where he has unearthed and produced dozens of lost or neglected plays, many of which he has also directed. Most recently for the Mint, Bank directed Wife to James Whelan

by Teresa Deevy. Other Mint credits include: 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 two additional volumes in the “Reclaimed” series (Harley Granville Barker and St. John Hankin) as well as Worthy But Neglected: Plays of the Mint Theater Company.

SHERRI KOTIMSKY (General Manager/ Production Manager) Produced for Naked Angels: Meshugah, Tape, Shyster, Omnium Gatherum, Fear: The Issues Project and several seasons of workshops and readings. As Naked Angels Managing Director, Hesh and Snakebit. Produced: Only the End of the World and Blood Orange. For two years Theatre Manager for the Michael Schimmel Center for the Arts at Pace University, home to National Actors Theatre, Tribeca Film and Theatre Festivals, River to River Festival and the Carol Tambor Awards 2005 productions, amongst many others. Currently working with several theater companies as business consultant, including Theater Breaking through Barriers and Premieres.

BIOGRAPHIES

a b o u t t h e m i n t t h e at e r c o m pa n y 2011-2012 TEMPORAL POWERS By Teresa Deevy 2010-2011 WIFE TO JAMES WHELAN By Teresa Deevy WHAT THE PUBLIC WANTS By Arnold Bennett A LITTLE JOURNEY By Rachel Crothers 2009-2010 IS LIFE WORTH LIVING? By Lennox Robinson SO HELP ME GOD! By Maurine Dallas Watkins DOCTOR KNOCK By Jules Romains 2008-2009 THE GLASS CAGE By J.B. Priestley THE WIDOWING OF MRS. HOLROYD By D.H. Lawrence 2007-2008 THE POWER OF DARKNESS By Leo Tolstoy THE FIFTH COLUMN By Ernest Hemingway 2006-2007 JOHN FERGUSON By St. John Ervine THE MADRAS HOUSE By Harley Granville Barker RETURN OF THE PRODIGAL By St. John Hankin 2005-2006 WALKING DOWN BROADWAY By Dawn Powell SOLDIER’S WIFE By Rose Franken SUSAN AND GOD By Rachel Crothers 2004-2005 THE LONELY WAY By Arthur Schnitzler THE SKIN GAME By John Galsworthy 2003-2004 MILNE AT THE MINT Two Plays by A.A. Milne ECHOES OF THE WAR By J.M. Barrie 2002-2003 THE CHARITY THAT BEGAN AT HOME By St. John Hankin FAR AND WIDE By Arthur Schnitzler THE DAUGHTER-IN-LAW By D.H. Lawrence

about the mint

2001-2002 RUTHERFORD AND SON By Githa Sowerby NO TIME FOR COMEDY By S.N. Behrman 2000-2001 WELCOME TO OUR CITY By Thomas Wolfe THE FLATTERING WORD & A FAREWELL TO THE THEATRE

By George Kelly & Harley Granville Barker DIANA OF DOBSON’S By Cecily Hamilton 1999-2000 THE VOYSEY INHERITANCE By Harley Granville Barker ALISON’S HOUSE By Susan Glaspell MISS LULU BETT By Zona Gale 1995-1998 QUALITY STREET By J.M. Barrie MR. PIM PASSES BY By A.A. Milne UNCLE TOM’S CABIN By George Aiken THE HOUSE OF MIRTH By Edith Wharton & Clyde Fitch

Mint Theater Company produces worthwhile plays from the past that have been lost or forgotten. These neglected plays offer special and specific rewards; it is our mission to bring new vitality to these plays and to foster new life for them.

Under the leadership of Jonathan Bank as Artistic Director, Mint has secured a place in the crowded theatrical landscape of New York City. We have received Special Obie and Drama Desk Awards recognizing the importance of our mission and our success in fulfilling it. The Wall Street Journal describes Mint as “one of the most consistently interesting companies in town.”

