PRODUCING ARTISTIC DIRECTOR
JONATHAN BANK MANAGING DIRECTOR
JEN SOLOWAY
Directed by
Jonathan Bank
December 27, 2016 through February 18, 2017
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Mint Theater is the “ressurectionist extraordaire of forgotten plays.” - Ben Brantley, The New York Times
MINT THEATER COMPANY
Jonathan Bank, Producing Artistic Director Jen Soloway, Managing Director presents
Unfaithfully YOURS
by
MILES MALLESON with
TODD CERVERIS, ELISABETH GRAY, MIKAELA IZQUIERDO, STEPHEN SCHNETZER, MAX VON ESSEN Sets CAROLYN MR A Z
C os tu m e s H U N TE R K A C ZO R O W SK I
S o u n d a n d Ori g i n a l Mu s i c JA NE S HAW
C a s ti ng S T E P H AN I E KL A P P E R , C S A
Hai r, W ig s, & M a keu p JOHN J A R E D J A N A S Produ ct ion M a n a g er CHR IS B ATS TO N E Il l us tration STEFANO I M B E RT
L i g h ts XAVI ER P I ER C E
Pro d u c ti o n Sta g e M an a g e r PAM E L A ED I N G T O N
G r a p hi c s H E Y JU D E D E S IGN , I N C .
Ad v e rti s i n g & M a rk e ti n g T H E PE K O E G R O UP
P ro p s JOS HUA Y OCOM S ta g e Ma n a g e r JE F F ME Y E RS P re s s Re p DAV I D GE RS T E N & A S S OCI AT E S
directed by
JONATHAN BANK THEATRE ROW, THE BECKETT THEATRE YOURS UNFAITHFULLY is supported in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
characters IN ORDER OF APPEARANCE Stephen Meredith.................................................................................... Max von Essen Anne Meredith......................................................................................... Elisabeth Gray Diana Streatfield.................................................................................. Mikaela Izquierdo Dr. Alan Kirby............................................................................................Todd Cerveris The Rev. Canon Gordon Meredith..................................................... Stephen Schnetzer
Setting: Summer, 1933 Act 1............................................................................Anne and Stephen’s country home. Intermission Act II..................................................................................... The same, two months later. Intermission Act III........................ A room in town which Stephen and Anne keep for occasional use. Ten days later.
TODD CERVERIS
ELISABETH GRAY
STEPHEN SCHNETZER
MIKAELA IZQUIERDO
MAX VON ESSEN
Miles Malleson
about the playwright
A BIOGRAPHY OF MILES MALLESON By Maya Cantu
As a playwright, screenwriter, director, producer, and character actor, Miles Malleson established himself as a theatre artist of dazzling versatility. Yet while Malleson “acted the fool most memorably”1 in dozens of plays and films, he was also a playwright of provocative wit, searching insight, and a sense of “ethical passion”2 drawing upon a lifelong engagement in progressive politics. Described by The Manchester Guardian as “no respecter of authority,” Malleson wrote comedies about modern love, sex, social justice, and personal freedom, in which “the dogma is notably anti-dogmatic.”3
Born on May 25, 1888 in South Croydon, Surrey, William Miles Malleson formed his values amid “two family backgrounds:” one agnostic and one “passionately puritanical.”4 The son of Edmund Taylor Malleson, a manufacturing chemist, and Myrrha Borrell, Malleson enjoyed an idyllic childhood in Brighton, where his “enormously unbelievably happy family group” moved at the age of two. His experiences with “family number two,” however, more directly informed Malleson’s plays. At the vicarage of his Uncle Philip at Great Tew, where Malleson and his sister Alice spent family holidays, his grandmother’s fireand-brimstone interrogations of “impure thoughts” would leave Malleson (as he recalled in 1968) “absolutely terrified with guilt and fear for my life…it took me years and years to throw off, even if I’ve done so now.”5 From the split worlds of his Victorian upbringing, Malleson entered the Junior School at Brighton College in 1898, and, from 1908 to 1912 attended Emmanuel College at Cambridge. The captain of the cricket team at Brighton College, Malleson strove to win a cricketing Blue (or highest athletic honor) at Cambridge. Stung by the loss of a freshman cricketing match—and
(William) Miles Malleson, 1964
the chance at his Blue—Malleson ventured into Cambridge’s Amateur Dramatic Club, where he “acted very regularly throughout the three years.”6 Though excelling at degrees in history and music (and revealing such a gift for composing that Ralph Vaughan Williams encouraged him to pursue further studies on the continent), Malleson set his mind upon the professional stage. An elaborate practical joke sealed the deal. When the conservative MP George Haddock (set to appear before the Cambridge Debating Society) cancelled his speech, Malleson stepped in: Miles went to London, had himself made up as an old man, visited his mother, who failed to recognize him, returned to Cambridge, dined at the head table, and gave an excellent Tory speech…only at the end of the speech did people realize there was something ‘fishy’ about Mr. Haddock…. Miles’ parents, impressed by his accomplishment, then supported his decision to go to drama school.7
Miles Malleson
about the playwright
At the Liverpool Playhouse, and then at Herbert Beerbohm Tree’s Academy (soon to be the Royal Academy of Dramatic Arts), Malleson gained acting experience and wrote short plays, including A Man of Ideas (1913). He also met Lady Constance Annesley. The rebel daughter of an Irish earl, who performed under the stage name Colette O’Niel, Annesley later distinguished herself as a novelist, memoirist, and travel writer. Two decades later, she recalled Malleson as: The only student at Tree’s who came anywhere near genius…. He acted, wrote plays, composed music, sang, played the fiddle and the piano, and had an unerring instinct for the ‘production’ side of the theatre…. Miles Malleson looked exactly like a hobgoblin— with his humorous, intelligent eyes peering whimsically from behind rimless pince-nez…. M. and I didn’t exactly fall in love: we slipped into it.8
Constance Malleson, 1922
At the advent of World War I, both Mallesons moved among bohemian circles, joining movements in pacifism (with the No-Conscription Fellowship), Socialism, Women’s Suffrage, and causes of free love. After a short period of serving with the City of London Fusiliers in Malta, Malleson
was invalided from the army in January, 1915, due to “weakness of the feet.” Shortly after, he eloped with Constance, only for Annesley’s outraged family to demand a church wedding. The marriage—conceived as an open one—would shortly live up to its premise with the entrance of philosopher and activist Bertrand Russell, with whom Constance embarked on a sexually and intellectually passionate affair that lasted on and off for decades. According to Constance, Malleson accepted the relationship with understanding: “He was so gentle and tucked me up so tenderly.”9
An excerpt from YOUTH (1916) by Miles Malleson You see, in the theatre, if a man makes love to one woman, it’s a pretty play; if he makes love to two, it’s a drawing-room drama; if he makes love to three, it’s a farce. I’ve written a play about a man who wants to make love to every other woman he meets, and it’s a tragedy. People hate it. They tell me it’s “young” but then, most people are, some time or other in their lives. If it’s the less interesting for that, you might as well say Spring isn’t interesting until it’s Summer. They tell me it’s “Improper” and shows a hopeless “Lack of reticence” that’s the phrase. But I talk about it because I want to find out definitely what is improper. Nobody seems to know. At least people have wildly opposite ideas. You see- people don’t face all the facts of love and…emotion… and...all the rest of it. Individuals solve these questions for themselves or try to in dark little corners of their lives and say nothing about it. It’s all so difficult and often ugly…when it ought to be simple and terrific and beautiful. At least that’s what I feel…
