a rt i s t i c d i r e c t o r
jonathan bank g e n e r a l ma nag e r
wife to james whelan by teresa deevy directed by jonathan bank
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Mint Theater Company
Jonathan Bank, Artistic Director Sherri Kotimsky, General Manager presents
wife to james whelan eresa deevy
Rosie Benton, Janie Brookshire, Shawn Fagan, Jon Fletcher, Jeremy S. Holm, Thomas Matthew Kelley, Aidan Redmond, Liv Rooth set design
Vicki R. Davis sound design
dialects & dramaturgy
production stage manager
assistant stage manager
Samone B. Weissman assistant to the director
Lauren McArthur assistant costume design
Karle J. Meyers
Sherri Kotimsky press representative
David Gersten & Associates Stefano Imbert Hunter Kaczorowski casting
Stuart Howard, Amy Schecter & Paul Hardt directed by
Jonathan Bank o p e ning night au g u st 2 3 rd 2 0 1 0
Wife to James Whelan 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.
w i f e t o ja m e s w h e l a n c a s t i n o rder of appeara n ce :
To m C a re y B i l l M c G a f fe r t y N a n B owe r s K ate M o ra n J a m e s W h e l a n J a c k M c C l i n s e y A p o l l o M o ra n N o ra K e a n e
Aidan Redmond Jeremy S. Holm Janie Brookshire Rosie Benton Shawn Fagan Thomas Matthew Kelley Jon Fletcher Liv Rooth
jeremy s. holm
thomas matthew kelley
w i f e t o ja m e s w h e l a n s e t t i n g Act I:
A sunny, sheltered spot on the outskirts of an Irish town — Kilbeggan — locally known as “the South of France” because it gets all of sun and shelter that is given. Early Summer.
The office of the Silver Wings Motor Services. Early Summer. Seven years later.
Same as Act II. A few months later.
Wife to James Whelan will be performed with two 10-minute intermissions.
w i f e t o ja m e s w h e l a n t e r e s a d e e v y
Teresa Deevy (1894-1963) by Heather J. Violanti
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. Their father died by the time she was two, so Tessa formed an especially close bond with her mother. Mrs. Deevy fostered little Tessa’s vivid imagination, encouraging her to make up stories about what she saw at Landscape. Details were important. The way light fell across the door frame, the difference between an August morning or an October afternoon. Little things mattered: this stayed with Tessa throughout her writing life. When she was old enough, Tessa joined her sisters at the local convent school. Cheerful and inquisitive, Tessa endeared herself to everyone. She embraced every aspect of school life. She wrote for the school literary magazine, sang in the choir, earned honors in French and piano, and never lost a match as left half-back on the hockey team.
“One of the most
undeservedly neglected and significant
Irish playwrights of the 20th century.” The Irish Times, 1994
Here, Tessa discovered theater. Night after night, she sat in the front row of a different
ABOUT THE playwright
theater, entranced. Shaw and Chekhov particularly intrigued her. She admired their richly drawn characters, finely crafted dialogue, and serious themes. Long ago, her mother had encouraged her to write In 1913, Tessa enrolled at University stories. Now Tessa knew how she wanted College, Dublin to study teaching. After to tell them. She decided to become a a few months, she was struck by strange, playwright. painful symptoms. Her ears rang; she was so dizzy she couldn’t stand; her It was an unusual ambition—but Tessa was head throbbed. Doctors diagnosed her far from typical. She had a quiet genius for with Meniere’s disease. This incurable understanding the intricacies of the human condition, often hereditary, is caused heart. Her plays would show not only a by fluid imbalance within the inner ear. distinct gift for dialogue, but an uncanny Meniere’s can cause deafness, and by appreciation for meaning hidden between 1914, 20-year-old Tessa had completely the lines. Years after her death, Tessa’s nephew Jack would recall her striking lost her hearing. ability to read people’s thoughts—a sixth She was sent to London to study lip-reading. sense perhaps heightened by her deafness.
w i f e t o ja m e s w h e l a n t e r e s a d e e v y continued
After leaving London, Tessa moved back to Landscape. She spent mornings tucked away in her upstairs bedroom, writing plays. The afternoons were spent with family and friends. A devout Catholic, Tessa also attended daily Mass with her sisters. Unlike her sisters, Tessa was also interested in politics. She joined the local chapter of Cumann na mBan, the Irish women’s league, and visited prisoners in the local jail. In 1925, at age 31, Tessa finally felt ready to send her plays to the Abbey, Ireland’s de facto 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). Like Tessa, he hailed from Ireland’s southeast and was drawn to psychological realism. He encouraged Tessa to keep writing.
ABOUT THE PLAYwright
In 1930, at the urging of Robinson and W.B. Yeats, the Abbey accepted Teresa’s Reapers, a sweeping family epic set in a rural “big house.” Tessa moved to Dublin with her sister Nell, who served as companion and interpreter. They quickly became darlings of Dublin’s artistic scene, hosting lively salons. Frequent guests included actress/director Ria Mooney, writer R.M. Fox, and painter Jack Yeats. The years from 1930 to 1936 were among the happiest in Tessa’s life. She had six plays produced at the Abbey and was considered one of Ireland’s most promising playwrights. Her plays were published in English and American magazines. Her most popular play, Katie Roche, about an illegitimate servant girl
who longs for a life of romance, was produced in Dublin, London, and as part of the Abbey’s 1937 American tour. It was also included in Victor Gollancz’s Famous Plays, an influential annual anthology. Then, with the Abbey’s rejection of Wife to James Whelan, Tessa’s career shifted. Her relationship with the Abbey was effectively over. Other Dublin theaters, including the Gate and the short-lived Players, expressed interest but offered nothing concrete. Tessa threw herself into writing for a new medium, radio. Between 1938 and 1946, she wrote over a dozen new radio plays for the B.B.C and Radio Éireann, as well as adapting her stage plays for broadcast. Tessa supervised rehearsals in person by reading the actors’ lips and amazed everyone with her precise orchestration of sound. Then, in 1954, Tessa’s fortunes changed again. Nell died of stomach cancer in February. Without Nell, Tessa could not survive in Dublin. She returned to Landscape, to live with another sister, Fan. 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. It must have been a bittersweet triumph. Gradually, as the years passed, people forgot Teresa Deevy. Many Waterford townsfolk weren’t even aware she was a playwright. To them, she was a sweet old lady on a bicycle who wore mismatched socks. Poet Sean Dunne, who knew Tessa, 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 Maypark Nursing Home. She died there on January 19, 1963. James Cheasty, a poet and one of Tessa’s protégés, wrote in her obituary: 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.
