PRODUCING ARTISTIC DIRECTOR
JONATHAN BANK MANAGING DIRECTOR
—
presents
—
JEN SOLOWAY
by
N.C. Hunter directed by
Austin Pendleton
Mint Production History
Women Without Men By Hazel Ellis Jan - March 2016
The New Morality
Doctor Knock By Jules Romains April - June 2010
So Help Me God!
Milne at the Mint
Two Plays by A.A. Milne March - May 2004
Far and Wide
By Harold Chapin Aug - Oct 2015
By Maurine Dallas Watkins Nov - Dec 2009
By Arthur Schnitzler Sept - Nov 2003
Fashions for Men
Is Life Worth Living?
The Daughter-In-Law
The Fatal Weakness
The Widowing of Mrs. Holroyd
The Charity That Began at Home
The Glass Cage
No Time for Comedy
The Fifth Column
Rutherford & Son
The Power of Darkness
Diana of Dobson’s
The Return of the Prodigal
The Flattering Word & A Farewell to the Theater
By Ferenc Molnár Feb - April 2015 By George Kelly Aug - Oct 2014
Donogoo
By Jules Romains June - July 2014
London Wall
By John Van Druten Feb - April 2014
Philip Goes Forth By George Kelly Aug - Oct 2013
A Picture of Autumn By N.C. Hunter May - July 2013
Katie Roche
By Teresa Deevy Jan - March 2013
Mary Broome
By Allan Monkhouse Aug - Oct 2012
Love Goes to Press By Martha Gellhorn & Virginia Cowles May - July 2012
Rutherford & Son By Githa Sowerby Feb - April 2012
By Lennox Robinson Aug - Oct 2009
By D.H. Lawrence Feb - April 2009 By J.B. Priestley Sept - Nov 2008
By Ernest Hemingway Feb - May 2008 By Leo Tolstoy Sept - Oct 2007
By St. John Hankin May - July 2007
The Madras House
By Harley Granville-Barker Jan - March 2007
Wife to James Whelan By Teresa Deevy July - Oct 2010
By Cicely Hamilton May - June 2001
By George Kelly & Harley Granville-Barker Nov - Dec 2000
Miss Lulu Bett
Soldier’s Wife By Rose Franken Feb - April 2006
The Skin Game
By Arnold Bennett Jan - March 2011
By Githa Sowerby Sept - Oct 2001
Susan and God
By Rachel Crothers June - July 2006
A Little Journey What the Public Wants
By S.N. Behrman March - April 2002
Welcome to Our City
Walking Down Broadway
By Rachel Crothers May - July 2011
By St. John Hankin Sept - Oct 2002
John Ferguson
By St. John Ervine Sept - Oct 2006
Temporal Powers By Teresa Deevy Aug - Oct 2011
By D.H. Lawrence June - Oct 2003
By Dawn Powell Sept - Nov 2005
By John Galsworthy June - Aug 2005
The Lonely Way
By Arthur Schnitzler Feb - May 2005
Echoes of the War By J.M. Barrie July - Aug 2004
By Thomas Wolfe Sept - Oct 2000
By Zona Gale March - April 2000
The Voysey Inheritance By Harley Granville-Barker Jan - March 2000 June - July 1999
Alison’s House By Susan Glaspell Sept - Oct 1999
The House of Mirth
By Edith Wharton & Clyde Fitch May - June 1998
Mr. Pim Passes By By A.A. Milne Dec 1997 - Jan 1998 Dec 1996
Uncle Tom’s Cabin By George Aiken Sept 1997
MINT THEATER COMPANY
Jonathan Bank, Producing Artistic Director Jen Soloway, Managing Director presents
by
N.C. HUNTER with
CURZON DOBELL, JULIAN ELFER, KATIE FIRTH, PHILIP GOODWIN, SEAN GORMLEY, POLLY McKIE, KYLIE McVEY, GEORGE MORFOGEN, ATHAN SPOREK, JILL TANNER Sets CHARL ES MO R G A N Pro p s JOSHUA Y O C O M Cas t in g JUDY B O W M A N Il l us tration STEFANO I M B E RT
C o s tum e s M A RT H A H A L LY
L i g h ts XAVI ER P I ER C E
D i al e c ts & D ra m atu rg y A M Y ST O L L ER P ro d u c ti o n Sta g e M an a g e r C AT H E R I N E B L O C H G r a p hi c s H E Y JU D E D E S IG N , I N C .