Miles Malleson Throughout the WWI years, and into the 1920s, Malleson immersed himself in the theatre, leading parallel lives as a classical actor and a modern playwright. He broke out as a playwright with Youth (1916), a backstage comedy that J.T. Grein described in The London Times as “fresh, frank, original and romantic with the additional quality that it is true.” Youth followed the affair between an actress and a Mallesonlike playwright, who explains: “(I am) the result of an essentially modern mixture. The temperament of a Huxley and the temperament of a Byron.” Malleson more directly confronted the horror of WWI, and a “world gone mad,” with his one-act plays ‘D’ Company and Black ‘ell. In October of 1916, the British government seized copies of both plays from the publisher and denounced them as “a deliberate calumny on the British solider.” Outside of his political activism, Malleson earned acclaim as “the best Shakespearean clown in the contemporary English theatre,”10 as well as for his fools and fops in Restoration comedy. Adapting his progressive ideas to Jazz Age London, Malleson drew consistent admiration as a playwright. Critics praised Malleson’s nuanced craftsmanship in which “the dramatic, rather than the debatable, engages one’s interest.”11 With Conflict (1925; presented as a Mint Further Reading on February 13), Malleson spun a deft comedy of manners around themes of wealth inequality, in its story of a Labour MP and an aristocrat’s questioning daughter. Running in 1927 in the West End for 313 performances, The Fanatics (first published 1924) gave Malleson his greatest commercial success. The Fanatics affirmed Malleson’s conviction in a more honest and liberated post-WWI world, as much as it provoked discussion with its daring themes of premarital sex and a scene of onstage semi-nudity. While The Guardian noted the “poignant naturalism” of Merrileon Wise (1926), Four People (1928) evoked “the play
about the playwright
of a mind which is at war with usage and with institutions, which puts the happiness of people before the tyranny of things, and which can accept no sanctity of a social routine unless it justifies itself in human values.”12 With the never-produced Yours Unfaithfully (1933), Malleson continued to joust against social convention, offering a probing, self-reflective look at the complex “round dance” of open marriage. The play drew heavily upon Malleson’s tumultuous romantic history with Constance (who amicably divorced him in 1922), the physician Joan Billson, a pioneering force in women’s health and birth control, whom he married in 1923, and journalist Beth Tomalin (for whom he left Joan, “intensely distressed”13 by the open marriage, in 1931). At the same time, the play drew inspiration from the marriage of Bertrand and Dora Russell, to whose progressive school, Beacon Hill, Miles and Joan had sent their son, Nicky, born in 1923. Their younger son, Andrew, was born in 1931.
Miles Malleson in Stage Fright, dir. Alfred Hitchock, 1950
Although Malleson wrote a number of plays in the 1930s and 1940s, including Six Men of Dorset (1934; co-written with Harry Brooks), and produced and directed such plays as Night Must Fall (1935), he increasingly devoted his time to the British
Miles Malleson
about the playwright
cinema. With such historical dramas as Victoria the Great (1937), as well as the 1940 fantasy The Thief of Bagdad, Malleson became noted as one of England’s most successful screenwriters. Appearing in dozens of films, Malleson regularly stole scenes as an array of blustering and bumbling “jovial old gentlemen,”14 including the poetry-quoting hangman in Kind Hearts and Coronets (1949) and Reverend Chasuble in The Importance of Being Earnest (1952), to small roles in Stage Fright (1950) and Peeping Tom (1960). He also entered into a third marriage in 1946, with producer Tania Lieven. Malleson alternated his film work with continued vitality on the London stage. After contributing an “unsurpassably lifelike Polonius”15 to John Gielgud’s 1944 production of Hamlet, Malleson joined Tyrone Guthrie’s company at the Old Vic. Malleson returned to playwriting in 1949 with “free adaptations” of Molière’s plays, in which he also starred. With the goal of drawing working-class audiences beyond the West End, Malleson’s vernacular, prose versions of Tartuffe, The Miser, and four other Molière classics played to popular and critical success: “the new text (of The Bourgeois Gentleman) loses neither its style nor vivacity,” observed The Manchester Guardian in 1951. Also among the cast of Orson Welles’s 1960 staging of Rhinoceros at the Royal Court, Malleson concluded his acting career with a musical: playing Merlin in the 1964 London production of Camelot. Having retired from the stage due to failing eyesight, Malleson died at the age of eighty on March 15, 1969, following declining health and a failed eye surgery that caused him to go blind. Though one of the most prolific and versatile English theater artists of his era, along with such polymath peers as Charlie Chaplin and Noël Coward, Malleson downplayed his place in posterity: “Sometimes it seems…that drama is such a passing business. A performance is given, a picture screened, then probably forgotten. Only occasionally do you hear that something is remembered, and then you feel you may have added a little to the knowledge about the stuff of life.” Yet, in the range of his talent as a “scholar, a wit, a born storyteller, and an idealist with the courage of his convictions,”16 Malleson might be better remembered. Progressive in their themes, defiant in their optimism, and strikingly modern in their tone and ambiguities, Malleson’s plays resound with new rhythms in the twentyfirst century, where definitions of love, sex, and family continue to expand—even as modern lovers persist in “acting the fool most memorably.” 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.
E.B., “London Theatres,” The Manchester Guardian, June 12, 1930, pg. 13. I.B., The Fanatics, The Manchester Guardian, March 16, 1927, pg. 14. Ibid. Malleson, Miles. After All: Provisional Title for an Autobiography, 1968 (unpublished; courtesy of Andrew Malleson), pg. 7. After All, pg. 8. Ibid., pgs. 9-10. Malleson, Andrew. Discovering the Family of Miles Malleson: 1888-1969, 2012, pg. 41. Malleson, Constance (Colette O’Niel). After Ten Years: A Personal Record. London: Jonathan Cape, 1931, pgs. 75-76. Clark, Ronald W. The Life of Bertrand Russell (New York: Knopf, 1976), pg. 308. Ervine, St. John, “David Garrick,” The Observer, March 5, 1922, pg. 11. H.H., “Conflict,” The Observer, December 6, 1925, pg. 11. I.B., “Books of the Day: Three Plays,” The Manchester Guardian, May 22, 1928, pg. 9. Discovering the Family of Miles Malleson: 1888-1969, pg. 52. De La Roche, Catherine, “Miles of Characters,” The Picturegoer and Film Weekly, October 1, 1949, pg. 20. L.H., “Mr. Gielgud’s Hamlet,” The Manchester Guardian, October 16, 1944, pg. 3. “Miles of Characters,” pg. 20.