Our process of excavation, reclamation and preservation makes an important contribution to the art form and its enthusiasts. Scholars have the chance to come into contact with historically significant work that they’ve studied on the page but never experienced on the stage. Local theatergoers have the opportunity to see plays that would otherwise be unavailable to them, while theatergoers elsewhere may also have that opportunity in productions inspired by our success. Important plays with valuable lessons to teach—plays that have been discarded or ignored—are now read, studied, performed, discussed, written about and enjoyed as a result of our work.

Educating our audience about the context in which a play was originally created and how it was first received is an essential part of what we do. Our “EnrichMINT Events” enhance the experience of our audience and help to foster an ongoing dialogue around a play—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 three volumes in our “Reclaimed” series, each featuring the work of a single author: Harley Granville Barker, St. John Hankin and Arthur Schnitzler.

The following generous Individuals, Foundations, and Corporations support the Mint Theater, and we honor their contributions: * indicates purchase of a seat name Crème de Mint: $10,000 and above Bloomberg Philanthropies The Gladys Krieble Delmas Foundation The Jean & Louis Dreyfus Foundation The Max & Victoria Dreyfus Foundation Florence Gould Foundation The Fan Fox & Leslie R Samuels Foundation Mr. & Mrs. Ciro Gamboni * The Little Family Foundation * 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 Shubert Foundation, Inc. The Ted Snowdon Foundation The Dorothy Strelsin Foundation The Geraldine Stutz Trust Inc. anonymous SilverMint: $5,000 to $9,999 Axe-Houghton Foundation Virginia Brody * Barbara Bell Cumming Foundation Lori & Edward Forstein Lucille Lortel Foundation The South Wind Foundation The Harold & Mimi Steinberg Charitable Trust Litsa Tsitsera Michael Tuch Foundation

SpearMint: $600 - $1,499 Harry Abrams Lisa Ackerman Linda Alterman * Richard Barnes & Marta Gross Julia Beardwood & Jonathan Willens Jeffrey Bernstein & Cathy Lanyard Joann, Jennifer & Gene Bissell Leslie (Hoban) Blake * Allison M. Blinken Rose-Marie Boller & Webb Turner * Ann Butera * E. R. Buultjens Robin Chase * Claudia & Frank Deutschmann * Cory & Bob Donnalley Charitable Fdn. * Julie Durkin H. Read Evans * Eva & Norman Fleischer Joan & Edward Franklin * Phyllis Freed * The Gordon Foundation Arthur Grayzel, MD & Claire Lieberwitz Anita & Edward Greenbaum * Julia B. & James C. Hall * Carol & Patrick Hemingway Hickrill Foundation C. Howard Co. Inc. IBM Foundation Dana Ivey * Jacqueline & James Johnson Roberta A. Jones Joseph Family Charitable Trust * Christopher Joy & Cathy Velenchik * Peter Haring Judd Fund * Brian Kaltner Joan Kedziora, MD. * Linda Irenegreene & Martin Kesselman Sarah-Ann Kramarsky Mary & David Lambert * Judith & John LaRosa * Audrey & Joseph Lombardi * Charlene & Gary MacDougal James Marlas Edith Meiser Foundation John & Stephanie Meyer, Teen Ink Leonard & Ellen Milberg Doreen & Larry Morales * Joseph Morello * Nancy Newcomb & John Hargraves Susan & Peter Ralston George Robb

DONORS

ChocolateMint: $1,500 - $4,999 Jonathan Bank * Lea & Malvin Bank Robert Brenner Linda Calandra * Jon Clark * Jeffrey Compton & Norma Ellen Foote * William Downey The Friars Foundation Ruth Friendly * Janet & John Harrington The Heidtke Foundation Blanche & Irving Laurie Foundation Dorothy Loudon Foundation Executive Director, Lionel Larner New York City Council for the Humanities Dorinda J. Oliver Pfizer Foundation Eleanor Reissa & Roman Dworecki * Judy & Sirgay Sanger * Wallace Schroeder * Anne Sheffield David Stenn Sukenik Family Foundation * Katherine & Dennis Swanson *