S o u n d a n d Mu s i c JA NE S HAW
Wi g & Ha i r De s i g n R O BE RT-CHA RL E S VA L L A NCE A s s t. S ta g e Ma n a g e r A RI E L L E GOL DS T E I N
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 U P
P re s s Re p DAV I D GE RS T E N & A S S OCI AT E S
directed by
AUSTIN PENDLETON THE BECKETT THEATRE, THEATRE ROW A Day by the Sea is produced is presented by special arrangement with Dramatists Play Service, Inc., New York. A Day by the Sea 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 Elinor Eddison.............................................................................................Kylie McVey David Anson........................................................................................George Morfogen Toby Eddison............................................................................................. Athan Sporek Miss Mathieson............................................................................................ Polly McKie Doctor Farley..........................................................................................Philip Goodwin Laura Anson.....................................................................................................Jill Tanner Frances Farrar..................................................................................................Katie Firth Julian Anson................................................................................................... Julian Elfer William Gregson...................................................................................... Curzon Dobell Humphrey Caldwell...................................................................................Sean Gormley
Act 1.......................................................... The garden of Laura Anson’s house in Dorset. A morning in early May, 1953. Intermission Act II Scene 1.............................................................................. The beach, the same afternoon Scene 2......................................................................................... The same, an hour later Intermission Act III.................................The garden of Laura Anson’s house in Dorset, next morning
CURZON DOBELL
JULIAN ELFER
SEAN GORMLEY
GEORGE MORFOGEN
KATIE FIRTH
PHILIP GOODWIN
POLLY McKIE
KYLIE McVEY
ATHAN SPOREK
JILL TANNER
BY N.C. HUNTER
author’s note
Maya Cantu, Mint’s Dramaturgical Advisor, obtained a copy of this unpublished Author’s Note for A Day by the Sea from the author’s estate, courtesy of Christine De Poortere, Great Ormond Street Hospital Children’s Charity.
N.C . H u n t e r
about the playwright
A BIOGRAPHY OF N.C. HUNTER By Maya Cantu
A keenly observant writer of “charm, pathos, and humor” (The Stage), N.C. Hunter took his place among the leading British dramatists of the 1950s. Spanning diverse genres of farce, fable, satire—and, most distinctively, tragicomedy—Hunter’s body of work encompassed eighteen plays and six novels. He was a playwright of contradictions. A deeply private man who shunned the spotlight, Hunter’s plays drew dazzling casts of West End stars. Trained to serve in the military, Hunter earned acclaim for his delicate, gently ironic “plays with Chekhovian tints, yet with qualities of sensitivity and craftsmanship all their own.”1 Born September 18, 1908 in Derbyshire, Norman Charles Hunter came of age in a prestigious English family. The son of Lieutenant-Colonel Charles F. Hunter, D.S.O. and his wife Nancy Wingrave Cobbett, Hunter’s great-great-grandfather was the radical journalist and agriculturist Sir William Cobbett, who had famously campaigned for the rights of farm workers in his 1830 book Rural Rides. Following after his father, Hunter attended Repton School and the Royal Military School of Sandhurst, and served his commission in the Dragoon Guards from 1930 through 1933. Yet Hunter looked to a life of letters, and in 1932, the British radio show “Miscellany” featured the young man’s poem, “La Promenade à Cheval.” In the mid-1930s, Hunter broke out as a playwright and novelist. After the debut of his first play, 1934’s The Merciless Lady (co-written with John Ferguson), Hunter made his name on the West End stage with a series of frothy, deftly crafted farces, including All Rights Reserved (1935), Ladies and Gentlemen (1937), and Grouse in June (1939). These “comedy soufflés” (The Era)
N.C. Hunter in the early 1950s.