Y o u r s U n fa i t h f u l ly TODD CERVERIS (Dr. Alan Kirby) Broadway: Twentieth Century (Roundabout Theatre), South Pacific (Lincoln Center). OffBroadway (premieres): Southern Comfort, Almost, Maine, The Booth Variations (co-author), The Butcherhouse Chronicles, Somewhere, Someplace Else (Clubbed Thumb), Dick In London (Target Margin). National tours: War Horse, Spring Awakening, Twelve Angry Men, The Acting Company. Regional: Mr. Wolf (Cleveland Play House), Hillary and Clinton (Philadelphia Theatre Company), The Great Immensity (Kansas City Rep & The Civilians), All The Way (Denver Center), True West (Arena Stage), All in the Timing and August: Osage County (Old Globe Theatre), Outside Mullingar (Depot Theatre), Aloha, Say The Pretty Girls (Actor’s Theater of Louisville), Boy (La Jolla Theater). International: Edinburgh Fringe Festival (The Booth Variations), Actors Touring Company (Iphigenia Crash Land Falls…). Film & TV: “Allegiance,” “One Bad Choice,” “White Collar,” “Nurse Jackie,” One True Thing, Living and Dining, “Law & Order,” “The Rake’s Progress.” Faithfully, for Angela.
ELISABETH GRAY (Anne Meredith) Broadway: Breakfast at Tiffany’s. Off-Broadway: Wish I Had a Sylvia Plath, Southern Discomfort. TV: “Limitless,” “Forever,” “Unforgettable,” “The Affair,” and “Understudies” (www.UnderstudiesTheShow.com). Film: Sunspring, The Voorman Problem, Big Significant Things. BA (Hons) Oxford University. www.ElisabethGray.org MIKAELA IZQUIERDO (Diana Streatfield) Broadway: Cyrano de Bergerac (Roundabout Theatre Company). Off Broadway and regional: Perfect Arrangement (Primary Stages), Stay (Rattlestick), 10x25, The New York Idea (Atlantic Theater Company), Lone Star Spirits (Crowded Outlet),The Cloud (Slant/ HERE Arts), L(y)re (ArsNova ANTfest), West Lethargy (59E59/Edinburgh Fringe/ FringeNYC), Unrequited (Public Theater Shakespeare Lab) Training: BFA, NYU Tisch, Public Theater Shakespeare Lab Alum.
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STEPHEN SCHNETZER (Rev. Canon Gordon Meredith) With the Mint: Mr. Pim Passes By & The Truth About Blayds. Broadway: Wit,The Goat, Filumena, A Talent For Murder. Theatre: Romeo and Juliet (Theatre 91), Miss Julie and Fallen Angels (Roundabout Theatre Co.), Timon Of Athens and Cymbeline (NY Shakespeare Fetsival), Broken Glass (Westport Country Playhouse), Awake and Sing (Huntington Theatre Co.), Tribes (Barrow Street), Quality of Life (Arena Stage), Next Fall (Playwrights Horizons), Marriage Minuet (Studio Theatre Florida), As You Like It and St. Joan (McCarter Theatre), Anthony and Cleopatra and Julius Caesar (The American Shakespeare Theatre), The Tempest (Mark Taper Forum). Television: Blue Bloods, The Path, The Blacklist, The Affair, Flesh & Bone, Forever, Homeland, Rubicon, The Good Wife, Damages, Fringe, The Wire, New Amsterdam, Law and Order, Law & Order: SVU and Another World. MAX VON ESSEN (Stephen Meredith) has appeared on Broadway in An American in Paris as Henri Baurel (2015 Tony Award nomination), the revival of Evita as Agustin Magaldi, the first revival of Les Miserables as Enjolras, Dance of the Vampires as Alfred, the closing company of the original Les Miserables, and the first revival of Jesus Christ Superstar. Other New York: Death Takes a Holiday, Hello Again (Drama League nomination), Jerry Springer: The Opera, and Finian’s Rainbow. Tours include Xanadu as Sonny Malone, Chicago as Mary Sunshine, and West Side Story as Tony. Television and film credits include “Law & Order: SVU”, “Elementary”, “Boardwalk Empire”, “The Good Wife”, “Royal Pains”, “Gossip Girl”, “The Beautiful Life”, The Intern, Sex and the City 2, the short film Blonde and the web series, Submissions Only. Find Max on social media as @maxizpad. CAROLYN MRAZ (Scenic Designer) is a Brooklyn-based theatermaker. Favorite recent designs include: Porgy and Bess (Spoleto Festival USA), Afram ou La Belle Swita (Spo-
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leto Festival USA), King Tot (Clubbed Thumb Summerworks, NYC), Wilderness (En Garde Arts, Abrons), I’ll Never Love Again (The Bushwick Starr, NYC), Charlatan (Ars Nova NYC), and The (*) Inn (Target Margin Theater, NYC). Carolyn is a proud Associated Artist of Target Margin Theater in Brooklyn and a company member of A Host of People in Detroit. She is also an educator, teaching at the University of New Haven, and having designed shows at Smith, Princeton, Brown, Manhattan School of Music, The New School, University of Kentucky, the University of Rochester, and the University of the Arts. Carolyn is an Oberlin College alum with an MFA in design from NYU Tisch. HUNTER KACZOROWSKI (Costumes) Mint debut! Other New York: Stet (Abingdon, dir. Tony Speciale), HAM (Ars Nova, dir. Billy Porter), Before Your Very Eyes (Gob Squad at the Public Theater), Sense of an Ending (Kef Productions at 59E59), Dido and Aeneus (Heartbeat Opera), Astoria Performing Arts Center, HERE Arts Center, Dixon Place, Joyce Soho, Vital Children’s Theater, and The Gallery Players. Regional: The Fix (Signature Theater, dir. Eric Schaeffer), After Life and Josephine (Urban Arias, dir. Alan Paul), Design for Living, Cat on a Hot Tin Roof, Frankie and Johnny in the Clair de Lune (Berkshire Theater Group), A Streetcar Named Desire (Yale Rep), Disney’s Beauty and the Beast (Barrington Stage), Millbrook Playhouse, Red House Theater, Kitchen Theater Company, Luna Stage Company. Upcoming: Last of the Red Hot Lovers (Northern Stage, dir. Maggie Burrows), Chick Flick (dir. Mary Catherine Burke), Amy’s Homecoming (Passport Theatricals in Hainan, China). MFA, Yale School of Drama. www.Huntersk.com XAVIER PIERCE (Lights) With Mint: A Day by the Sea (dir. Austin Pendleton). Harvey (The Guthrie, Dir. Libby Appel), Fences (Long Wharf / McCarter Theatre co-production, Dir. Phylicia Rashad), Fly (Florida Studio Theatre / Handy Award for Best Lighting), Two Trains Running (Two Riv-