Kathryn Swintek * Bertram Teich

DONORS

Stuart Davidson Herbert Schlesinger * Ruth & Anthony DeMarco Susan Scott GH Denniston & Christine Thomas Harriet Seiler Drs. Robert M. Koros & Carole M. Shaffer-Koros * Pat DeRousie-Webb & Robb Webb Katherine & Bernard Dick Rob Sinacore Ruth & Robert Diefenbach Alissa Sklaver M. Burton Drexler State of New York – Office of Parks, Recreation Herzl Eisenstadt

and Historic Preservation Mina & Martin Ellenberg Suzanne & Jon Stout Marjorie Ellenbogen Milton & Barbara Strom Monte Engler & Joan Mannion M. Elisabeth Swerz Sara & Fred Epstein Lila Teich Gold * Grace & Donald Eremin Helen S. Tucker, The Gramercy Park Foundation Eugene Ernst * Wein Family Fund * Judith Eschweiler * Anonymous Sarah Fels & George Steel DoubleMint $150-$599 Orinda & Thomas Filipi (First Priority Club) Irving and Gloria Fine Foundation Actors Equity Foundation Angela T. Fiore Gretchen Adkins Edmee & Nicholas Firth Judith Aisen & Kenneth Vittor Barbara Fleischman * Shihong & Peter Alden Martha Fleischman Louis Alexander Charles Flowers Linda Alster * Barbara Fogel Laura Altschuler Donald W. Fowle Marc Anello Charlotte Frank Carmen Anthony Diana & Jeffrey Frank Louise Arias Glenda Frank * Barbara Austin * Monroe Freedman Earl Bailey Judith & Charles Freyer Judith Barlow * Dr. H. Paul & Delores Gabriel * William Barth Mary Ann & John Garland Deborah Berke & Peter D McCann, MD Agnes & Emilio Gautier * Barbara Berliner & Sol Rymer Phyllis Gelfman Al Berr James C. Giblin Nidia Besso Ardian Gill & Anna L. Hannon Helena & Peter Bienstock Suellen & David Globus Steven Blier Joyce Golden Ronald H. Blumer Gloria Goldenberg Dorothy Borg Duncan Goldie-Scott Bristol- Myers Squibb Co. Samuel Gonzalez Ambassador & Mrs. W. L. Lyons Brown Margaret Goodman Peter Cameron Mary & Gordon Gould James Carroll * Anna Grabarits Richard Carroll Virginia Gray Aurelie Cavallaro Harry Greenwald & Babette Krolik Sharon M. Chantilles-Wertz & Kevin Wertz * Tosia Gringer Andrew H. Chapman Antonia & George Grumbach Lynne Charnay Victoria Guthrie Joseph Cimmet Amy & Ronald Guttman Steven R. Coe Gunilla Haac Toni Coffee Lanie Hadden Jane Condon Joseph Hardy JoAnn Corkran George Hatch Penny & Peter Costigan Carol Hekimian Ronald Covar * Reily Hendrickson Wilbur Cowett, David Herskovitzs

The Longhill Charitable Foundation Karin & Henry Herzberg Susan & George Crow Sigrid Hess