t h e r e j e c t i o n o f ja m e s w h e l a n
by Jonathan Bank
I don’t know when it will get produced.”1
Deevy struggled for years over WIFE TO JAMES WHELAN before it was rejected by Ernest Blythe of the Abbey Theater—and she continued to work on the play after that. Below is an excerpt from an undated letter she wrote to a friend and fellow writer, Florence Hackett.
In March, 1942 an item appeared in the Irish Times reporting that “Miss Teresa
l e f t : Program cover of the Abbey
Theater -- the original series -featuring original woodcut design of Queen Maeve by Elinor Mary Monsell.
Deevy, one of the most remarkable playwrights of Ireland, has completed a new play which, under the title WIFE TO JAMES WHELAN will be produced by the Abbey Theater.”3 Deevy had indeed completed the play: “I felt the play was continued
THE REJECTION OF JAMES WHELAN
For ages now a play which will neither get finished or left alone has held me back. I don’t know what length of time I’ve wasted on it (if it is waste) and I still love the thing and long to finish it…Last week it was (I thought) almost finished: and then I read it over and discovered it was hopeless, had gone flat. I decided to put the thing away and turn to something else. I felt desperate. No sooner do I try to concentrate on some new subject than I fancy I can just work out the old one.2
a b o v e : Outside the Abbey Theater of Dublin, 1913. Photo by the Keogh Bros.
good and felt confident of it,4” she told Hackett. But apparently the Abbey had no intention of producing it. Ernest Blythe, the Abbey’s managing director sent the play back, effectively ending the most important professional relationship of Deevy’s life. Blythe’s letter when returning it showed clearly that he had no use for my work– never asked to see any more. Said the characters are too like “Katie Roche”. No one else could see this resemblance. Some of the actors, Cyril Cusack for one, protested to Blythe, and when he spoke of the likeness to “Katie Roche” they could not see that. The subject matter is quite different. I suppose every play by an author has a certain resemblance – the author’s viewpoint, but that is all. However I must just make an opening elsewhere, and it may be a good thing to be finished with the Abbey. Yet I love the Abbey and the actors are fine.5
THE REJECTION OF JAMES WHELAN
The Abbey was rife with controversy in the early 1940’s; Blythe came into power at this time and instituted a number of unpopular policy changes. There was great discontent amongst the players, and complaints were aired in a volley of letters to the Irish Times. In 1944 two letters, one by Gerard Healy and another by Liam Redmond (both Abbey actors and playwrights) included mention of the recent rejection of Deevy’s play as evidence that “the Abbey Theatre is in real danger.6” Redmond wrote: When you consider the number of plays, neither good nor popular, which have been put on in the past two years, it is exasperating to think that a play by Teresa Deevy was rejected only a short time ago. It seems obvious that there is no leadership in the Abbey Theatre at the present moment.7
In November 1944, Redmond and Healy, along with Ria Mooney, Cyril Cusack and others, broke ranks and formed their own company: The Players Theater. The New York Times reported that “A secession movement has broken out in the ranks of
Dublin’s Abbey Theater, the repercussions of which threaten to undermine that famous group.8” As it happens, Mooney and Cusack each had their own association with Deevy. Mooney was in “Temporal Powers” and “The Wild Goose” and both created roles in “The King of Spain’s Daughter” and “Katie Roche”. Deevy held out hope that The Players Theater might produce her work: “They are doing their own plays first, and why not? If we all started theatres we would all do our own plays–at least I would put mine on. Meantime I am sending my “rejected Abbey” one, hoping they may like it. I have been working hard, re-writing it.9”
The Players Theater did indeed like it—they awarded it a prize of £50 in the summer of 1945 (under the title of “All on a Sunny Day”10) but the company never produced again. “Short-lived but brilliant11” is how they were referred to in 1946. An abbreviated version of the play debuted on Radio Éireann in 1946—but it took another ten years before the play was finally staged in Dublin in a well-received production at the Studio Theatre Cub; under the leadership of D. Bannard Cogley, one the founding directors of the Gate Theatre. “This partnership between two women who have done so much for Irish Theatre in their different ways makes for a unique as well as sentimental occasion,” the Irish Times commented on the eve of the play’s premiere, October 4th, 1956. The play was described as Deevy’s “newest full-length play.” 1. Undated letter from T. Deevy to Florence Hackett, quoted by Frank McEvoy in “Teresa Deevy: Her Plays”, Kilkenny Literary Society, March 25, 1966 2. Ibid. 3. “Four Corner Survey” The Irish Times, March 14, 1942. 4. McEvoy, 1966. 5. Ibid. 6. Liam Redmond, Letter to the Editors, The Irish Times, August 8, 1944. 7. Ibid. 8. The New York Times, “News and Gossip Gathered Along the Rialto”, December 24, 1944. 9. McEvoy, 1966. 10. The Irish Times, July 21, 1945. 11. Munster Express, Nov. 22, 1946.
