What the Public Wants Program

artistic director

jonathan bank

general manager

by Arnold Bennett

sherri kotimsky

Directed by

Matthew Arbour

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

what the public wants by arnold

bennett

with

Ellen Adair, Mary Baird, Rob Breckenridge, Birgit Huppuch, Laurie Kennedy, Jeremy Lawrence, Douglas Rees, Marc Vietor set design

costume design

lighting design

Roger Hanna

Erin Murphy

Marcus Doshi

sound design

properties design

Daniel Kluger

Deb Gaouette

production stage manager

& wig design Gerard Kelly

hair

assistant stage manager

Kathy Snyder

Lauren McArthur

production manager

Sherri Kotimsky press representative

David Gersten & Associates

illustration

Stefano Imbert

graphics

Jude Dvorak

casting

Stuart Howard, Amy Schecter & Paul Hardt directed by

Matthew Arbour openi n g night Jan uary 2 7 th 2 0 11

What the Public Wants 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 h at t h e p u b l i c w a n t s c a s t Act 1 – Private office of Sir Charles Worgan, a November afternoon.

Sir Charles Worgan, newspaper proprietor..................................Rob Breckenridge Francis Worgan, his brother………….........................................Marc Vietor Saul Kendrick, manager of Worgans LTD...................................Douglas Rees Simon MacQuoid, dramatic critic................................................Jeremy Lawrence Emily Vernon, widow...................................................................Ellen Adair

Ten-minute intermission Act 2 – The same, four months later.

Holt St. John, theatrical manager..................................................Jeremy Lawrence

Henrietta Blackwood, an actress...................................................Birgit Huppuch

Ten-minute intermission Act 3 – Library of John Worgan at Bursley, in the Five Towns, a Sunday evening in July.

John Worgan, Sir Charles elder brother, doctor.............................Douglas Rees

Annie Worgan, John’s wife…………............................................Birgit Huppuch

Mrs. Worgan, mother of the Worgans............................................Laurie Kennedy

Mrs. Downes, a widow………………………………………..…Mary Baird

James Brindley, earthenware manufacturer...................................Jeremy Lawrence

Act 4 – Private office of Sir Charles, a few days later.

Rob Breckenridge

Marc Vietor

Douglas Rees

Jeremy Lawrence

Ellen Adair

Birgit Huppuch

Laurie Kennedy

Mary Baird

w h at t h e p u b l i c w a n t s a r n o l d b e n n e t t

Arnold Bennett

by Heather J. Violanti

In 1929, the Manchester Guardian asked readers to vote for “the novelists who may be read in 2029.” The top five? John Galsworthy, H.G. Wells, Arnold Bennett, Rudyard Kipling, and J.M. Barrie.

Third on the list, Arnold Bennett (18671931) is perhaps the least known today. A novelist, journalist, short story writer and essayist, he was also a playwright. From 1908 to 1927, his plays regularly appeared in the West End and Broadway. In 1913, at the peak of his playwriting fame, 2,700 performances of his plays were given across the world. Even in a “bad year,” Bennett could count on 400 performances somewhere.

Bennett’s origins were far from the footlights. He was born on May 27, 1867 in Hanley, one of the six towns of the Potteries, the center of the English ceramics industry. The bleak northern landscape shaped Bennett’s imagination. Much of his work would center on the region — which Bennett renamed The Five Towns “for purposes of euphony” according to biographer Anita Miller.

“One’s first impression was A.B. was a little disconcerting. Wearing a high collar and a bowler hat slightly askew, his hands in his pockets, he carried his head cocked with what seemed an aggressive air. But soon one discerned much kindness in the eyes and behind the stammer a certain shyness which the aggressive manner was no doubt intended to conceal.“ By day, Bennett clerked in a law office.

By night, he studied French and Russian novelists and wrote short stories. In 1893, he won 20 guineas in a writing contest sponsored by Tit Bits magazine; by 1894 he was assistant editor for Woman. Bennett resented working for a “lady’s paper,” but the post gave him entry into London’s literary world. He was soon writing for several publications. continued

ABOUT THE playwright

Bennett’s family barely made ends meet as his father, Enoch, went from job to job.

Enoch desperately yearned for wealth and status and finally achieved them when he became a solicitor at age 34. By the time Bennett was in his teens, his family lived comfortably, but he never forgot their early struggle. Poverty—and the burning desire to overcome it—would feature prominently in his writing.

Enoch wanted his son to follow in his footsteps, but the law bored Bennett. He failed his law exams—twice. In 1889, Bennett moved to London. His northern accent—and pronounced stammer—made it difficult for him to be accepted. Actor Allan Wade recalled:

w h at t h e p u b l i c w a n t s a r n o l d b e n n e t t continued

In 1898 he published his first novel, A Man from the North, a fictionalized version of his own effort to find fame in London.

It was written over a series of Sundays, Bennett’s only day off from the magazine.