ers Theatre, Dir. Ruben Santiago-Hudson), A Raisin in the Sun (Westport Country Playhouse, Dir. Phylicia Rashad), Common Enemy (Triad Stage, Dir. Preston Lane), The Piano Lesson (Olney Theatre Center, Dir. Jamil Jude), Two Trains Running (The Arden, Dir. Raelle Myrick Hodges), 4,000 Miles, Peter and the Starcatcher, and The Mountaintop (PlayMakers Rep). Upcoming: Native Gardens (The Guthrie, dir. Blake Robison), Detroit ’67 (PlayMakers Rep), Sweet (National Black Theatre) and Smart People (Arena Stage). Xavier is a graduate of NYU Tisch School of the Arts MFA in Design Stage and Film. JANE SHAW (Original Music & Sound) has designed over twenty-five productions for the Mint including A Day by the Sea, Women Without Men, The New Morality, London Wall, Mary Broome, and The Fifth Column. New York credits include: Men on Boats, Playwrights Horizons and Clubbed Thumb; Ironbound, Women’s Project and Rattlestick; Taste of Honey and Public Enemy, Pearl Theater; The Killer, Theatre for a New Audience. Regional credits: All the Way, Cleveland Play House; Rear Window, Hartford Stage; Capital Rep, Two River Theater, Denver Center. Next: Comedy of Errors, Hartford Stage; The Price, Triad Stage; Jane Eyre, Cincinnati Play House. Recognition: Bessie Award, Drama Desk, Connecticut Critics Circle, Henry Award, Premios ACE 2012, Meet the Composer grant, Theatre Communication Group’s Career Development Program, and nominations for two Lortels, Henry Hewes and Elliot Norton awards. She was born in Kansas and lives in Brooklyn. JOSHUA YOCOM (Props) collaborates with the Mint yet again on Yours Unfaithfully. This is his 15th production with the Mint, most recently propping A Day by the Sea, Women Without Men, The New Morality, Fashions for Men, The Fatal Weakness, Donogoo, London Wall, and Philip Goes Forth. Joshua has worked as a properties master and freelance artisan with a number of New York
Y o u r s U n fa i t h f u l ly companies, including Roundabout Theatre, Keen Company, Epic Theatre Ensemble, Red Bull Theatre, Pearl Theatre Company, Second Stage, Primary Stages, Theatre for a New Audience, Gotham Chamber Opera, NYC Ballet, Lincoln Center, Queens Theatre, Summerworks, Across the Aisle Productions, Snug Harbor, the Atlantic Theater Co., The New School of Drama, and the York Theatre Company. Joshua also props and styles bedding and rooms for print through collaboration with the Mayo photography studios. JOHN JARED JANAS (Hair, Wigs & Makeup) Broadway designs include The Visit, The Real Thing, Lady Day at Emerson’s Bar and Grill, Motown, The Gershwins’ Porgy and Bess, Peter and the Starcatcher, All About Me, and Next to Normal. Recent off-Broadway designs include Dead Poets Society, This Day Forward, Ultimate Beauty Bible, Himself & Nora, The Tempest (Shakespeare in the Park), Pretty Filthy, Father Comes Home from the Wars, Texas in Paris, A Month in the Country, Allegro, Passion, Bad Jews, By the Way, Meet Vera Stark, and Detroit 67. Recent Regional productions include Bella and Dreamgirls (Dallas Theater Center), Marley (Center Stage) and Waterfall (Pasadena Playhouse). TV/Film: “Inside Amy Schumer”, God’s Pocket, Six by Sondheim, “30 Rock”, Lola Versus, “Gilded Lilys”, and Angelica. CHRIS BATSTONE (Production Manager), production manager for Broadway and Off-Broadway productions, lives in the beautiful Hudson Valley. During the summer, he has a lot of fun as PM for the Hudson Valley Shakespeare Festival. Yours Unfaithfully is his 4th show with Mint, and he is glad to be back working for this wonderful group of artists.
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Dramaturgy and Dramatic Criticism at Yale School of Drama. She is the author of the book, American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy (Palgrave Macmillan, 2015).
PAMELA EDINGTON (Production Stage Manager) is very happy to be returning to Mint Theater Company where she recently stage managed A Day by the Sea, and to continue her association with Jonathan Bank. Favorite productions over the years would include: Coastal Disturbances, The Green Heart, The Weir (original Broadway production), Collected Stories with Miss Uta Hagen (both Off-Broadway and for the Stratford Shakespeare Festival), Three Mo’ Tenors, Toys in the Attic, Limonade Tous les Jours, Jacques Brel…, Murder Ballad, and Sokeo Ros’ Cambodian Lullaby. Projects in development: a musical version of Far From the Madding Crowd, as well as a new musical about the life of the famous disc jockey, Alan Freed.
JEFF MEYERS (Stage Manager) was in a play once. He played the “Captain” in the Grand Junction, CO, high school production of Carousel. He then turned to stage management. He is excited to be back working with Mint Theater having previously ASM-ed A Day by the Sea, Fashions For Men and Earnest Hemingway’s The Fifth Column. New York highlights also include Beyond Therapy and Happy Birthday (TACT), Painting Churches and Marry Me A Little (Keen Company), Amazons And Their Men (Clubbed Thumb), Orange Flower Water and Adam Rapp’s Stone Cold Dead Serious (Edge Theater Company), Hamlet (CSC), Critical Darling (The New Group) and Greg Kotis’ Eat The Taste (Barrow St. Theatre). Regional highlights include, The Theater at Monmouth’s 2005 through 2015 summer seasons and The Underpants (Two River Theater Company). His union of choice is AEA, and he dedicates this and every performance to his Mom and Dad.