a n o t e f ro m t h e a r t i s t i c d i r e c t o r I went to Ireland recently to do some firsthand research on Teresa Deevy. At left is a picture of me with Jacqui Deevy in front of “Landscape”, the family home in Waterford. Tessa, as she was always known by family and friends, grew up in this house which was already one-hundred years old when her father bought it in 1881. Jacqui’s parents, Tessa’s nephew Jack and his wife Noeleen, moved into the house in the 1970’s and Jacqui and her two brothers grew up here (brother Bill took the photo). Noeleen still lives at Landscape and was a most gracious host, always ready with coffee and biscuits—not to mention lunch and dinner—as Jacqui and I went through the contents of two suitcases (stored under a bed) spread out over the dining room table. I returned to New York with copies of about fifteen plays of various lengths, none published, some never produced. I look forward to sharing some of this material with you over the next year as part of our groundbreaking “Teresa Deevy Project”—the most ambitious venture we’ve ever undertaken. - Jonathan
(From top) Jacqui Deevy and Mint Artistic Director Jonathan Bank at the Deevy home in Waterford. Below, The home roughly one hundred years earlier.
• • • • • • •
Productions of two full-length plays: Wife to James Whelan and Temporal Powers Video-recording of both productions Readings of several one-act plays, beginning with King of Spain’s Daughter Possibly touring to Ireland, and/or partnering with an Irish producing organization Creating new audio recordings of plays originally written for the radio Editing and publishing Deevy’s “Collected Works” Collaborating with N.Y.U and Fordham U. to hold a one-day Deevy Conference
A NOTE FROM THE ARTISTIC DIRECTOR
Our ambitious plans for this special writer include:
w i f e t o ja m e s w h e l a n b i o g r a p h i e s ROSIE BENTON (Kate Moran) Broadway: Les Liaisons Dangereuses (Roundabout Theatre), Accent on Youth (MTC). OffBroadway: Saturn Returns (Lincoln Center Theatre), Howard Katz (Roundabout). Regional: Dissonance (Bay Street Theatre), Stick Fly (Arena Stage, Huntington Theatre), Spike Heels (Syracuse Stage), The Night Season (Bay Street Theatre), Betrayal (Hangar Theatre). B.F.A. from Syracuse University, M.F.A. from NYU Graduate Acting.
JON FLETCHER (Apollo Moran) is thrilled to be working with the Mint Theater Company. Off-Broadway: Child’s Christmas in Wales (Irish Rep), NYC: Lance Horne’s The Strip, Broadway’s Rising Stars (Dir. Emily Skinner). Regional: The Who’s Tommy (w/Julia Murney). Various UK Regional productions Including Funny thing happened…Forum, West Side Story, Stags and Hens, Tales from Ovid, Romeo and Juliet, Grimm Tales. Would like to thank Kasey, Greg, Lori, and his family for their continual support.
JANIE BROOKSHIRE (Nan Bowers) Mint Debut. Broadway: The Philanthropist (dir. David Grindley). Other New York Theatre Credits include: Gilgamesh’s Game at Workshop New Georges (dir. Davis McCallum), Drums in the Night at Columbia U. School of the Arts, and Every Other Inch a Liar at the Samuel French Festival. At PlayMakers Repertory Company: Romeo and Juliet (Juliet, dir. Davis McCallum), Amadeus (Constanze, dir. Joe Haj), Doubt (Sister James, dir. Drew Barr), Crimes of the Heart (Meg, dir. John Feltch), The Front Page (dir. Gene Saks). Film: Filmic Achievement. TV: “The Good Wife”, “Dawson’s Creek”, “Law & Order”. MFA from the Professional Actor Training Program, UNC Chapel Hill.
JEREMY S. HOLM (Bill McGafferty) is delighted to be working at the Mint. Most recently he played the title role in Oedipus the King at the Clarence Brown Theatre where he also played Vronsky in Anna Karenina. His Regional credits also include: Biff in Death Of A Salesman at Arena Stage, John Proctor in The Crucible at The Capital Repertory; Slim in Of Mice and Men at The Cleveland Playhouse; Anna Christie at The Milwaukee Repertory Theatre; Owen Musser in The Foreigner at The Pioneer Theatre Company; Milo in Sleuth at The Hangar Theatre; and, Jason in Medea at The Chamber Theatre; Marc Antony at The Colorado Shakespeare Festival. He also created the role Joe Don in the world premier of Jane Martins’ Somebody/Nobody. His television credits include “Law and Order”, “As The World Turns” (CBS), “Guiding Light”, “All My Children”, “What Would You Do?” (ABC), and “Dateline NBC”. He and his wife Dawn Wagner are expecting a daughter in November!
SHAWN FAGAN (James Whelan) is thrilled to be working with the Mint for the first time. Other New York credits include Peninsula (Soho Rep); Dearest Eugenia Haggis, Freakshow (Clubbed Thumb); Milk ‘n’ Honey, Ajax: 100% Fun (LightBox); Apparition (understudy, Connelly Theatre); and Cats Talk Back (FringeNYC). Regional credits include Christy in The Playboy of the Western World (Pennsylvania Shakespeare Festival); Hugh in The Voysey Inheritance (Denver Center); Acaste in The Misanthrope (Dallas Theatre Center); Mercutio in Romeo & Juliet, Hamlet in Wittenberg (Arden Theatre Company); Marchbanks in Candida, Edgar in King Lear (Utah Shakespearean Festival); Intimations for Saxophone (Arena Stage, dir. Anne Bogart); The War of the Worlds/ Radio Play (SITI Company, U.S. Tour); and two seasons with American Players Theatre. For RAB.