ABOUT THE PLAYwright

A Man from The North established Bennett’s reputation as a novelist. For his vivid, honest portrayal of modern life, The Manchester Guardian deemed him “an uncompromising realist…a master of all the little sordid details.” Eden Phillpotts, a friend of Bennett’s, praised his “freshness of thought and great distinction of style” in the magazine Black and White. Bolstered by such promising reviews, Bennett quit Woman in 1900 and focused on writing full-time. Bennett helped revolutionize the English novel with his complex characters, compassion, and use of multiple, startling perspectives.

Bennett’s novels showed everything from how a baby views the world to an old man struggling with dementia, groundbreaking subjects for the era.

In the late 1890’s, on the advice of friends, Bennett decided to try playwriting. He began with “curtain raisers,” short oneacts that preceded full-length plays, but it was not until he established himself as a novelist that Bennett’s playwriting career blossomed. His first full-length play, Cupid and Commonsense, an adaptation of his 1902 novel Anna of the Five Towns, was produced by The Stage Society in 1908. Reviews were strong, and in 1909, they produced Bennett’s second play, What the Public Wants, based on his own journalistic experience. Reviews were even stronger, and the play transferred to a longer run on the West End.

Bennett often used his fiction as a source for his drama. The Great Adventure (1911), about a wealthy painter who poses as a valet, was based on his 1908 novel Buried Alive. It ran for 673 performances in London and was frequently revived.

Milestones (1911), written in collaboration with American playwright Edward Knoblock, was inspired by The Old Wives’ Tale, Bennett’s novel about three generations of a powerful family. Each act of Milestones takes place in a different decade, a radical device for the time.

Bennett’s playwriting career slowed during the First World War, when he focused his energies elsewhere. He wrote numerous articles in support of England’s entry into the war— leading to an intense debate with George Bernard Shaw— and he toured the Western Front, filing stories from the battlefield. In 1918, he was appointed Director of Propaganda in France for the Ministry of Information.

After the war, Bennett ventured into producing and theatre management. With Nigel Playfair, he helped revitalize the Lyric Theatre, Hammersmith, making it a showplace for witty comedies and sparkling revivals. Bennett crafted the libretto for the Lyric’s 1920 production of The Beggar’s Opera, which ran for three years and 1463 performances. He also wrote screenplays, including an unproduced project for Alfred Hitchcock called Punch and Judy, and Piccadilly (1929), a lurid tale of London nightclubs starring Anna May Wong.

As a playwright, Bennett never recaptured his pre-war success. He came close with one of his last produced plays, Mr. continued

w h at t h e p u b l i c w a n t s a r n o l d b e n n e t t continued

Prohack (1927)—a whimsical comedy about a miserly civil servant who unexpectedly inherits a fortune. The play provided young Charles Laughton with one of his first leading roles. It was on its way to being a hit when a booking conflict at the theatre prevented an extension. The discouraged Bennett wrote his journal “Career as a dramatist closing.”

Still, Bennett was one of the most influential—and wealthiest—writers in Europe. His weekly book reviews in The Evening Standard could make or break an author’s career; his novels were bestsellers. His penchant for detail and realism were attacked by the rising Modernists— most famously Virginia Woolf in her essay “Mr. Bennett and Mrs. Brown”—but in his lifetime, at least, Bennett remained a formidable force.

Throughout his life, Bennett loved to travel and he kept a second home in France. It was in France, while visiting friends Andre Gide and James Joyce, that he contracted typhoid in 1930. His wife, Dorothy Cheston, promptly took him home to London, but Bennett could not overcome the infection. As he lay dying, the streets outside his window were lined with straw to mute the sound of traffic, an old London custom usually reserved for royalty.

Bennett died on March 27, 1931. Tributes came pouring in from all over the world.

The prominent New York critic George Jean Nathan observed: “The news of his death depresses me, for when such an artist dies the world is just a little more desolate than it was before.”

CRISIS IN THE THEATER

This illustration are by James Montgomery Flagg (famous for the “I Want You” recruiting poster for the U.S. Army), from the play’s serial printing in McClure’s Magazine.

c r i s i s i n t h e t h e at e r w h at t h e p u b l i c w a n t s

by Arnold Bennett

In 1908 Arnold Bennett wrote a preface to Cupid and Commonsense, the first of his plays to be produced. Bennett begins by detailing his credentials: For five years I was the dramatic critic for several London papers in turn, and in this capacity I attended nearly every first night from 1895 to 1900. I count several West End theatrical managers and leading actors among my friends, and I have talked at great length with them under circumstances in which they would not be likely to talk as though to an interviewer.

I have written, or collaborated in, about a dozen plays, five of which I have sold to West End managers and received money for, and two of which were commissioned.

None of these plays has ever been performed; my sole representations in a London theatre have owed nothing to the reckless daring of any manager.

CRISIS IN THE THEATER

Below is an excerpt in which he describes how the typical London theatrical manager selects plays.

Every manager will admit that the most important part of theatrical management is the choice of plays. Most managers will tell you that in order to be sure of not missing a good thing they read all plays themselves.