MAYA CANTU (Program Note) is a theater historian, scholar, and Dramaturgical Advisor for the Mint, where she has previously worked on A Day by the Sea, Women Without Men, The New Morality, Fashions for Men, The Fatal Weakness, London Wall, and Philip Goes Forth. Maya is on the Drama faculty at Ben- STEPHANIE KLAPPER, CSA (Casting)’s nington College, and received her D.F.A. in work is frequently seen on Broadway, Off-
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Broadway, regionally, internationally, on television, film and the internet. Resident Casting Director for Primary Stages and continues her long collaborations with numerous companies such as New York Classical Theatre, The Peccadillo, Hudson Valley Shakespeare Company, Masterworks, and Resonance Ensemble as well as others in NYC and in the regions. Currently has a number of very exciting projects running and upcoming in NYC, regionally and on film. Recent projects include: The Roads to Home; Wilderness; A Class Act; Edwin, the story of Edwin Booth; That Golden Girls Show!; The Good Swimmer (HERE/Prototype Festival); Jules Verne… (BAM). Another Dance of Death (short film); Jules Member: Casting Society of America and League of Professional Theatre Women.
THE PEKOE GROUP is a full-service advertising and marketing agency for theatrical events and cultural attractions. Clients include Second Stage Theatre, Mint Theater Company, New York Theatre Workshop, Avenue Q, Barrington Stage Company, NYU Skirball Center, Brooklyn Botanic Garden, Puffs, Oh Hello On Broadway, Paul Taylor American Modern Dance, The Screwtape Letters, C.S. Lewis Onstage: The Most Reluctant Convert, Martin Luther On Trial, and more. www.thepekoegroup.com DAVID GERSTEN & ASSOC. (Publicist) has served as press representatives and marketing consultants on Broadway and off for over twenty-five years. In addition to the Mint, current clients include several not-for profit theater companies including INTAR, Keen Company, NAATCO, Red Bull Theater, TACT, and Theatreworks USA, among others, as well as the Off-Broadway hit comedy, Shear Madness. David serves on the Board of Governors of ATPAM, the Association of Theatrical Press Agents & Managers and is a member of the Off-Broadway League and a founder of the Off-Broadway Alliance. JONATHAN BANK (Producing 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. Under Bank’s leadership the Mint has earned an international reputation as the source for highquality revivals of forgotten works and has become, in the words of The New York Times’ Jason Zinoman, “the leading New York entrepreneur” of the neglected play business. Jackie Maxwell, Artistic Director of The Shaw Festival in Canada describes Jonathan Bank as the “Indiana Jones of arcane playwriting.” Recently for the Mint, Bank directed Katie Roche, Temporal Powers, and Wife to James Whelan—three plays by the neglected Irish playwright, Teresa Deevy. Bank spearheaded Mint’s ambitious three-year, three-play Teresa Deevy Project, dedicated to reclaiming the lost voice of “one of the most undeservedly neglected and significant Irish playwrights of the 20th century” (The Irish Times). In a feature article about the project in America Magazine, Andrew Garavel writes, “Thanks are due to Jonathan Bank and the Mint Theater for bringing such a distinctive voice from the past so satisfyingly into the present.” Also for the Mint, Bank directed The New Morality by Harold Chapin, Mary Broome by Allan Monkhouse, as well as Maurine Dallas Watkins’ So Help Me God! starring Emmy Award-winner Kristen Johnston. The production received four Drama Desk nominations, including Outstanding Revival and Outstanding Director. Other productions at the Mint include 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 and Susan and God by Rachel Crothers. Jonathan both adapted and directed Arthur Schnitzler’s Far and Wide and The Lonely Way which he also cotranslated (with Margaret Schaefer). These two plays were published in a volume entitled Arthur Schnitzler Reclaimed which Bank edited. He is also the editor of three additional volumes in the “Reclaimed” series (Teresa Deevy, Harley Granville Barker, and St. John
Y o u r s U n fa i t h f u l ly 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.
JEN SOLOWAY (Managing Director) Prior to joining the Mint in September 2014, Jen held a variety of financial and general management positions for several distinguished nonprofit arts organizations including Classic Stage Company, Exploring the Arts, Making Books Sing, the Jose Limon Dance Foundation, Houses on the Moon Theater Company, and Chicago’s Vittum Theater. In 2010, Jen co-founded and spearheaded the adaptive re-use plan for the Railroad Playhouse, a nonprofit performance space in Newburgh, NY focused on new play development and arts education programs. She served as the Executive Director of the Railroad Playhouse for two years where she produced the world premiere of Alex Goldberg’s “America’s Brightest Star” and earned the Times-Herald
biographies
Record’s “Best Theatre Venue” voter award in 2012. Jen holds a BFA in Theatre Technology from DePaul University in Chicago and an MFA in Arts Management from Brooklyn College.
42ND STREET DEVELOPMENT CORP Headquartered in the heart of New York City’s Theater District, 42nd Street Development Corporation (42SDC) is a non-profit organization that uses the arts as a catalyst for economic development. We own and operate Theatre Row, a complex of five Off-Broadway theaters, studios, and office space that are rented to non-profit theater companies. Additionally, we operate the innovative Music and the Brain non-profit program, which brings music education to students in more than 160 public schools in New York City and other cities throughout the United States and abroad. While our history is rooted in the development of 42nd Street, our mandate is far reaching. We are currently exploring opportunities for economic development in all of the five boroughs of New York City.
Mint Theater Company is the proud recipient of a Broadway Green Alliance Off-Broadway Greening Grant! The grant funded our Artist Greening Welcome Kits, which are distributed to our casts and crews (Women Without Men pictured above) and include reusable water bottles, mugs, and tote bags. We are dedicated to working with the Broadway Green Alliance toward adopting environmentally friendly practices in all of our day-to-day operations. For more information about the Broadway Green Alliance, visit www.broadwaygreen.com
FIRST PRIORITY CLUB
First Priority Club Members
get more and pay less.
A tax-deductible contribution of $250 or more makes you a member of our First Priority Club, ensuring you get the best seats at the lowest price. For more information, visit the InvestMINT page at MintTheater.org, or call 212.315.0231.
MINT THEATER COMPANY finds and produces worthwhile plays from the past that have been lost or forgotten. It is our mission to create new life for these plays through research, dramaturgy, production, publication, readings and a variety of enrichment programs.
program—an ongoing series of concertstyle play readings—offers our audience an opportunity to delve deeper into the work of some of our favorite playwrights.
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 five volumes in our Reclaimed series, each featuring the work of a single author: Teresa Deevy, Harley Granville Barker, St. John Hankin and Arthur Schnitzler.
Under the leadership of Jonathan Bank as Producing 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. Terry Teachout of The Wall Street Journal writes that the Mint has a “a near-perfect track record of exhuming forgotten plays of Mint Theater Company the previous century that deserve a happier Producing Artistic Director . . . . Jonathan Bank fate.” 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.