Joan & John Mendenhall John David Metcalfe Leila & Ivan Metzger Lusia & Bernard Milch Susan & Joel Mindel * Ellen Mittenthal Judith & Allan Mohl Elaine & Richard Montag George Morfogen * Frank Morra Elaine & Ronald Morris Carole & Theodore Mucha Tim Mulligan Karol Murov Maureen Murphy Amanda Nelson Carol & Dick Netzer Oanh Nguyen Peter Nitze Tim Nolan Stephanie & Robert Olmsted Dottie & Richard Oswald Judith Page Gwen & Bruce Pasquale Alice & Frederick G. Perkins Gillis & Leonard Plaine Jeanine Parisier Plottel Sheila & Irwin Polishook Mary & Larry Pollack Georgette & David Preston Joan Rahav Paul Rawlings Joe Regan, Jr. Allen Lewis Rickman Irvin Rinard Peter Robbins & Paige Sargisson Phyllis & Earl S. Roberts The Rodgers Family Foundation/Mary R. Guettel Theodore Rogers * Renee & Seymour Rogoff Sylvia Rosen Barbara Rosenthal Mark Rossier Donna Rubens James Russell J. B. Sandler Catherine Scaillier Judith & Richard Schachter Barbara Schoetzau * Daphne & Pete Schwab Marilyn & Joseph Schwartz Phyllis Schwartz The Martin E. Segal Revocable Trust Barbara & Donald Shack Camille & Richard Sheely Susan & Zachary Shimer * Kayla J. & Martin Y. Silberberg Mel Silverman Marion & Leonard Simon

DONORS

Barbara Hill Joan Hoff Dorothy & Edward Hoffner Stuart Howard * Cathy Hull & Neil Janovic Elizabeth Ellis Hurwitt Harriet Inselbuch Jocelyn Jacknis * Ellie Jacob Ellen & Peter Jakobson Alan Jeffrey * Susan & Stephen Jeffries Edith Jones Michael Jones Gus Kaikkonen & Kraig Swartz Thomas Kane Anne Kaufman Karen Kelly Laurie Kennedy & Keith Mano Georgianne Enisign Kent Roberta & Gerald Kiel Gerard Kiernan Jospeh Kissane Kaori Kitao Caral G. Klein Susanna Kochan-Lorch & Steven Lorch Anna Kramarsky & Jeanne Bergman Jean Kroeber Mildred G. Kuner Carmel Kuperman George LaBalme Lee & Richard Laster Gene Laughorne Christopher Lawrence Kent Lawson & Carol Tambor Margaret & Gordon Leavitt Gloria & Ira Leeds Jane & Eliot Leibowitz Laura & Rodney Leinberger Dr. Albert Leizman * Jean Leo & Richard Kuczkowski Carol & Stanley Levy Christopher LiGreci & Robert Ohlerking Alene & Jeffrey Lipshaw Ruth Lord Judith Mahler Mary Rose Main Jane Anne Majeski Vivian & John Majeski Miriam Malach Barry Margolius Jacqueline Maskey Margaret Mautner George Mayer Pamela Mazur Betsy McKenny Martin Meisel Richard Mellor, Jr. The JVPC Memorial Fdn for the Arts

Susana & Americo Sitner Rayna & Martin Skolnik Lily N. Smith Roger Smith Barbara & Stanley Solomon Dr. Norman Solomon Caroline Sorokoff & Peter Stearn * Linda & Jerry Spitzer Erica Stadtlander Stagedoor Lee Steelman Sherry & Bob Steinberg Frances Sternhagen Faith Stewart-Gordon Amy Stoller Ilene Stone Stella Strazdas & Hank Forrest Carol & Will Sullivan Larry E. Sullivan * Douglas Tarr Anne Teshima Annie Thomas & David H. Kirkwood Rochelle Tillman Jill Tran Susan & Charles Tribbitt Helen & William van Syckle Joan & Bob Volin Gerald Wachs Edith & Gordon Wallace John Michael Walsh Lillian & Saul Wechter Kate & Seymour Weingarten Richard Weisman Patricia & Richard White Lillian & Robert Williams Marsha & Vincent Williams Mary C. Wolf John Yarmick * Sue & Burton Zwick anonymous * Purchased a chair or chairs

DONORS

This list represents donations made from January 2010 – July 2011. Every effort is made to ensure its accuracy. Please contact us regarding any mistakes We are grateful to the following people who have generously donated to the Teresa Deevy Project: Gretchen Adkins Louise Arias Mary Bacon & Andrew Leynse