They will insist on the extremity of their eagerness for a good thing. But where a particular play is in question you will hear phrases such as “As soon as I can,” “When I have a moment,” “You must wait a few weeks, I’m so fearfully busy,” “The first free evening I can arrange.” And so on. In a word, they leave the most important part of their business till they can snatch an odd moment for it. At best, it is customarily done at night, after the fatigues of the day.

If one of their troupe were to say, “As soon

as I have half an hour to spare I’ll have a look at my new part,” what would be the response? In nine theatres out of ten the entire rigmarole of reading and selecting plays is merely grotesque – an outrageous defiance of commonsense.

But even if the average manager arranged his days and his energies with a proper regard for the fact that his success or failure depends on the wisdom of his choice in plays, he would still lack, chiefly from no fault of his own, the informed and disciplined taste which is necessary to choose well. I do not mean that he would lack the ability to choose well from a purely artistic point of view – I mean that he would lack the ability to choose well even according to the standards of his own public. The existence of the manager is bounded by the walls of his theatre.

How often does he venture out in order to witness the productions of other theaters?

Scarcely ever. Instead of tumbling over each other in anxiety to be abreast of the times, it is only with the greatest difficulty that they can be persuaded into the open. One must remember that they believe themselves to be the busiest men in London. They may often be brought to consider what is pertinaciously offered to them; they are usually ready to listen with interest to viva voce reports of what is going on in the world; but of first-hand knowledge they have practically none.

Their pre-occupation with themselves, their theatre, their troupe, and the deep conviction of their own miraculous industry, prevent them from watching even intermittently the developments of theatrical art and theatrical taste. The most pathetic and tragic of their illusions is that they have their finger on the pulse of the public.

next at the mint A Little Journey

By Rachel Crothers Directed by Jackson Gay May 5th through July 3rd Ten strangers take the ride of their lives in the Mint’s next play, A LITTLE JOURNEY

by Rachel Crothers (author of SUSAN AND GOD). This heartfelt human comedy, one of Crothers’ best, was nominated for the first Pulitzer Prize for Drama in 1918.

In the play, a routine train trip proves anything but ordinary for an eccentric mix of passengers. Among them are Julie, a disillusioned young woman down on her luck, and Jim, a lonely rancher who’s survived his own troubled life journey. Jim falls in love, but Julie sinks deeper into despair…until a dangerous detour gives them an unexpected chance at happiness.

Get on board for what the New York Herald called “a big adventure of the soul”

Temporal Powers

By Teresa Deevy Directed by Jonathan Bank July 28th through September 25th Mint re-introduced Teresa Deevy to the world in the summer of 2010 with our production of her brilliant play WIFE TO JAMES WHELAN. This coming summer we will bring you another remarkable play from this wonderful Irish writer.

TEMPORAL POWERS shared first-prize in the Abbey Theatre’s New Play competition in 1932. The judges called it “strikingly original and of fine literary quality” and The Irish Times described it as “one of the most thoughtful works seen for some time at the Abbey;” it is a play “that sends the audience home with food for thought.”

NEXT AT THE MINT

The play tells the story of Michael and his wife Min on the day they are evicted from their home. They take shelter in an abandoned ruin and discover a large sum of money hidden in the walls. This buried treasure represents either salvation or ruin.

“Miss Deevy knows her people,” the Independent wrote, “but the angle from which she regards them is unusual. It is not distortion, but rather that sublime quality in the artist, originality.”

w h at t h e p u b l i c w a n t s b i o g r a p h i e s

BIOGRAPHIES

ELLEN ADAIR (Emily) Off-Broadway: Playboy of the Western World (Pearl Theatre), Romeo and Hamlet (GayfestNYC).

Regional: Helena in All’s Well That Ends Well (Shakespeare Theatre, New Jersey); Mary Shelley in The Yellow Leaf (world premiere, Pioneer Theatre); ‘Tis Pity She’s a Whore (Baltimore Centerstage); 1 Henry IV (Folger Theatre); Pegeen in Playboy of the Western World (Pennsylvania Shakespeare); Portia in Merchant of Venice, Taming of the Shrew, Henry V (American Shakespeare Center); Rabbit Hole, Carol Mulroney (Huntington); Raina in Arms and the Man (Lyric/Boston); Five by Tenn (SpeakEasy); Lady Macbeth in Macbeth, Diary of Anne Frank (New Repertory); Arcadia, Comedy of Errors, Beard of Avon (Publick/Boston). TV/Film: “As the World Turns,” “Brotherhood” (SHOWTIME), and films about Louisa May Alcott, Louis Brandeis, John Audubon and the “God in America” series for PBS. She won awards in Boston as Eliza in Pygmalion and Nora in A Doll’s House and was nominated as Thomasina in Arcadia. www.ellenadair.com MARY BAIRD (Mrs. Downes) created the role of Sister Frances in Gracie and the Atom at Artists Repertory Theatre, Portland, OR. Recently did Incorruptible at Calif.

Conservatory Theatre, Doubt in Cape May, NJ, and Well at The Public Theatre in Maine. She has appeared in Make Someone Happy, B St. and Corpse (Foothill Theatre); Hank Williams Lost Highway (Center Repertory Theatre) and is a member of PlayGround in Berkeley.