Sharing with our audience 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. These post-performance discussions feature world class scholars discussing complex topics in an accessible way and are always free and open to the general public. Our “Further Readings”
Managing Director . . . . . . . . . . . . Jen Soloway Associate Director . . . . . . . . . . . Jesse Marchese Marketing & Development Associate . . . . . . . . . . . . . . . . . . . . . Jason Rost Management Intern . . . . . . . . . . .Jack Mattern Development Consultant . . . Ellen Mittenthal Dramaturgical Advisor . . . . . . . . Maya Cantu Videographer . . . . . . . . . . . . . . . . . Paul Sauline Advertising, Marketing & Website Design . . . . . . . The Pekoe Group / Amanda Pekoe, Jason K. Murray, Kathryn Zaccarelli, Mara Roberts, Christopher Lueck, Briana Lynch, Jenny Dorso, Noah Fried Press Rep . . . . . . . . . . . David Gersten & Assoc David J. Gersten, Daniel DeMello Auditor . . . . . . . . . . Lutz & Carr, CPA’s, LLP
Board of Trustees
Gretchen Adkins Jonathan Bank Bob Donnalley Ciro A. Gamboni John P. Harrington
Brian Heidtke Jann E. Leeming Eleanor Reissa Kathryn Swintek John Yarmick
The following generous Individuals, Foundations, & Corporations support the Mint Theater, and we honor their contributions: Crème de Mint: $10,000 and above
Lea & Malvin Bank Barbara Bell Cumming Foundation Cory & Bob Donnalley Charitable Foundation Jean and Louis Dreyfus Foundation The Fan Fox & Leslie R. Samuels Foundation Gail & Ciro Gamboni Howard Gilman Foundation The Gladys Krieble Delmas Foundation Edith Meiser Foundation The Andrew W. Mellon Foundation New York City Department of Cultural Affairs New York State Council on the Arts Royal Little Family Foundation The Shubert Foundation, Inc. The Ted Snowdon Foundation The Harold & Mimi Steinberg Charitable Trust Michael Tuch Foundation SilverMint: $5,000 to $9,999
Anonymous Axe-Houghton Foundation Robert Brenner Virginia Brody
Edmée & Nicholas Firth Johanna & Leslie Garfield Janet & John Harrington The Heidtke Foundation Marta Heflin Foundation David L. Klein, Jr. Foundation Blanche & Irving Laurie Foundation Lucille Lortel Foundation Lorna H. Power Wallace Schroeder The South Wind Foundation The Dorothy Strelsin Foundation The Geraldine Stutz Trust, Inc. Sukenik Family Foundation Katharine & Dennis Swanson Kathryn Swintek John Yarmick ChocolateMint: $2,500 - $4,999
Anonymous American Century Theater Kim & David Adler Sarah Billinghurst Solomon Grover Connell William Downey Agnes & Emilio Gautier Christopher Joy & Cathy Velenchik Sandra & David Joys The Dorothy Loudon Foundation Dorinda Oliver
The Petros K. & Marina T. Sabatacakis Foundation David Stenn SpearMint: $1,500 - $2,499
42nd St Development Fund Gretchen Adkins Kenneth & Carole Boudreaux Jon Clark & Ryan Franco Mr. & Mrs. Edward W. Franklin The Friars Foundation Ruth Friendly The Gordon Foundation Rebecca Kaplan Sally and Wynn Kramarsky Sandra & Jonathan Landers Lloyd McAulay Doreen & Larry Morales George Morfogen, In Memory of Tim Vasen Eleanor Reissa George Robb Drs. Carole M. Shaffer-Koros & Robert M. Koros Elaine Taylor-Gordon Susan & Zachary Shimer Michael Thomas Helen S. Tucker, Gramercy Park Fdn. Hilda Wenig & Lisa Renz PepperMint: $750 - $1,499
Anonymous (2) Actors’ Equity Foundation Linda & Lloyd Alterman
supporters Louise L. Arias John H. & Penelope P. Biggs Eugene & Joann Bissell Maury & Joseph Bohan Lois Burke Pamela Coker & John Walls George & Susan Crow W. Leslie Duffy Jennifer & Greg Ezring Barbara Farrar Barbara Fleischmann Jane & Charles Goldman Marta Gross & Richard Barnes John Hargraves & Nancy Newcomb Carol & Patrick Hemingway Hickrill Foundation Linda Irenegreene & Martin Kesselman Paul & Karen Isaac Jim Kilpatric & Harry Neyens Charlene & Gary MacDougal John David Metcalfe Rose Marie Proietti Linda Ray Mark Rossier Judy Goetz Sanger John Q. & Karen E. Smith Dr. Norman Solomon Stagedoor Manor Alec Stais & Elissa Burke Stella Strazdas & Hank Forrest Charitable Fund M. Elisabeth Swerz Joan Thorne Mary & Karl Von der Heyden Steven Williford DoubleMint ($250 - $749)
Anonymous (11) Stephen Abel & Frank Wolf Barbara & Alan Abrams Richard Abrons
Thomas & Mary Adams Judith Aisen & Kenneth Vittor Louis Alexander Dean Alfange Laura Altschuler Carmen Anthony Randy & Ruth Bank William N. Banks Judith E. Barlow Robin Baskett Joseph Bell Victoria Berger-Gross Barbara Berliner & Sol Rymer Muriel Bermar Al Berr Nidia Besso Clinton F. Best Peter & Helena Bienstock Judith Bihaly Iris & Alan Blanc Steven Blier & James S. Russell Allison Blinken Julian & Zelda Block Rose-Marie Boller & Webb Turner Dr. & Mrs. Jeffrey Borer Alice Boyle Nathan Brandt Beatrice & Douglas Broadwater Broadway Green Alliance Debra Brockway Barbara Brusco Dorothy Burke Ann Butera Peter Cameron Alice B. Cannon-Perkins Robbie Capp Fairfid M. Caudle Aurelie Cavallaro Russell Charlton & Julie Norwell Lynn Charnay Carolyn Chave & Robert Hand Stephen & Elena Chopek Steven R. Coe Toni Coffee Ira Cohen
Julie Cushing Connelly Jo Ann Corkran Penelope Costigan Audrey & Fergus Coughlan Marina Couloucoundis Tandy Cronyn Leslie Crossley Michael Crowley Lewis B. & Dorothy Cullman Fdn. Mary Curran John & Ellen Curtis Cynthia Darlow & Richard Ferrone Sue & Stuart Davidson Ann DeInnocentiis Anthony & Ruth Demarco Denny Denniston & Christine Thomas Claudia & Frank Deutschmann Katherine & Bernard Dick Robert E. Diefenbach Thomas A. Dieterich Nancy M. Donahue Caroline Donhauser Elizabeth Dooley Suzanne Dowling Joan Drelich James Duffy Kim & William Eckstrom Herzl Eisenstadt Marjorie Ellenbogen Monte Engler & Joan Mannion Judith Eschweiler H. Read Evans Robert Ewing Ronald & Diana Ezring Benjamin Feldman Howard Feldman Orinda & Tom Filipi Douglas Filomena William Finkelstein Angela T. Fiore James Fleckenstein Eva & Norman Fleischer Charles Forma Carol & Burke Fossee Jeffrey & Diana Frank J. Roger Friedman