THOMAS MATTHEW KELLEY (Jack McClinsey) Off-Broadway: Dust (Westside Theatre), Phenomenon (HERE Arts Center), Dog Sees God (The Red Door Theatre). Regional: Cardenio, Julius Caesar, and Donnie Darko (American Repertory Theatre); Pride and Prejudice, As You Like It, and Christmas Carol (Actors Theatre of Louisville). Film: The Strangest Bullet in my Skull (AlphaSixty Productions). MFA: A.R.T./MXAT Institute for Advanced Theatre Training at Harvard University. AIDAN REDMOND (Tom Carey) is delighted to be making his Mint debut. Previous New
York engagements include – Sive, The Yeats Project (Irish Repertory Theatre), Blood Guilty (The Bronx Co./Whole In The Wall), Anna Christie (Boomerang), Dirty Works, The Pitchfork Disney (Stiff Upper Lip), IRELAND - Hamlet (Praxis), Julius Caesar (Rattlebag), A Midsummer Night’s Dream (Public Shakespeare) Film - I Sell The Dead, Daylight. Upcoming - Palominas, ’79 Parts, The Hard Ride. Training - Lee Strasberg Theater Institute (New York), Central School of Speech and Drama (London), Samuel Beckett Centre, Trinity College Dublin LIV ROOTH (Nora Keane) Broadway: Is He Dead? Off-Broadway: Jane Eyre and Love, Shakespeare (The Acting Company); Women Beware Women (Red Bull Theater): A Doll’s House (Studio Tisch); Chuck Mee’s A Perfect Wedding (NY Premiere, NYU Grad Acting); The Obstruction Plays (Slant Theater Project); Still Life (Abingdon). Regional: Boeing-Boeing (The Old Globe); Noises Off (Hartford Stage); Surf Report (La Jolla Playhouse); Pride and Prejudice (Geva Theater); Much Ado About Nothing (Pennsylvania Shakespeare Festival). TV/ Film: “The Good Wife”; “The Wrong Girl”; ichannel. MFA, NYU Graduate Acting (Marcia Gay Harden Scholarship). BA, Dartmouth College.
VICKI R. DAVIS (Set Design) Previous productions at the Mint include 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. She most recently designed the set and costumes for Winter Wonderettes at Laguna Playhouse and scenery for Burning Coal’s double bill, Gee’s Bend and South Eastern Center for Contemporary Art. 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 theater and opera: Arena Stage, The Alliance, Milwaukee Repertory Theater, Dallas Theater Center, 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, Miniature Theater of Chester, and Music Theater North. Ms. Davis received a TCG/ NEA Design Fellowship and is a member of United Scenic Artists Local 829. In addition to her freelance work she teaches Scenic and Costume design at The University of North Carolina School of the Arts. MARTHA HALLY (Costume Design) The Mint: Is Life Worth Living?, The Widowing of Mrs. Holroyd. Off-Broadway: Secret Order (59E59); The Late Christopher Bean,
JONATHAN BANK (Director/Artistic Director) has been the artistic director of the 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 Maurine Dallas Watkins’ So Help Me God! at the Lucille Lortel. Also, Lennox Robinson’s Is Life Worth Living?, Ernest Hemingway’s The Fifth Column in its premiere production, Return of the Prodigal by St. John Hankin (2008 Drama Desk nom., Outstanding Revival of a Play) and before that, Susan and God by Rachel Crothers. Bank both adapted and directed Arthur Schnitzler’s Far and Wide and The Lonely Way which he also 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 which includes his adaptations of Thomas Wolfe’s Welcome to Our City and Edith Wharton’s The House of Mirth, both of which he directed, along with five other Mint rediscoveries. Other directing credits include critically acclaimed productions of Ivanov and Othello for the National Asian American Theater Company, John Brown’s Body, The Double Bass and Three Days of Rain for the Miniature Theater of Chester and The Heiress, Hobson’s Choice, Candida and Mr. Pim Passes By for the Peterborough Players. He earned his M.F.A. from Case Western Reserve University in his hometown of Cleveland, OH.
w i f e t o ja m e s w h e l a n b i o g r a p h i e s Bedroom Farce (TACT); Treason (Perry Street Theater); Sive, Gaslight, Defender of the Faith, The Field (Irish Repertory Theater). Regional: Milwaukee Repertory Theater, CenterStage, Cincinnati Playhouse in the Park, Repertory Theater of St. Louis, Pittsburgh Public Theater, Dallas Theater Center, Alley Theatre, Portland Stage, Merrimack Repertory Theater, Williamstown Theater Festival. Opera: Chicago Opera Theater, Virginia Opera, Little Orchestra Society of Lincoln Center, Center For Contemporary Opera, Manhattan School of Music.