She splits her time between California and NYC. Mary has acted on and off Broadway, regionally, and nationally, receiving awards for her performances in Holiday Memories, No Way to Treat a Lady and Blue Plate Special.

She created the role of the mother in Fraulein Else at Berkeley Repertory Theatre, and played the title role in Mother Courage in Vermont.

Some of her favorite roles include the title role in Shirley Valentine, Nurse in Romeo and Juliet, Bessie in Awake and Sing and Sarah in The Norman Conquest.

ROB BRECKENRIDGE (Sir Charles Worgan) New York Theater: The 39 Steps, Edward the Second, 33 Variations (Workshop), Geneva, R.U.R., The Rivals, Long Island

Sound, Tooth, RIO, Far and Wide, Hope II, and The Phantom Tollbooth. Regional: ART, Boeing Boeing, Life x 3, Private Lives, Sister Carrie, An Ideal Husband, Sylvia, A Map of the World, and The Strange Case of Dr. Jekyll and Mr. Hyde. Film/Television: “Law and Order: CI”, “Delirious”, “Helen at Risk”, “Guiding Light”, “Solo Una Mujer”, “Fuego Verde”, and “Padres e Hijos”. Rob worked as an actor, teacher, director and Senior Fulbright Scholar in Colombia, South America during the 1990’s.

BIRGIT HUPPUCH (Henrietta/Annie Worgan): Credits include: Telephone (Foundry, OBIE), Neighbors (Public Lab), Miss St.’s Hieroglyphic Suffering (Guggenheim), Telethon, Dot (Clubbed Thumb), Ether Steeds (NY Fringe, Outstanding Ensemble Award), The Furniture Fire, Sprinkler (Drama League DirectorFest), Sa Ka La (Oslo Elsewhere), Woman of Trachis (Target Margin), Beowulf (Banana, Bag & Bodice/LES), Haymarket (Alchemy Theatre Co), Mourn the Living Hector (NY Fringe/PL115), Scapin (NY Classical Theatre). Regional work includes: Isabella, Payup (Pig Iron Theatre Company); Bogwog (workshop - O’Neill); Anatomy of a Female Pope (NYTW Workshop - Dartmouth), Doe 2.0 (workshop, Tokyo, Japan), Proof, Love Song (WHAT), The Man Who Came to Dinner, Turn of the Screw (NCT).

LAURIE KENNEDY (Mrs. Worgan) Broadway: Copenhagen, Angels in America, Major Barbara, Man and Superman (Tony & Drama Desk nominations), Spoils of War. OffBroadway includes: The Madras House (Mint Theater), All’s Well That Ends Well, Andorra, Richard II, Richard III, Master Builder, Recruiting Officer, He & She, Ladyhouse Blues, Candida. National tour of Three Tall Women.

21 seasons at Williamstown Theatre. 12 seasons at O’Neill Theatre Center. Numerous theaters across the US including Ahmanson, Mark Taper Forum, Long Wharf , Hartford Stage, Yale Rep., Arena Stage, Dallas Theatre Center. TV: “Bedford Diaries”, “Oz”, “Third Watch”, “Law and Order”, “Criminal Intent”, “Homicide”, “Love Letter”, “Choices”, “Path to Paradise”, “Perfect Tribute”, “Kennedy”, “Iris”, “Armless”. Awards: Theatre World, Clarence Derwent, 1999 Fox Fellowship.

JEREMY LAWRENCE (Simon MacQuoid/ Holt St. John / James Brindley) is very happy to be back with the Mint after last season’s So Help Me God! and Is Life Worth Living? Other theatre credits include the Manhattan Theatre Club, the Mark Taper Forum and the Edinburgh Fringe Festival. This past spring he appeared at the Absolut Dublin International Gay Theatre Festival in two of Tennessee Williams’ late one acts, Traveling Companion and Chalky White Substance. His one-man Tennessee Williams shows have been performed around the country including all the major Williams Festivals as well as enjoying runs in Los Angeles and New York (watch for Lonely Man’s Habit at “the cell” in April). He has performed readings of Williams’ work with such notable actresses as Marian Seldes, Lois Smith, and performed the play, Mr. Williams and Miss Wood with Frances Sternhagen. He is the recipient of Backstage’s “Encore Award” for his cabaret show, Lavender Songs. He recently shot a “Law and Order (SVU)” and played the male lead in an indie short “Tick Tock Time Emporium”.

www.jeremylawrence.net

DOUGLAS REES (Kendrick / John Worgan): Doug is delighted to be making his Mint debut. He has appeared at many theatres around the country, among them The Arden and Wilma Theatres in Philadelphia, Pittsburgh’s City Theatre and Pittsburgh Public Theater, The Alabama Shakespeare Festival, The Shakespeare Theatre Company of DC, Madison Rep, and Actors’ Theatre of Louisville. He recently returned from Philadelphia, where he created the role of Franklin Woolsey in the world premiere of Michael Hollinger’s Ghost Writer at The Arden. He also created the role of Carl in the world premiere of Hollinger’s acclaimed play, Opus, and subsequently appeared in the New York City premiere of Opus at Primary Stages.