supporters Dr. Barbara Gaims-Spiegel & Robert M. Spiegel Eugene Gantzhorn Michael Garber Mary J. Geissman Marion & Whitney Gerard Susan & David Gerstein Gene Gill Suellen & David Globus Betty & Joshua Goldberg Ryan Goodland & Evan Leslie Margaret Goodman Charles Gordanier Stanley Gotlin & Barry Waldorf Anna Grabarits Sabina Grochowski & Piotr Wyrwinski Arnold H. Grossman Alan & Ethel Groudan Jeffrey H. Grover Georgia & Antonio Grumbach Carol & Steven Gutman Gunilla Haac Lanie Hadden Dr. Ronald & Maria Hagadus Joseph Hardy Jennifer Harmon Charles Hayman Henry Hecht & Sally Wasserman Carol Hekimian Reily Hendrickson Michael Herko David Herskovitzs Sigrid Hess Karin & Henry Herzberg Barbara J. Hill Linda & George Hiltzik Claire Hinchcliffe Alan Hirsh Eleanor Hodges Dorothea & Edward Hoffner Heather & Bruce Horner Derek Hughes Cathy Hull & Neil Janovic
Cheryl Hurley Harriet & Elihu Inselbuch Jocelyn Jacknis James W. Jackson Susan & Stephen Jeffries Wendy & David Johnston Nora & William Johnston Joseph Family Char. Trust Gerhard Joseph Virginia Josephian Peter Haring Judd Fund Bill & Margaret Kable Dawn Kafcos Greg & Karin Kayne Joan Kedziora Frances & Carter Keithley James P. Kelly Laurie Kennedy Gerald & Roberta Kiel Gilbert Kirsch & Cynthia Wellins Kaori Kitao Caral Klein Frederick Koch Carol Kochman James J. Kolb Marlene & Gerald Kolbert P. Koopman Sarah & Victor Kovner Anna Kramarsky & Jeanne Bergman Jean Kroeber Mildred Kuner Carmel Kuperman George Labalme George LaForest Julie Laitin David & Mary Lambert Sybil Landau William & Robert Lang John & Judie LaRosa Pearl & Karl Lazar Gordon Leavitt Ira & Gloria Leeds Sue Leffler Laura & Rodney Leinberger Dr. Albert Leizman & Ann Hartz David Lerner & Lorren Erstad
Linda Levine Cathie Levine & Josh Isay Gloria & Mitchell Levitas Carol & Stanley Levy Jack & Barbara Lewis Christopher Li Greci & Robert Ohlerking Eva Lichtenberg & Arnold Tobin Claire Lieberwitz & Arthur Grayzel, MD Murray Liebman Joseph & Audrey Lombardi Daniel Lowenstein Mary & Boyd Lowry Paul Lubetkin & Joyce Gordon Joan M. Lufrano Jon Lukomnik & Lynn Davidson Bette Lyons Mary Rose Main Vivian Majeski Florence Mannion Martin Maleska & Julia McGee Jean & Robert Markley Jacqueline Maskey Eileen Mason Jill Matichak Lorraine Matys Peggy Mautner Cheryl & Harris May Doris & David May George W. Mayer Pamela Mazur, PhD Barbara & Dan McCarthy John McCaskey Patricia A. McCormack Francis McGrath Carolyn McGuire Robert McLaughlin & Sally Parry Martin Meisel Ilse Melamid Richard Mellor, Jr. Joan & John Mendenhall Radley Metzger Leonard & Ellen Milberg Lusia & Bernard Milch
This list represents donations made from December 1, 2015 - December 14, 2016. Every effort is made to ensure its accuracy.
supporters Stephen Mills Susan & Joel Mindel Ann Miner Ellen Mittenthal Elaine & Richard Montag Joseph Morello Frank Morra Elaine & Ronald Morris John & Michelle Morris Carole & Theodore Mucha Wayne Muchmore, In Memory of Mike & Jane Muchmore Georgia & Mark Munsell Daniel Murnick & Janet George Karol Murov Maureen Murphy Virg & Bob Nahas Mary Martin Nelson June O’Donnell Stephanie & Robert Olmsted Modest & Linda Oprysko Colleen Orsatti Patricia O’Shea Howard & Marcia Owens Alex & Luisa Pagel Frances Pandolfi Jeanine Parisier Plottel Jonathan Parker James J. Periconi Anick Pleven Sheila & Irwin Polishook Mary & Larry Pollack Isaac Pollak Lynn Poole Georgette & David Preston Robert & Carlo Prinsky Robert A. Pugsley Judith Quillard Judith & Sheldon Raab Susan & Peter Ralston Teresa Ranellone Joe Regan Cordelia & David Reimers Jackie Renton Tom Repasch Peter Robbins & Paige Sargisson Phyllis & Earl Roberts Richard V. Robilotti
Renee & Seymour Rogoff Brian Rohman & Peggy Herzog Robert & Rhoda Roper Sylvia Rosen Donna & Ben Rosen Saul Rosenthal Charles & Meryl Rubin Marcia & Michael Rubin William Rumancik & Paul Cowan Lynn & Thomas Russo Mary & Winthrop Rutherfurd Sam & Kathy Salem Philanthropic Fund Rosemarie Salvatore Peter and Mary Jane Sander J.B. Sandler Catherine Scaillier Judy & Dick Schachter Maxine Scherl Herbert Schlesinger Daphne & Peter Schwab Marilyn & Joseph Schwartz John F. Settel George & Marjorie Shea Camille & Richard Sheely Janet & Joseph Sherman Robert Shivers Helen Shufro Shelley & Joel Siegel Joyce Silver Marion & Leonard Simon Adrianne & David Singer Frank Skillern Janet & Mike Slosberg Ilene J. Slater-Stone Barbara Madsen Smith Bernice Smith Barbara & Stanley Solomon Stephen Sondheim Sandra & Graham Spanier Charles Sperling Shondell & Ed Spiegel Mélie & John Spofford Voytek Sporek Martha S. Sproule Marcella Ann Stapor Sherry & Bob Steinberg Gary Stern Peter & Wendy Stetson
Susan Stockton & William Garvin Mihail & Doina Stoiana Amy Stoller Suzanne & Jon Stout Edna & Robert Straus Elaine Strauss Pamela Stubing Joseph Sturkey Dr. Larry E. Sullivan Richard & Jean Swank Bryna Sweedler Jean Swintek, in honor of Kathryn Swintek Carol Tambor & Kent Lawson Douglas G. Tarr Madeline Taylor Annie Thomas & David H. Kirkwood Deborah & Craig Thompson Caroline Thomson & Steve Allen Karl Tiedemann Lee Toole & Kimiko Otsuka Stan & Madelene Towne Linda & Ken Treitel Susan & Charles Tribbitt Evelyn Truitt Martha van Hise Anthony & Elaine Viola Joan & Bob Volin Robert & Janet Wagner John Michael Walsh Robert G. Walsh Rob Webb & Pat DeRousie-Webb Donna Welensky Christy Welker Patricia & Richard White Wien Family Fund Robert & Lillian Williams Daniel Marshall Wood Donald & Barbara Zucker Mary Zulack & Peter Belmont Burton & Sue Zwick
Y o u r s U n f a i t h f u l ly This Theatre is operated by Theatre Row Studios and 42nd Street Development Corporation as a service to individuals and companies who do not have their own performances spaces. This presentation is not a Theatre Row Studios or 42nd Street Development Corporation production, nor does its presentation in this Theatre imply approval or sanction by either Theatre Row Studios or 42nd Street Development Corporation. Erika Feldman...................General Manager Shawn Murphy............Assoc. Gen. Manager Keith Adams....................Technical Director Keaton Grant, Andre Sguerra, Luis Payero, Alan Waters.................. Asst. Tech Directors Azizi Bell.......................Box Office Manager Drew Overcash...........Asst. Box Office Mgr. & Social Media Coordinator Christian Chambers, Natalia Lopresti, Kiley McDonald, Matthew Westerby...............Box Office Staff Jack Donoghue....................House Manager Scott Pegg............................Studio Manager Please turn off all cell phones and pagers before the performance begins. Thank You! The use of cameras and other recording devices in this Theatre is prohibited by law.