NICOLE PEARCE (Lighting Design) Selected NY credits include: The American Dream & The Sandbox directed by Edward Albee, The Lady with All the Answers & Housebreaking (The Cherry Lane); Beebo Brinker Chronicles directed by Leigh Silverman (37Arts); US Drag directed by Trip Cullman; Little Doc, Lady, & The Amish Project (Rattlestick); SPIN, & Vengeance (Stagefarm); Savage Love directed by Pam MacKinnon (The Juilliard School) Penalties & Interests (LABrynth Theatre Company); Expats, Strangers Knocking (The New Group); Fresh Play Festival (MCC Theatre); Betrothed (Ripetime Productions); Sakhram Binder (The Play Company); Trial by Water (Ma-Yi Theatre Company); Little Willy (Rude Mechanicals); Mémoire; Wet, Mimesophobia (SPF). Regionally: Sugar Syndrome; A Nervous Smile and Blithe Spirit directed by Maria Mileaf (Williamstown Theatre Festival). Dance with choreographers Mark Morris, Doug Varone, Aszure Barton, Robert Battle, Jessica Lang, Andrea Millerr, Fabien Priovelle, Larry Keigwin, Matthew Neenan, David Partker, Adam Hougland, Nicolo Fonte, Hinton Battle, and Christopher Huggins; The Joffrey Ballet, Ballet Memphis & Ballet Theatre of Maryland. JANE SHAW (Sound Design) Mint productions include: Dr. Knock, Is Life Worth Living?, The Widowing of Mrs. Holroyd (Lortel Nomination), Susan and God, Return of the Prodigal, Lonely Way. Recently: The Blonde, The Brunette and the Vengeful Redhead (City Theatre), Subject was
Roses (The Pearl), Measure for Measure (Theater for a New Audience), Wind Up Bird Chronicles (the Ohio), and The Pavilion (Dorset Theater Festival). Past favorites include Austin Pendleton’s production of Tennessee Williams’ Vieux Carré, Jonathan Bank’s Fifth Column by Hemingway (Mint), F. Murray Abraham’s Merchant of Venice, David Esbjornson’s Hamlet with Christian Camargo, and Olympia Dukakis’ The Other Side of the Island. Her designs have been heard at BAM’s Next Wave Festival, Biennale Bonn, NewYork Theater Workshop, Ripe Time, Urban Stages, an assortment of theaters in France, and the RSC. Graduate of the Yale School of Drama, Recipient of the NEA/TCG Career Development Program and Meet the Composer, and Member USA 829. DEBORAH GAOUETTE (Properties Design) Wife To James Whelan marks Deb’s 6th production with the Mint Theater having propped their past productions of The Glass Cage, Widowing of Mrs. Holroyd, Is Life Worth Living?, So Help Me God! and Dr. Knock. Her other credits include: props coordinator for 42nd Street and Cabaret at the Trump Plaza Casino in Atlantic City, the tours of Evita, South Pacific, The Sound of Music and Crazy for You for Troika Entertainment. Off-Broadway: Sakarhem Binder for The Play Company, Going to St. Ives, String of Pearls and Sabina for Primary Stages and numerous workshops around the city. When not working on shows Deb can be found fabricating props at The Spoon Group and teaching yoga. SAMONE B. WEISSMAN (Production Stage Manager) Previous Mint productions: So Help Me God!, Is Life Worth Living?, The Lonely Way, Mr. Pim Passes By, The Truth About Blayds and The Daughter-In-Law. Other Off-Broadway productions include: This Side of Paradise (Culture Project), American Jornalero (Working Theatre), The Temperamentals (ManUnderground at TBG), Indiscretions (Phoenix Theatre Ensemble) Sounding (HERE CultureMart), Something You Did, Exits & Entrances (Primary Stages & Edinburgh Fringe Fest ‘07), In The Continuum (Primary Stages/Perry
Street Theatre, Domestic & African tours), Widows (Reverie Productions/59E59), Crime & Punishment (Writers Theatre/59E59), Savages (Lion Theatre), Captain Louie (York Theatre), Self Torture & Strenuous Exercise, The Dadshuttle and Not Enough Oxygen (Drama League DirectorFests 2002-2004), The Shoebox of Ebbets Field and Out of Sterno (Cherry Lane Alternative), Bold Girls (Women’s Expressive Theatre), Hamlet (American Globe Theatre). Regionally, Samone has worked at the Red House Arts Center, Chester Theatre Company, Curious Theatre, Emelin Theatre, Cincinnati Playhouse, CTG/Kirk Douglas, The Guthrie, and the Goodman Theatre. She has been a proud member of AEA since 2001. LAUREN MCARTHUR (Assistant Stage Manager) is thrilled to be working with the Mint again! Previous Mint productions include: So Help Me God! and Is Life Worth Living? Other NYC credits: This Side of Paradise (Culture Project); Life in a Marital Institution (59E59 & 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). Film: Production Designer - ‘’Wunderkind’ (Dir: Lauren Rosen). She would like to thank her parents for their love and continued support. Proud member of AEA. Karle J. Meyers (Assistant Costume Designer/Wardrobe Supervisor) Design: Our Time Stutter; Wardrobe/Wigs Sup: Doctor Knock (Mint), Measure for Measure (TFANA), Wind-Up Bird Chronicles (Ohio), Plagued (NYMF) Drapers’ Assistant: (Broadway) Mary Poppins, Coram Boy, 9 to 5, Legally Blonde, Drowsy Chaperone. Thank you Mint Theater & Love to Harlan!
DAVID GERSTEN & ASSOCIATES (Press Representatives) also represents the OffBroadway hits The Awesome ‘80s Prom, Black Angels Over Tuskegee, Girl’s Night the Musical, My Big Gay Italian Wedding, Naked Boys Singing, and Zero Hour as well as Electric Pear, INTAR, New World Stages, Red Bull Theater, Stage Entertainment US, and upcoming, the Broadway revivals of Godspell and A Few Good Men. David serves on the Board of Governors of ATPAM, The Association of Theatrical Press Agents & Managers. www.davidgersten.com STUART HOWARD, AMY SCHECTER & PAUL HARDT (Casting) have cast hundreds of shows over the past 25 years. Currently represented on Broadway by Come Fly Away, and West Side Story. Happily casting for The Mint since 2004.