Recent television includes an appearance with Alec Baldwin and Elizabeth Banks on “30 Rock”. For Janet, with love.

MATTHEW ARBOUR (Director) Matthew’s work has been seen at PlayMakers Repertory Company, Chautauqua Theater Company, Two River Theater Company, Shakespeare Festival St. Louis, The Shakespeare Theatre of New Jersey, New Jersey Repertory, 78th Street Theatre Lab, Ohio Theater, Washington Ensemble Theater, Portland Stage Company, Hangar Theatre, Theatre at Monmouth, and the Penobscot Theatre Company among others.

Matthew served as resident dramaturg and literary manager of Portland Stage Company from 1992 to 1998. He is an Associate Artist of the Washington Ensemble Theater, a Usual Suspect of New York Theatre Workshop, and Drama League Directing Fellow. MFA: University of Washington, Seattle.

ROGER HANNA (Set Design) is delighted to return to the Mint this season, where he last designed The Glass Cage (2009 Lortel Award and Henry Hewes nomination), and also designed Walking Down Broadway (Drama Desk nomination). Recent designs include The Sleeping Giant at the Ailey, Fyvush Finkel Live! for the National Yiddish Theatre, and Carousel for the Yale Dramat. He is currently designing a bilingual Wizard of Oz (El Mago de Oz) for TheatreworksUSA and Falstaff for Mannes Opera (for whom he has designed all productions since 2004) in May. Other designs of note include collaborations with Laura Alley, Jack Allison, Tracy Bersley, Joseph Colaneri, Robin Guarino, Ron Jenkins, and Susan Marshall, at venues including Sarasota Opera, the Provincetown Playhouse, Jacob’s Pillow, and Dance Theater Workshop. Roger joined the faculty at SUNY Ulster this fall. To see some of his work, visit www.rogerhanna. com.

BIOGRAPHIES

MARC VIETOR (Francis Worgan) New York credits include Present Laughter, The Moliere Comedies (The Roundabout); Edward the Second, The Revenger’s Tragedy (Red Bull Theater); Grey Gardens (Playwrights Horizons) King John, The Jew of Malta, Merchant of Venice (Theatre For A New Audience); Two

Gentlemen of Verona (NYSF); The Libertine (The Hartshorn Theatre Company). Regional credits include The O’Neill Center, The Sundance Lab, South Coast Rep, The Humana Festival, The Ravinia Music Festival, The Old Globe Theatre, The Cape Cod Theatre Project, The Huntington, The Kennedy Center, The Williamstown Theater Festival, The Prince Music Theatre, The Stratford Festival, The Virginia Stage Company, The Hartford Stage.

He has appeared on “Law and Order” and in the upcoming film “Asylum Seekers”. He is a graduate of Yale.

w h at t h e p u b l i c w a n t s b i o g r a p h i e s ERIN MURPHY (Costume Design) This is Erin’s first design for the Mint. In NYC she has designed for Keen Co., The Flea Theatre, SPF, 78th Street Theater Lab and Baruch College, among others. In 2010 she collaborated with the video artist Reid Farington on his latest work, Gin & It which was presented at PS121, Wexner Center and the Next Wave festival. Regionally her work has been seen at the Shakespeare Theater of NJ. Erin is currently the costume coordinator for The Radio City Christmas Spectacular. www.eemurphydesigns.com

BIOGRAPHIES

MARCUS DOSHI (Lighting Design) designs for theatre, opera & dance as well as collaborating with artists & architects on a wide array of non-theatrical ventures.

Previously at the Mint The Glass Cage.

In New York work with Lincoln Center, NYTW, The New Group, The Play Company, TFANA, Signature, Vineyard, Guggenheim, Soho Rep, Civilians, Museum of Chinese in America, Cooper-­Hewitt NDM. Regionally with Seattle Opera, Florentine Opera, Boston Lyric Opera, Greenwich Music Festival, Baltimore Opera, Intiman, Seattle Rep, Portland Stage, Milwaukee Rep, Steppenwolf, Chicago Shakespeare, Court, Dallas Theatre Center, Pittsburgh Public, City Theatre, Geva, Williamstown, Hartford Stage, TheaterWorks, Yale Rep, Ford’s Theatre, among others.

Internationally in Edinburgh, London, Amsterdam, Castres, Venice, Vienna, Mumbai, New Delhi, Phnom Penh, Jakarta. Awards: Audelco Viv, NEA/TCG CDP. Nominations: Drama Desk, Henry Hewes, Lortel. Education: Wabash College, Yale School of Drama.

Upcoming: Macbeth with TFANA, Tell The Way at St. Ann’s Warehouse, The Speaker’s Progress for Al Bassam Theatre, Kuwait. More information at www.marcusdoshi.com.