found a moderate degree of success with audiences and critics. Hunter also settled into married life with the Belgian-born Germaine Dachsbech. In 1938, Hunter adapted Irish folklore (i.e. “The Cooneen Ghost”) for the Belfast BBC, and in 1939, co-wrote his only screenplay, the thriller Poison Pen. That same year, he re-enlisted as a soldier in the Royal Artillery, as Great Britain entered World War II. Following his experiences in the war, Hunter’s early comedies gained in depth and subtlety. Smith in Arcady (1947) and A Picture of Autumn (1951) evoked the influence of Anton Chekhov, whose plays Hunter had turned to “through the discomforts and horrors” of his WWII service.2 Shaded with “touches of nostalgic and rueful poetry,”3 Autumn followed the fortunes of the Denham family, who debate whether or not to sell their decaying Wiltshire manor. Although lauded by critics, A Picture of Autumn (revived by Mint Theater in 2013) was not picked up for a West End run after its one-night debut on
N.C . H u n t e r February 12, 1951 at the Duke of York’s Theatre. A disheartened Hunter was on the brink of trading playwriting for life as a rural schoolmaster, when Dame Edith Evans fortuitously stepped in. Picking Waters of the Moon off a pile of rejected scripts in the office of Hugh “Binkie” Beaumont, the actress persuaded the West End impresario to produce it.4 With the lyrical Waters of the Moon, Hunter became one of the most popular and successful of 1950s British playwrights. Hunter’s plays captured the mood of a nation shaken by economic insecurity and post-imperial decline, with characters grasping for purpose. Like A Picture of Autumn, Waters of the Moon poignantly portrayed English gentility struggling for survival. Balancing nuanced ensemble drama with virtuoso star turns for Evans and Dame Sybil Thorndike, the play traced the relationships and aspirations of a group of middle-class residents at a rural Dartmoor hotel, where a blizzard snows in a charismatic London socialite (Evans) and her family. This time, however, Hunter’s work met an enthusiastic reception, as Waters of the Moon played 835 performances at the Theatre Royal Haymarket after opening on April 19, 1951, as part of the historic Festival of Britain exhibition of national culture. With his next set of plays, Hunter raised questions about the complexities of political engagement in an Age of Anxiety, and the relationship of money, work, and success to personal fulfillment. As England drew the world’s gaze with Elizabeth II’s 1953 coronation, Hunter’s plays also were a magnet for stage royalty. Opening to largely glowing reviews in November 1953 at the Haymarket, where it ran for 386 performances, A Day by the Sea starred Sir John Gielgud (who also directed the production) as diplomat Julian Anson, alongside Thorndike, Irene Worth, and Sir
about the playwright
Ralph Richardson. The play also came to Broadway’s ANTA Theatre in 1955, directed by Sir Cedric Hardwicke, and starring Hume Cronyn and Jessica Tandy. Although critic Brooks Atkinson praised Hunter’s work as “humorous, touching, wistful, gentle and wise,”5 A Day by the Sea blossomed for only 24 performances in brash and booming 1950s America. Hunter’s next play, A Touch of the Sun (1958), featured Michael Redgrave as an idealistic schoolmaster pressed to defend his ascetic way of life after he, his wife, and daughter (Vanessa Redgrave) travel with wealthy relatives to the French Riviera. Contrasting with the air of celebrity surrounding his plays, Hunter himself lived close to the soil, “in part of an old farmhouse in north Wales,” as Theatre World profiled “The Elusive Playwright.”6 With the changing of the theatrical guard in the mid-1950s, Hunter’s career fell into sudden decline. The incendiary 1956 premiere of John Osborne’s Look Back in Anger at the Royal Court Theatre ushered in a revolutionary new wave of young playwrights. Championed by critic Kenneth Tynan, the so-called “Angry Young Men” revitalized and permanently transformed the British theater. At the same time, the new movement also toppled a substantive interwar generation of dramatists, including Hunter, Noël Coward, Terence Rattigan, and J.B. Priestley, now charged with an escapist “celebration of country house, cocktail glass, (and) cigarette holder.”7 While Tynan’s criticism dealt serious blows to all of these writers, Hunter’s reputation additionally suffered from critics’ endless comparisons to Chekhov, and “a tendency in England to underestimate Mr. Hunter and give almost all of the credit to his actors,” as The Brooklyn Daily Eagle noted in 1954. As critic W.A. Darlington later recalled: (Hunter’s) best work was often treated disparagingly by critics who allowed themselves to pretend that he was a
about the playwright N.C . H u n t e r mere imitator of the Russian genius. However, I think they were demonstrably wrong. Hunter’s sense of character was acute and full of original observation. The trouble really was that their character belonged to the class he knew best and to which he himself belonged—and it happened to be a class that the new wave and its followers were treating with deliberate disdain.8 Throughout the turbulence of the sixties, Hunter continued to craft a range of thoughtful dramas, including The Tulip Tree (1962) and The Excursion (1964), as well as a picaresque farce, The Adventures of Tom Random (1967). In 1969, Hunter also reflected on “Modern Trends in the Theatre” at Wales’ University College of Swansea. In this lecture, Hunter shared his admiration
for such language-driven younger writers as Tom Stoppard and Joe Orton, while surveying British theater’s last decade of transformation with characteristic generosity: “In a live and healthy theatre, there should be room for everything: the open stage and the proscenium, the play of commitment and the frivolous farce, Ibsen and Feydeau, and the ‘tragical-comical-historical-pastoral.’ It should be as varied, surely, as the tastes of the society it reflects are varied.”9 Hunter died on April 19, 1971, at the age of sixtytwo. As Hunter’s West End peers, including Coward and Rattigan, draw renewed rounds of applause in the varied theatre worlds of the twenty-first century, Hunter likewise beckons new audiences with plays rich in ambiguity and paradox. As a clear-eyed and compassionate observer of the changing seasons of English society, Hunter insightfully chronicled a country in the throes of historical transition, looking toward an uncertain future. At the same time, Hunter—a perennial lover of gardens—explored timeless themes of aging and memory; nature and the natural cycle. With his “dramas of sensitivity, perception, and adult understanding,”10 N.C. Hunter eloquently speaks on.