SHERRI KOTIMSKY (General Manager) Produced for Naked Angels: Meshugah, Tape, Shyster, Omnium Gatherum, Fear: The Issues Project and several seasons of workshops and readings. As Naked Angels Managing Director, Hesh and Snakebit. Produced Only the End of the World and Blood Orange. For two years Theatre Manager for the Michael Schimmel Center for the Arts at Pace University, home to National Actors Theatre, Tribeca Film and Theatre Festivals, River to River Festival and the Carol Tambor Awards 2005 productions, amongst many others. Currently working with several theater companies as business consultant, including Theater Breaking through Barriers and Premieres.
AMY STOLLER (Dialects & Dramaturgy) has been resident dialect designer/coach (and occasional dramaturge) at the Mint since 1997. Last season she did the dialect design for Is Life Worth Living? and her many other Mint credits include The Widowing of Mrs. Holroyd, 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
work with the Pearl, Keen, Boomerang, and Urban Stages, among many others. Regional work includes three world premieres at the Long Wharf, plus productions at A.R.T. and Peterborough Players. Television credits include coaching Justin Bartha as Austrian Jack Werner in “WW II HD”, Nickelodeon’s “Dora the Explorer” and “Go, Diego, Go!”, and the speaking debut of “Mr. Six” in the Six Flags commercials. Amy is Associate Editor for NYC at International Dialects of English Archive, and an officer of the Voice and Speech Trainers Association. For more information, please visit www.stollersystem. com or the Stoller System Facebook page.
a b o u t t h e m i n t t h e at e r c o m pa n y 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 2001-2002 RUTHERFORD AND SON By Githa Sowerby NO TIME FOR COMEDY By S.N. Behrman
about the mint
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.
IS LIFE WORTH LIVING? BY LennoX Robinson SO HELP ME GOD! BY MAUrine DAllAs WAtKins DOCTOR KNOCK BY JUles RomAins THE GLASS CAGE BY J.B. PriestleY THE WIDOWING OF MRS. HOLROYD BY D.H. LAwrence THE POWER OF DARKNESS BY Leo TolstoY THE FIFTH COLUMN BY Ernest HemingwAY JOHN FERGUSON BY St. John Ervine THE MADRAS HOUSE BY HArleY GrAnville BArKer RETURN OF THE PRODIGAL BY St. John HAnKin WALKING DOWN BROADWAY BY DAwn Powell SOLDIER’S WIFE BY Rose FrAnKen SUSAN AND GOD BY RAchel Crothers THE LONELY WAY BY ArthUr SchnitZler THE SKIN GAME BY John GAlsworthY MILNE AT THE MINT Two PlAYs bY A.A. Milne ECHOES OF THE WAR BY J.M. BArrie THE CHARITY THAT BEGAN AT HOME BY St. John HAnKin FAR AND WIDE BY ArthUr SchnitZler THE DAUGHTER-IN-LAW BY D.H. LAwrence RUTHERFORD AND SON BY GithA SowerbY NO TIME FOR COMEDY BY S.N. BehrmAn 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 THE VOYSEY INHERITANCE BY HArleY GrAnville BArKer ALISON’S HOUSE BY SUsAn GlAspell MISS LULU BETT BY ZonA GAle 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 IS LIFE WORTH LIVING? BY LennoX Robinson SO HELP ME GOD! BY MAUrine DAllAs WAtKins DOCTOR KNOCK BY JUles RomAins THE GLASS CAGE BY J.B. PriestleY THE WIDOWING OF MRS. HOLROYD BY D.H. LAwrence THE POWER OF DARKNESS BY Leo TolstoY THE FIFTH COLUMN BY Ernest JOHN WouldHemingwAY you like to take your FERGUSON support BY of St. THE MADRAS the John Mint to Ervine the next level by joining HOUSE BY HArleY GrAnville BArKer next our board of trustees? Over the RETURN OF THE PRODIGAL BY St. John few months we’ll be talking with HAnKin WALKING DOWN BROADWAY BY interested individuals who know and DAwn Powell SOLDIER’S WIFE BY Rose appreciate our work and are willing FrAnKen SUSAN AND GOD BY RAchel to use their contacts WAY and BY resources Crothers THE LONELY ArthUr to help theTHE MintSKIN grow GAME and prosper. SchnitZler BY John Contact Jonathan at 212-315GAlsworthY MILNEBank AT THE MINT Two PlAYs bY or A.A. Milne ECHOES OF to THE 9434 email@example.com WARexpress BY J.M.your BArrie THE CHARITY THAT interest. BEGAN AT HOME BY St. John HAnKin
To make a donation, call (212) 315-0231 Mint Theater looks t o t h e PAST f o r great neglected plays a n d p l a y w r i g h t s . Yo u can help to ensure o u r F UTURE b y including the Mint in your estate planning.