Production Staff
Production Manager . . . . . . . . . . Chris Batstone Master Carpenter . . . . . . . . . . . . . Carlo Adinolfi Technical Supervisor . . . . The Lighting Syndicate Lighting Programmer . . . . . . . . Christine Causey Asst Lighting Designer . . . . . . . . . . Eric Norbury Board Operator . . . . . . . . . . . . Steven McMullen Sound Supervisor . . . . . . . . . . . . . . . Alex Huerta Asst Costume Designer . . . . . . . . Adrienne Perry Asst Set Designer . . . . . . . . . . . . . . . Frank Oliva, Jessie Bonaventure Asst Director . . . . . . . . . . . . Jonathan Schlieman Lead Deck Crew . . . . . . . . . . . . . . Kathryn Sykes Production Asst . . . . . . . . Ryan Keller, Sarah Jack Casting Asst . . . . . . Alexa Magnotto, Ari Rudess
House Manager . . . . . . . . . . . . . . Amber Godfrey, Megan Robinson
Special Thanks
Andrew Malleson; Kenneth Blackwell, Sheila Turcon, Beverly Bayzat and Emily Tyschenko of the Bertrand Russell Archives, McMaster University. Jeremy Wilson of One Dream Sound, Jason Marsh of Hayden Production Services, Jon Kunst, Caroline Cook, Erin Miller-Todd, Victoria Bek, Yale Repertory Theatre, Stephen Smith, Douglas Filomena of The Lighting Syndicate, Erika Feldman and Shawn Murphy of Theatre Row, and Playwrights Horizons.
Subsidized studio space provided by the A.R.T./New York Creative Space Grant, supported by the Andrew W. Mellon Foundation.
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.
In the event of Fire, please proceed quietly to the nearest exit. Exits are located where you entered the Theatre Complex and at the back of the Stage, which you can reach by walking Mint Theater Company wishes to thank the TDF through any opening in the scenery or drapes Costume Collection for its assistance in this production. on stage. There is no smoking anywhere in this Theatre or in the Theatre Complex, including, lobby stairways and restrooms.
Credits
Set constructed by Carlo Adinolfi. Lighting installed by the Lighting Syndicate. Custom-made costume jewelry provided by Moans Couture, New York, NY.
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 Production History A Day by the Sea, 2016
Wife to James Whelan, 2010
Milne at the Mint, 2004
Women Without Men, 2016
Doctor Knock, 2010
Far and Wide, 2003
The New Morality, 2015
So Help Me God!, 2009
The Daughter-In-Law, 2003
By N.C. Hunter By Hazel Ellis
By Harold Chapin
Fashions for Men, 2015 By Ferenc Molnár
The Fatal Weakness, 2014 By George Kelly
By Teresa Deevy
By Jules Romains
By Maurine Dallas Watkins
Is Life Worth Living?, 2009 By Lennox Robinson
The Widowing of Mrs. Holroyd, 2009 By D.H. Lawrence
Donogoo, 2014
The Glass Cage, 2008
London Wall, 2014
The Fifth Column, 2008
Philip Goes Forth, 2013
The Power of Darkness, 2007
A Picture of Autumn, 2013
The Return of the Prodigal, 2007
By Jules Romains
By John Van Druten By George Kelly By N.C. Hunter
Katie Roche, 2013 By Teresa Deevy
Mary Broome, 2012 By Allan Monkhouse
Love Goes to Press, 2012 By Martha Gellhorn & Virginia Cowles
Rutherford & Son, 2012 By Githa Sowerby
Temporal Powers, 2011 By Teresa Deevy
A Little Journey, 2011 By Rachel Crothers
What the Public Wants, 2011 By Arnold Bennett
By J.B. Priestley
By Ernest Hemingway By Leo Tolstoy
By St. John Hankin
Two Plays by A.A. Milne By Arthur Schnitzler By D.H. Lawrence
The Charity That Began at Home, 2002 By St. John Hankin
No Time for Comedy, 2002 By S.N. Behrman
Rutherford & Son, 2001 By Githa Sowerby
Diana of Dobson’s, 2001 By Cicely Hamilton
The Flattering Word & A Farewell to the Theater, 2000 By George Kelly & Harley Granville-Barker
The Madras House, 2007
Welcome to Our City, 2000
John Ferguson, 2006
Miss Lulu Bett, 2000
Susan and God, 2006
The Voysey Inheritance, 1999
By Harley Granville-Barker By St. John Ervine
By Rachel Crothers
Soldier’s Wife, 2006
By Thomas Wolfe By Zona Gale
By Harley Granville-Barker
By Rose Franken
Alison’s House, 1999
Walking Down Broadway, 2005
By Edith Wharton & Clyde Fitch
By Dawn Powell
The Skin Game, 2005 By John Galsworthy
The Lonely Way, 2005 By Arthur Schnitzler
Echoes of the War, 2004 By J.M. Barrie
By Susan Glaspell
The House of Mirth, 1998 Mr. Pim Passes By, 1997 By A.A. Milne
Uncle Tom’s Cabin, 1997 By George Aiken
Quality Street, 1995 By J.M. Barrie