Jill Tanner and George Morfogen in A Picture of Autumn, Mint 2013. Photo: Richard Termine
i. ii.
Obituary,” The Stage and Television Today, April 22, 1971, pg. 17. Charles Duff, The Lost Summer: The Heyday of the West End Theatre (London: Nick Hern Books, 1995), pg. 109 iii. A.V. Cookman, The London Times, February 12, 1951. iv. The Lost Summer, pg. 109. v. Brooks Atkinson, “Theatre: A Leisurely Day by the Sea,” The New York Times, September 27, 1955, pg. 42. vi. George Bullock, “N.C. Hunter: The Elusive Playwright,” Theatre World, February 1954, pgs. 11-12. vii. Dan Rebellato, 1956 and All That: The Making of Modern British Drama (London: Routledge: 1999), pg. 8. viii. W.A. Darlington, “Obituary,” The London Times, April 20, 1971, Victoria and Albert Museum Theatre and Performance Archives, “N.C. Hunter Biographical File.” ix. N.C. Hunter, “Modern Trends in the Theatre: The W.D. Thomas Memorial Lecture, Delivered at the University College of Swansea on March 18, 1969,” Swansea: University College, 1969. x. Louis Sheaffer, “Theatres: Two London Hits,” The Brooklyn Daily Eagle, September 12, 1954.
A D ay CURZON DOBELL (William Gregson) Curzon Dobell appeared at the Mint in Love Goes to Press. He has worked in NYC at Lincoln Center, the Irish Rep, the Culture Center, Soho Rep, the Director’s Company, St Clement’s, and five times for Theatre for a New Audience. Regionally, he played the title role in the premiere of The Love Song of J. Robert Oppenheimer by Carson Kreitzer at Cincinnati Playhouse. He has also performed at the Guthrie Theatre, Baltimore CenterStage, Pittsburgh Public, Hartford TheatreWorks, Syracuse Stage, GeVa, the Westport Country Playhouse and Living Room Theatre in Vermont. In Canada, he has been a company member of the Stratford Festival and the Grand Theatre Company. Film and TV: includes “House of Cards”, “The Knick”, “John Adams”, “Law and Order”, “Mr Robot”, Return to Paradise, Greg Orr’s Alone and Wall Street: Money Never Sleeps. Training: Bristol Old Vic Theatre School.