Crème de Mint $10,000 and above
• Invitation for two to join the Artistic Director for lunch • Invitation to a rehearsal • Plus all of the benefits listed below
• Two tickets to two special dinner/reading events • Invitation for two to an opening night and cast party • A script from one Mint production autographed by the cast and director • Plus all of the benefits listed below
• Two tickets to each of the year’s productions • A poster from one of the year’s productions • Acknowledgement in Mint Theater newsletters • Plus all of the benefits listed below
• Two tickets to one special Mint play reading • Invitation for two to a pre-performance discussion with the Artistic Director • A Mint Theater publication, signed by the Artistic Director • Opportunity to purchase “house seats” • Plus all of the benefits listed below
(First Priority Club)
• Acknowledgement in every Mint program • Invitations to all special events and readings • Advance notice of all Mint productions • Subscription to Mint’s First Priority Club Newsletter
The following generous Individuals, Foundations, and Corporations support the Mint Theater, and we honor their contributions: CrĂ¨me de Mint: $10,000 and above
Carnegie Corporation of New York The Gladys Krieble Delmas Foundation The Jean & Louis Dreyfus Foundation Florence Gould Foundation The Fan Fox & Leslie R Samuels Foundation Mr. & Mrs. Ciro Gamboni Gardner Grout Foundation JBO Holding Co. The Little Family Foundation 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 anonymous
SilverMint: $5,000 to $9,999
Axe-Houghton Foundation Virginia Brody Barbara Bell Cumming Foundation Lori & Edward Forstein Lucille Lortel Foundation The Harold & Mimi Steinberg Charitable Trust Michael Tuch Foundation
ChocolateMint: $1,500 - $4,999
Jonathan Bank Lea & Malvin Bank Robert Brenner Linda Calandra Jon Clark Jeffrey Compton & Norma Ellen Foote William Downey Ruth Friendly The Gramercy Park Foundation Janet & John Harrington The Heidtke Foundation Carol & Patrick Hemingway Dorothy Loudon Foundation Executive Director, Lionel Larner New York City Council for the Humanities The New York Times Company Foundation Fund for Mid-size Theaters, a project of A.R.T./New York Pfizer Foundation Wallace Schroeder David Schwartz Foundation The Dorothy Strelsin Foundation Sukenik Family Foundation Kathryn Swintek Litsa Tsitsera Steven Williford
SpearMint: $600 - $1,499
Lisa Ackerman Maria & Harvey Arnett Richard Barnes & Marta Gross Julia Beardwood & Jonathan Willens
Jeffrey Bernstein & Cathy Lanyard Sharon M. Chantilles & Kevin Wertz Fine Family Foundation Edmee & Nicholas Firth Eva & Norman Fleischer The Friars Foundation Agnes & Emilio Gautier The Gordon Foundation Virginia Gray Arthur Grayzel, MD & Claire Leiberwitz Hickrill Foundation IBM Foundation Linda Irenegreene & Martin Kesselman Jacqueline & James Johnson Joseph Family Charitable Trust Christopher Joy & Cathy Velenchik Peter Haring Judd Fund Bruno Kavanagh Dr. Albert Leizman Edith Meiser Foundation Joseph Morello The New York Times Company Foundation Joe Regan, Jr. Eleanor Reissa & Roman Dworecki Danielle & Dylan Roberts Susan Scott Harriet Seiler Rob Sinacore Alissa Sklaver State of New York â€“ Office of Parks, Recreation and Historic Preservation David Stenn Suzanne & Jon Stout * Katherine & Dennis Swanson M. Elisabeth Swerz Bertram Teich Jill Tran anonymous
DoubleMint (First Priority Club)
Actors Equity Foundation Judith Aisen & Kenneth Vittor Shihong & Peter Alden * Louis Alexander Linda Alster Laura Altschuler Marc Anello Carmen Anthony Louise Arias Barbara Austin Earl Bailey Bank of America Judith Barlow Deborah Berke & Peter D McCann, MD Barbara Berliner & Sol Rymer Elizabeth Bicknell Evelyn Bishop Joann & Eugene Bissell David M. Blank Steven Blier Michaela Bober
Margaret Goodman Joyce Gordon & Paul Lubetkin Mary & Gordon Gould Arthur Grayzel, MD & Claire Lieberwitz Harry Greenwald & Babette Krolik Greenwich House Senior Center Marty & Eleanor Gruber Antonia & George Grumbach Guild Family Foundation The Rodgers Family Foundation/Mary R. Guettel Amy & Ronald Guttman Gunilla Haac Lanie Hadden Julia B. Hall Joseph Hardy Laura T. & David Harris George Hatch Carol Hekimian Reily Hendrickson Sara Hermann Sigrid Hess Barbara Hill Dorothy & Edward Hoffner Madelaine & Milton Horowitz Cathy Hull & Neil Janovic Elizabeth Ellis Hurwitt Anna Iacucci Camille Infranco & Edwin Partikian Harriet Inselbuch Dana Ivey Jocelyn Jacknis Ellie Jacob Cerise Jacobs Johnson & Johnson Ellen & Peter Jakobson Edith Jones Michael Jones Roberta A. Jones Lois Kahan Jane Kapsales Audrey Katz Anne Kaufman Joan Kedziora, MD. Laurie Kennedy & Keith Mano Georgianne Enisign Kent Roberta & Gerald Kiel Kaori Kitao Robert & Carol Kleckner Caral G. Klein Dr. Elizabeth & Rabbi William Kloner Paul Knieriemen Susanna Kochan-Lorch & Steven Lorch Anna Kramarsky Karl Kroeber Mildred G. Kuner Carmel Kuperman George LaBalme George LaForest Mary & David Lambert Lee & Richard Laster Gene Laughorne Kent Lawson & Carol Tambor