DANIEL KLUGER (Sound Design) NEW YORK: There Are No More Big Secrets (Rattlestick), The Temperamentals (Daryl Roth), Enjoy! (The Play Company), Jailbait (Cherry Lane), On the Levee (LCT3 - Conductor, Pianist), Dov & Ali (The Playwrights Realm), The Cocktail Party (TACT), The Oldsmobiles (The Flea Theatre),

The Dining Room (Keen Company), The Americans, The Greeks (Juilliard), Tongue of a Bird (NYU). REGIONAL: Pig Iron Theatre Company, People’s Light & Theatre, The Arden Theatre Company, Weston Playhouse, Virginia Stage Company, Two River Theatre Company, Todd Mountain Theatre Project.

DEBORAH GAOUETTE (Prop Design) What the Public Wants marks Deb’s 7th production with The Mint Theater having propped their past productions of Wife to James Whelan, 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: Microcrisis for the Ma-Yi Theater Co., Sakarhem Binder for The Play Company, Going to St. Ives, String of Pearls, and Sabina for Primary Stages, The Wedding Band and Way of the World for Fordham University; and numerous workshops around the city. When not working on shows Deb can be found fabricating props at The Spoon Group and teaching yoga.

GERARD JAMES KELLY (Hair & Wig Design) Broadway production of HAIR (Tony Award for Best Revival). New York: Dr. Knock, and The Madras House at the Mint Theater, The Public, Playwrights Horizons, The York, Classic Stage Company, and The Pearl Theater. Regionally: Westchester Broadway Theater, North Shore Music Theater, Walnut Street Theater, Maltz Jupiter Theater, Dallas Theater Center, for Maine State Music Theater, Carousel Dinner Theater, Sierra Repertory Theatre, San Francisco Theater Works, Cape Playhouse, The Almanson Theater, Sacramento Music Theater, Downtown Cabaret, Westport Country Playhouse, and George Street Playhouse.Shakespeare Festivals include New York, Lake Tahoe, New Jersey, Idaho, and San Francisco. Premieres include: Tom Jones, Memphis, Fanny Hill, The Three Musketeers, The Internationalist, Tale Of Two Cities, Slug Bearers Of Kayrol Island.

FILM: “Transamerica,” “Girls Will Be Girls,”

“The Ten,” “The Savages,” “King Bolden and ATPAM, The Association of Theatrical Press Agents & Managers. www.davidgersten.com Notorious.”

KATHY SNYDER (Production Stage Manager) is very excited to be working with the Mint for the first time and simply thrilled to be working with Matthew Arbour again. She just finished her sixth season at the Shakespeare Theatre of New Jersey having done such shows as The Lion in Winter, No Man’s Land, Hamlet, The Little Foxes, The Bald Soprano, Henry V, The Rivals, and Les Liaisons Dangereuses.

Other credits: The Complete Works of William Shakespeare (abridged), Glyn Maxwell’s Wolfpit and The Lifeblood with the Phoenix Theatre Ensemble (NYC); Beyond Belief, The Man Who Came to Dinner and Crumbs from the Table of Joy with New Century Theatre (Northampton, MA); Belize and Delicious Rivers with The Talking Band at La MaMa, E.T.C. (NYC); Party Time at the Napoli Scena Internationale Festival in Naples, Italy; and All My Sons, Proof, The Piano Lessons, Fully Committed and the national tour of Romeo and Juliet with Arkansas Repertory Theatre.

LAUREN McARTHUR (Assistant Stage Manager) is excited to be working with the Mint team again! Previous Mint productions include: Wife to James Whelan, So Help Me God! and Is Life Worth Living? She most recently finished a tour of The Laramie Project & The Laramie Project: 10 Years Later with Tectonic Theater Project. 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). Film: Production Designer - ‘’Wunderkind’ (Dir: Lauren Rosen). She would like to thank her parents for their love and continued support.

Proud member of AEA.

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.

JONATHAN BANK (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.

BIOGRAPHIES

DAVID GERSTEN & ASSOCIATES (Press Representatives) also represents the OffBroadway hits, Black Angels Over Tuskegee, Girl’s Night the Musical, and its sequel, Girl Talk, Naked Boys Singing, and Zero Hour 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

STUART HOWARD, AMY SCHECTER & PAUL HARDT (CASTING) have cast hundreds of shows over the past 25 years.

Happily casting for The Mint since 2004.

a b o u t t h e m i n t t h e at e r c o m pa n y 2010-2011 WIFE TO JAMES WHELAN By Teresa Deevy 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 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

about the mint

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.

WIFE TO JAMES WHELAN BY TERESA DEEVY DOCTOR KNOCk BY JULES ROMAINS 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 Would you likeTHE to take yourCOLUMN support BY

BY LEO TOLSTOY FIFTH of theHEMINgWAY Mint to the next JOHN level byFERGUSON joining ERNEST of trustees ? Over next BY our ST. board JOHN ERVINE THE the MADRAS HOUSE HARLEY few BY months we’llGRANVILLE be talkingBARkER with RETURN OF THE PRODIGAL ST.and JOHN interested individuals who BY know HANkIN WALKING DOWN BROADWAY appreciate our work and are willing BY DAWN WIFE

BY ROSE to POWELL use their SOLDIER’S contacts and resources FRANkEN SUSAN AND GOD BY RACHEL to help the Mint grow and prosper.