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KATIE FIRTH (Frances Farrar) Previously at the Mint: N.C. Hunter’s A Picture of Autumn; Susan and God and Far and Wide. Other New York credits include: The Hiding Place, Atlantic; Humble Boy, Manhattan Theater Club; Only the End of the World, The Quiet Room and Stephen Belber’s solo play, Finally, Company Charnière; Museum, Keen; Golden Prospects; The Winters Tale; The Wild Duck; Three Sisters; Stonewall; and A Woman Alone. Regional: Catherine Sloper in The Heiress, Peterborough Players; Placement, The Black Dahlia, (LA Weekly Outstanding Performance nomination); King Lear: Storm at Home, Virginia Stage; Day of the Kings, Alliance Theater; Romeo and Juliet and Twelfth Night, New Jersey Shakespeare Festival; Picnic, Actors Theatre of Louisville; Persephone, Mettawee Theatre Co; and the Williamstown Theatre Festival. Film & TV includes: “Ugly Betty”, “Law & Order”, Honey, “Guiding Light”, and BBC’s “Grange Hill”. Ms. Firth JULIAN ELFER (Julian Anson) Julian Elf- is a narrator for Recorded Books, and a comer’s recent stage credits include John Patrick pany member of The Actors Center. Shanley’s new two-person play Our Fantasia PHILIP GOODWIN (Doctor Farley) (Nylon Fusion), the role of Charles Con- Shakespeare Theatre Company, Washington, damine in Blithe Spirit (Cape May Stage), DC: Malvolio in Twelfth Night, Timon in Malvolio in Twelfth Night (Directed by Cat Timon of Athens, Mayor Stockbridge in An Parker) for which he won the New York In- Enemy of the People (Helen Hayes Awards); novative Theatre Award for Best Actor in King John, Henry VI, The Tempest, Volpone, and a Lead Role, Guildenstern in Tom Stop- others. Broadway: The Diary of Anne Frank, pard’s Rosencrantz and Guildenstern Are Dead The School for Scandal, Tartuffe. Off-Broad(Gloria Maddox Theatre), Asher in A Perfect way: Cymbeline, Pericles, Macbeth and as the Crime (Snapple Theatre), the role of Moon in Fool in King Lear with Kevin Kline, Public Stoppard’s The Real Inspector Hound (Glo- Theatre; The Broken Heart, Troilus and Cresria Maddox Theatre) , Poor Ophelia (New York sida and as Henry VI in Henry VI (Drama Directors’ Guild) and Corialanus (Shake- Desk nomination), TFANA; Grace, MCC; speare NYC) to name a few. Julian’s recent Drowning, Signature Theatre; The Trestle at film credits include the role of Albert Fuh in Pope Lick Creek, NYTW; Richard III, Double the award winning The World of Albert Fuh, Falsehood, CSC; Celebration, Atlantic Thea short film written and directed by Cady atre Company. Regional: Kenneth Tynan in McClain. He also starred in Sonnet 64 (the Tynan, The Lisbon Traviata, The Puppetmaster NYC Shakespeare Sonnet Film Project, of Lodz, The Seafarer, Studio Theatre, DC; Dr. Shakspeare Exchange). www.JulianElfer.com Tambourri in Passion, Golden Child, The Kennedy Center; other regional appearances include Hartford Stage, Cleveland Playhouse, Great Lakes Theatre Company, Guthrie The-
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atre, Portland Stage, Shakespeare Theatre of New Jersey, Intiman Theatre, Williamstown Theatre Festival, Two River Theater and The Acting Company. Film: The Pink Panther, The Pink Panther 2, Diary of a City Priest. Television: “Law and Order”, “Law and Order: Criminal Intent”, “Gotham” and Hamlet for PBS.
SEAN GORMLEY (Humphrey Caldwell) Sean is delighted to be making his Mint Theatre debut. NY Theatre: The Weir, Da, Transport (world premiere), Aristocrats, The Devil’s Disciple, Yeats Project, The Shaughraun (Irish Rep). Nora, Shadow of the Glen (Marvell Rep). Ladies and Gents (Irish Arts Center). The Good Thief (Solo performance at Players Theatre directed by John Keating), Ross (Storm Theatre). Regional Theatre: Sucker Punch (US premiere, Studio Theatre DC). Dr. Jekyll & Mr. Hyde, Macbeth, Waiting For Lefty, Antigone, The Resistible Rise of Arturo Ui, Hellhound On My Trail, Riders to the Sea, Hound of the Baskervilles. TV: “Person Of Interest” (CBS), “Treme” (HBO), “All My Children” (ABC), “The Edge”. Film: What Maisie Knew, Falling Apples. Numerous independent film and voiceover credits. www.seangormley.com
POLLY McKIE (Miss Mathieson) Polly McKie is delighted to be making her OffBroadway debut with The Mint. New York Theatre includes: Gertrude Stein in Little Wars at The Clarion; After the Circuit (New York Fringe); Richard III (The Secret Theatre); Dollface (Theatre for the New City); Regional: Lost in Yonkers (New Harmony Theatre); Into The Woods (Potsdam Music Theatre). International credits include: Cabaret; Ragtime; Sweeney Todd; The Beauty Queen of Leenane. Film: Milking It; One Second Changes Everything (for which she won an American Movie Award for Best Supporting Actress, 2016). Polly also plays a mockumentary host in the new web series, “Composing Life”. Education and training: University of Glasgow, University of Strathclyde, HB Studio and her mother’s knee. Heartfelt
thanks to Kathy Olsen, Jonathan Bank, Judy Bowman, Austin Pendleton and, of course, The McKie Family.