Rose-Marie Boller & Webb Turner Jeffrey S. Borer Dorothy Borg Lori & Rick Borman Dick Brukenfeld E. R. Buultjens Ann Butera Peter Cameron Charles Carberry & Kathleen Dunne Richard Carroll Andrew H. Chapman Lynne Charnay Robin Chase Tina Chen Stephen & Elena Chopek Steven R. Coe Penny & Peter Costigan Susan & George Crow Mimi Dalva * Stuart Davidson Ruth & Anthony DeMarco GH Denniston & Christine Thomas Pat DeRousie-Webb & Robb Webb Katherine & Bernard Dick Ruth & Robert Diefenbach Cory & Bob Donnally Charitable Fund Susan A. And Robert N. Downey M. Burton Drexler Mina & Martin Ellenberg Marjorie Ellenbogen Monte Engler & Joan Mannion Sara & Fred Epstein Grace & Don Eremin Judith Eschweiler H. Read Evans Rhetta & Max Felton Exxonmobil Foundation Angela T. Fiore Barbara Fleischman Martha Fleischman Charles Flowers Barbara Fogel Edward Forstein Donald Fowle & Lionel Lorona Diana & Jeffrey Frank Joan & Edward Franklin Burry Fredrik Monroe Freedman Dr. H. Paul & Delores Gabriel Mary Ann & John Garland Phyllis Gelfman Nomi Ghez Foundation James C. Giblin Joann & Howard Girsh Suellen & David Globus Ruth Golbin Lila Teich Gold Joyce Golden Gloria Goldenberg Jane & Charles Goldman Goldman, Sachs, & Co Matching Gift Progam Samuel Gonzalez
Margaret & Gordon Leavitt Gloria & Ira Leeds Jane & Eliot Leibowitz Laura & Rodney Leinberger Barbara & Herbert Levy Carol & Stanley Levy Diane & Joel Lipset Audrey & Joseph Lombardi Ruth Lord Paul Lubetkin Estelle Lynch Judith Mahler Mary Rose Main Vivian & John Majeski Miriam Malach Joan Mannion Marcia & Robert Marafioti Barry Margolius Jacqueline Maskey Margaret Mautner George Mayer Betsy McKenny Martin Meisel Richard Mellor, Jr. Merrill Lynch & Co. Foundation John David Metcalfe Leila & Ivan Metzger Radley Metzger Eleanor S Meyerhoff Bernard and Lusia Milch Susan & Joel Mindel Ellen Mittenthal Judith & Allan Mohl Elaine & Richard Montag Virginia & Robert Montgomery Doreen & Larry Morales George Morfogen Frank Morra Elaine & Ronald Morris D. S. Moynihan Carole & Theodore Mucha Tim Mulligan Karol Murov Jean and BW Nimkin Tim Nolan Dorinda J. Oliver Stephanie Olmsted Dottie & Richard Oswald Gwen & Bruce Pasquale Alice & Frederick G. Perkins Gillis & Leonard Plaine Jeanine Parisier Plottel Sheila & Irwin Polishook Georgette & David Preston Susan & Peter Ralston Henry Reilly Clayton Reynolds Allen Lewis Rickman George Robb Phyllis & Earl S. Roberts Peter Robbins & Paige Sargisson Renee & Seymour Rogoff Sylvia Rosen
Barbara Rosenthal Mark Rossier Donna Rubens James Russell Judy & Sirgay Sanger Catherine Scallier Nan Schubel Michael Schussler Herbert Schlesinger Marilyn & Joseph Schwartz Phyllis Schwartz Earlyne S. & William Seaver Barbara & Donald Shack Carole M. Shaffer-Koros & Robert M. Koros Camille & Richard Sheely Virginia Shields & Audrey Eisman The Martin E. Segal Revocable Trust Jeanne Sigler Kayla J. & Martin Y. Silberberg Silicon Valley Community Foundation Marion & Leonard Simon Rayna & Martin Skolnik Lily N. Smith Barbara & Stanley Solomon Dr. Norman Solomon Caroline Sorokoff & Peter Stearn Linda & Jerry Spitzer Stagedoor George Steel & Sarah Fels Lee Steelman Sherry & Bob Steinberg Frances Sternhagen Ilene Stone Elaine & Ulrich Strauss Stella Strazdas & Hank Forrest Pamela Stubing Joseph Sturkey Larry E. Sullivan Mary Swartz Gregory F. Tague Douglas Tarr Annie Thomas & David H. Kirkwood Thomson Tax & Accounting Susan & Charles Tribbitt Joan & Bob Volin Jerry Wade Edith & Gordon Wallace Stratton Walling John Walsh Lillian & Saul Wechter George Weeks Richard Weisman Lillian & Robert Williams Marsha & Vincent Williams Ralph M. Wynn, MD John Yarmick Kenneth Zarecor Sue & Burton Zwick anonymous * in-kind donation This list represents donations made from January 2009 through July 2010. Every effort is made to insure its accuracy. Please contact us regarding any mistakes.
w i f e t o ja m e s w h e l a n s ta f f Assistant Production Manager Fight Direction Wardrobe Supervisor Board Operator Assistant to Lighting Designer Programmer/Assistant to Lighting Designer Master Electrician Sound Engineer Master Carpenter Carpenters Scenic Charge Scenic Artist Production Interns
Wayne Yeager Alexandra Hastings, En Garde Entertainment Karle J. Meyers Michael Watkins Kate Ashton Kia Rogers Douglas Filomena Mark Parenti Carlo Adinolfi Chad Yarborough, Dennis Oâ€™Leary-Gullo, Jackie McCarthy Julia Hahn-Gallego Courtney Abbott Aidan Lukomnik, Treneil Walker, Leslie Mejia, Jasmine Mejia
Lighting installed by the Lighting Syndicate. t h e p ro d u c e r s wo u l d l i k e t o t h a n k t h e f o l l ow i n g :
tdf Costume Collection, and Milwaukee Repertory Theater. 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.
Actorâ€™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 Jonathan Bank Sherri Kotimsky Sherri Kronfeld Heather J. Violanti Adrienne Scott Ellen Mittenthal
Artistic Director General Manager Marketing Associate Development Associate / Dramaturg Box Office Manager Development Consultant
BOARD OF TRUSTEES Jonathan Bank Linda Calandra Jon Clark 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