CROTHERS THE LONELY WAY BY ARTHUR Contact Jonathan Bank at 212-315SCHNITZLER THE SKIN GAME BY JOHN 9434 or jbank@minttheater.org GALSWORTHY MILNE AT THE MINT to TWO express PLAYS BY your A.A. interest.

MILNE ECHOES OF THE WAR BY J.M. BARRIE THE CHARITY THAT BEGAN AT HOME BY ST. JOHN HANkIN

To make a donation, call (212) 315-0231 Mint Theater looks t o t h e PA S T 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.

THANK you!

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

SilverMint $5,000-$9,999 • 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

ChocolateMint $1,500-$4,999 • 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

SpearMint $600-$1,499 • 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

DoubleMint (First Priority Club) $150-$599 • 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 • Two tickets to one special Mint play reading

The following generous Individuals, Foundations, and Corporations support the Mint Theater, and we honor their contributions: Crème de Mint: $10,000 and above 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 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 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 Harold & Mimi Steinberg Charitable Trust Michael Tuch Foundation

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 The Otto Haas Trust Janet & John Harrington Blanche & Irving Laurie Foundation Dorothy Loudon Foundation Executive Director, Lionel Larner New York City Council for the Humanities Pfizer Foundation Eleanor Reissa & Roman Dworecki Wallace Schroeder David Stenn The Dorothy Strelsin Foundation Sukenik Family Foundation Katherine & Dennis Swanson Kathryn Swintek Litsa Tsitsera Helen S. Tucker, The Gramercy Park Foundation Steven Williford SpearMint: $600 - $1,499 Lisa Ackerman Maria & Harvey Arnett Richard Barnes & Marta Gross Julia Beardwood & Jonathan Willens

Jeffrey Bernstein & Cathy Lanyard Joann , Jennis & Gene Bissell Allison M. Blinken E. R. Buultjens Sharon M. Chantilles-Wertz & Kevin Wertz Cory & Bob Donnally Charitable Fdn. Eva & Norman Fleischer Agnes & Emilio Gautier The Gordon Foundation Virginia Gray Arthur Grayzel, MD & Claire Leiberwitz The Heidtke Foundation Carol & Patrick Hemingway Hickrill Foundation IBM Foundation Jacqueline & James Johnson Joseph Family Charitable Trust Christopher Joy & Cathy Velenchik Brian Kaltner Bruno Kavanagh James Marlas Edith Meiser Foundation Joseph Morello Dorinda J. Oliver Susan & Peter Ralston George Robb Susan Scott Harriet Seiler Rob Sinacore Alissa Sklaver State of New York – Office of Parks, Recreation and Historic Preservation Suzanne & Jon Stout * M. Elisabeth Swerz Bertram Teich 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 Maria & Harvey Arnett Barbara Austin Earl Bailey Judith Barlow William Barth Deborah Berke & Peter D McCann, MD Barbara Berliner & Sol Rymer Al Berr Nidia Besso Elizabeth Bicknell Helena & Peter Bienstock David M. Blank Steven Blier Ronald H. Blumer

Anita & Edward Greenbaum Harry Greenwald & Babette Krolik Greenwich House Senior Center Tosia Gringer Antonia & George Grumbach Amy & Ronald Guttman * Gunilla Haac Lanie Hadden Julia B. Hall Joseph Hardy Laura T. & David Harris George Hatch Carol Hekimian Reily Hendrickson David Herskovitzs Henry & Karin Herzberg Sigrid Hess Joan Hoff Dorothy & Edward Hoffner Madelaine & Milton Horowitz Cathy Hull & Neil Janovic Anne Humphreys Elizabeth Ellis Hurwitt Anna Iacucci Harriet Inselbuch Linda Irenegreene & Martin Kesselman Dana Ivey Jocelyn Jacknis Ellie Jacob Cerise Jacobs Ellen & Peter Jakobson Susan & Stephen Jeffries Edith Jones Michael Jones Roberta A. Jones Peter Haring Judd Fund Gus Kaikkonen & Kraig Swartz Anne Kaufman Joan Kedziora, MD. Karen Kelly Laurie Kennedy & Keith Mano Georgianne Enisign Kent Roberta & Gerald Kiel Jospeh Kissane Kaori Kitao Caral G. Klein Dr. Elizabeth & Rabbi William Kloner Paul Knieriemen Susanna Kochan-Lorch & Steven Lorch Drs. Robert M. Koros & Carole M. Shaffer-Koros Jean Kroeber Mildred G. Kuner Carmel Kuperman George LaBalme George LaForest Mary & David Lambert Lee & Richard Laster Gene Laughorne Kent Lawson & Carol Tambor Margaret & Gordon Leavitt Gloria & Ira Leeds Jane & Eliot Leibowitz Laura & Rodney Leinberger Dr. Albert Leizman