Jonathan Bank & Katie Firth Steven Blier Allison Blinken Linda Calandra Robin Chase Jon Clark & Ryan Franco Jane Condon Wilbur Cowett Julie Durkin Marjorie Ellenbogen Martha Fleischman Phyllis Freed Ruth Friendly Ciro & Gail Gamboni Leonard & Marita Gochman Lila Teich Gold Sam Gonzalez Victoria Guthrie John Hargraves & Nancy Newcombe John Harrington Darlene & Brian Heidtke Elizabeth Ellis Hurwitt Linda Irenegreen Jann Leeming & Arthur Little Neil & Cathy Janovic Peter Judd Anne Kaufman Laurie Kennedy Georgianne Kent Gerry Kiernan Anna Kramarsky Sarah-Ann Kramarksy Leonard Milberg George Morfogen Maureen Murphy Enid Nemy Dorinda Oliver Stephanie & Robert Olmsted Joan Price Rahav Susan & Peter Ralston Eleanor Reissa Judy & Sirgay Sanger Martin Segal Anne Sheffield Rob Sinacore Amy Stoller Barbara & Milton Strom M. Elizabeth Swerz Kathryn Swintek & Andre Dorra Carol Tambor Bertram Teich Litsa Tsitsera Joyce Weil Seymour & Kate Weingarten

t e m p o r a l p ow e r s s ta f f

Assistant Production Manager/ Technical Director Fight Director Wardrobe Supervisor Assistant to the Director Board Operator Production Assistant Assistant Costume Designer Programmer/Assistant Lighting Designer Scenic Charge Carpenters Production Interns Box Office House Manager Videographer Marketing & Advertising

Wayne Yeager Mike Chin Leah Mitchell Natalia Schwein Shannon Epstein Renee Jackson Olga Mills Rachel Szymanski Julia Hahn-Gallego Carlton Hall, Daniel Halliday Treneil Walker, Malik Lewis Hayward Leach Ivana Karapandzic Joshua Johnson The Pekoe Group /Amanda Pekoe, Kerry Minchinton, Marissa Coronado, Beth Chrobak, Jessica Ferreira, Jason Murray, Gregory Fullum, Danielle Schoeck

Lighting installed by the Lighting Syndicate.

Set Constructed By Carlo Adinolfi Mint Theater wishes to thank the following for their assistance in this production:

James Griffin, Nathan Heverin, SUNY New Paltz Lighting equipment provided in part by the Technical Upgrade Project of the Alliance of Resident Theaters/New York through the generous support of the New York City Council and the City of New York Department of Cultural Affairs.

Actor’s Equity Association was founded in 1913. It is the labor union representing over 40,000 American actors and stage managers working in the professional theatre. For 89 years, Equity has negotiated minimum wages and working conditions, administered contracts, and enforced provisions of its various agreements with theatrical employers across the country.

MINT THEATER COMPANY STAFF

Jonathan Bank Artistic Director Sherri Kotimsky General Manager Heather J. Violanti Development Associate / Dramaturg Adrienne Scott Box Office Manager Ellen Mittenthal Development Consultant BOARD OF TRUSTEES Jonathan Bank Linda Calandra Ciro A. Gamboni John P. Harrington Jann Leeming Eleanor Reissa Kathryn Swintek

“When it comes to the library,” our 2001 Obie citation states, “there’s no theater more adventurous.”

In 2002 the Mint was awarded a special Drama Desk Award for “unearthing, presenting and preserving forgotten plays of merit.”

MINT THEATER COMPANY commits to bringing new vitality to neglected plays. We excavate buried theatrical treasures; reclaiming them for our time through research, dramaturgy, production, publication and a variety of enrichment programs; and we advocate for their ongoing life in theaters across the world.

311 West 43rd Street, Suite 307 New York, NY 10036

www.minttheater.org Box Office: (212) 315-0231