DONORS

Rose-Marie Boller & Webb Turner Dorothy Borg Ambassador & Mrs. W. L. Lyons Brown Ann Butera Peter Cameron Charles Carberry & Kathleen Dunne Richard Carroll Aurelie Cavallaro Andrew H. Chapman Lynne Charnay Robin Chase Tina Chen Stephen & Elena Chopek Steven R. Coe Toni Coffee 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 Susan A. & Robert N. Downey M. Burton Drexler Julie Durkin Mina & Martin Ellenberg Monte Engler & Joan Mannion Sara & Fred Epstein Judith Eschweiler H. Read Evans Rhetta & Max Felton Irving and Gloria Fine Foundation Angela T. Fiore Edmee & Nicholas Firth Barbara Fleischman Martha Fleischman Charles Flowers Barbara Fogel Charlotte Frank Diana & Jeffrey Frank Joan & Edward Franklin Burry Fredrik Monroe Freedman Dr. H. Paul & Delores Gabriel Mary Ann & John Garland Agnes & Emilio Gautier Phyllis Gelfman Nomi Ghez Foundation James C. Giblin Ardian Gill & Anna L. Hannon Suellen & David Globus Ruth Golbin Lila Teich Gold Joyce Golden Gloria Goldenberg Duncan Goldie-Scott Jane & Charles Goldman Samuel Gonzalez Margaret Goodman Mary & Gordon Gould Anna Grabarits Virginia Gray

DONORS

Mia Leo & Dick Kuczkowski Barbara & Herbert Levy Carol & Stanley Levy Christopher LiGreci & Robert Ohlerking Alene & Jeffrey Lipshaw Audrey & Joseph Lombardi Ruth Lord Estelle Lynch Judith Mahler Mary Rose Main Jane Anne Majeski Vivian & John Majeski Miriam Malach 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 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 Carole & Theodore Mucha Tim Mulligan Karol Murov Dick & Carol Netzer Nancy Newcomb & John Hargraves Peter Nitze Tim Nolan Stephanie Olmsted Dottie & Richard Oswald Gwen & Bruce Pasquale Alice & Frederick G. Perkins Gillis & Leonard Plaine Jeanine Parisier Plottel Sheila & Irwin Polishook Mary & Larry Pollack Georgette & David Preston Henry Quin Paul Rawlings Joe Regan, Jr. Henry Reilly Ota & Clayton Reynolds Allen Lewis Rickman Irvin Rinard Peter Robbins & Paige Sargisson Phyllis & Earl S. Roberts The Rodgers Family Foundation/Mary R. Guettel Renee & Seymour Rogoff Sylvia Rosen Barbara Rosenthal

Mark Rossier Donna Rubens James Russell Judy & Sirgay Sanger Catherine Scallier Judith & Richard Schachter Herbert Schlesinger Nan Schubel Michael Schussler Daphne & Pete Schwab Marilyn & Joseph Schwartz Phyllis Schwartz The Martin E. Segal Revocable Trust Barbara & Donald Shack Camille & Richard Sheely Zachary & Susan Shimer Kayla J. & Martin Y. Silberberg Mel Silverman Marion & Leonard Simon Susana & Americo Sitner Rayna & Martin Skolnik Lily N. Smith Barbara & Stanley Solomon Dr. Norman Solomon Caroline Sorokoff & Peter Stearn Linda & Jerry Spitzer Erica Stadtlander Stagedoor George Steel & Sarah Fels Lee Steelman Sherry & Bob Steinberg Frances Sternhagen Elaine & Ulrich Strauss Stella Strazdas & Hank Forrest Pamela Stubing Joseph Sturkey 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 Richard Weisman Patricia & Richard White Lillian & Robert Williams Marsha & Vincent Williams Ralph M. Wynn, MD John Yarmick Sue & Burton Zwick anonymous * in-kind donation.

This list represents donations made from July 2009 through December 2010. Every effort is made to insure its accuracy. Please contact us regarding any mistakes.

w h at t h e p u b l i c w a n t s s ta f f Assistant Production Manager Wayne Yeager Wardrobe Supervisor Karle J. Meyers Board Operator Shannon Epstan Deck Crew Lisa Jaeger, Jean Marie Hufford Production Assistant Lisa Jaeger Assistant Set Designer Zhanna Gurvich Assistant Costume Designer Hunter Kaczarowski Programmer/Assistant Lighting Designer Sara Gosses Master Electrician Desi Fischer Sound Engineer Nick Gorczynski Technical Director Carlo Adinolfi Carpenters Chad Yarborough, Dennis Gullo-

O’Leary, Dan Halliday, Katie Hong, Raky Sastri, Ryan Sobotka,

Dylan Uremovich, Scenic Charge Julia Hahn-Gallego Scenic Artists Cathy Lee, Lisa Haedrich Production Interns Shaquille Hobson House Manager Ivana Karapandzic

Lighting installed by the Lighting Syndicate.

Mint Theater wishes to thank the following for their assistance in this production: tdf Costume Collection, and Oregon Shakespeare Festival, for costumes; Capital Scenic; Brandon Wolcott, and Arel Studio 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 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