KYLIE McVEY (Elinor Eddison) Kylie McVey is entering the 8th grade. She is thrilled to be a part of A Day by the Sea. Credits include: National Tour: Les Miserables (Little Cosette/ Young Eponine). Theatre: Because of Winn Dixie (Opal) with the Delaware Theatre Company, Shrek (Fiona) and Beauty and the Beast (Lumiere) at St. Joes Theatre Workshop. Film/TV: “Law and Order”, “From Wags to Riches”, and the award winning short film, A Mighty Nice Man (Charlotte). Music Videos: Cousin Matt, “I Found You” (lead) and Great Caesar Band, “McGill”, (young Marie). Concerts: Soloist with Kenny Rogers, “Broadway Sings for Newtown.”
GEORGE MORFOGEN (David Anson) Mint Theater: A Picture of Autumn, The Madras House, The Voysey Inheritance, Uncle Bob (premiere), The Lonely Way, Farewell to the Theatre, Donogoo. BROADWAY: A Man for All Seasons, Fortune’s Fool, An Inspector Calls, Arms and the Man, Kingdoms, John Gabriel Borkman. Off Broadway: Richard II (Bayfield Award), The Three Sisters, The Forest, Uncle Vanya, Ivanov (CSC); All’s Well That Ends Well, Antony and Cleopatra (TFANA); Mrs. Warren’s Profession, The Country Girl, Cyrano (Roundabout); Principia Scriptoriae, Golden Age (MTC); Hearthbreak House, Vieux Carre (Pearl); Hamlet Othello, Cymbeline, Henry V, As You Like It, A Midsummer Night’s Dream (Public and NYSF); The Oxford Roof Climbers Rebellion (Urban Stages); Nora (Cherry Lane). REGIONALS: Golden Age (premiere) Philadelphia and The Kennedy Center. OTHER REGIONS: Baltimore, Arizona, Seattle, Dallas, Long Wharf, Pittsburgh, Manitoba, Portland, ME, Peterborough, NH, Williamstown (17 seasons). FILM: Twenty Bucks, What’s Up Doc?, Those Lips, Those Eyes, They All Laughed, She’s Funny That Way. TV: “OZ” (HBO), “Damages”, “Law and Order SVU”. Fox Fellow 2000. Brown University (Phi Beta Kappa), Yale School of Drama.
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ATHAN SPOREK (Toby Eddison) Athan Sporek is 8 years old and is thrilled to make his debut with the Mint Theater Company. Athan made his Broadway debut at age 7 starring in Les Miserables as the youngest Gavroche in Broadway history. He went on to play the leading role of Fritz in New York City Ballet’s The Nutcracker at Lincoln Center. TV credits: “The Knick”, “Odd Mom Out”, “Butterbeans Cafe”, “Welcome to the Wayne”. Extra special thanks to my manager, Lauren Singer, and Jamie Pillet and Victoria Kress at Abrams Artists, Judy Bowman casting, Austin Pendelton, and everyone at the Mint Theater Company. Much love and gratitude to mommy, daddy, Angelina and all of my family and friends! AthanSporek.com, Twitter.com/Athan Sporek
Stage, Pittsburgh Public and City Theatre, Cape Playhouse, Old Log, Arena Stage, Alley, Huntington, Philadelphia Theatre Company, Kennedy Center, Guthrie, Alliance, Pioneer, Humana Festival and the O’Neill Theater Center. Film and TV include: The Fighter, Major Payne, Airport ‘77, all the “Law & Orders”, “Wonder Woman”, “Fantasy Island”, “WKRP”, “Strangers with Candy”, “Dave Chappell Show” and “30 Rock”.
ROSS BICKELL (u/s David Anson) Broadway: Noises Off, The Iceman Cometh, A Few Good Men. Off-Broadway: Donogoo (Mint) Deathbed (McGinn-Cazale), The Madras House (Mint), Waste (TFANA), Durango (Public), Remembrance ( John Houseman), Privates on Parade and The Crucible (Roundabout), Somewhere in the Pacific (Playwrights), Down by the Ocean (York). Regional includes over 200 productions at such theaters as Merrimack, Long Wharf, Hartford
CHARLES MORGAN (Scenic Designer) Mr. Morgan returns to the Mint Theater for his fourth show. Mr. Morgan most recently designed A Picture of Autumn also by N.C. Hunter. Also at the Mint, Mr. Morgan has designed, The Madras House & The Charity That Began at Home. Mr. Morgan has designed scenery for over 200 shows in Chicago, New York, and Boston. Mr. Morgan has designed for Merrimack Repertory Theater, American Stage Festival, The Nora Theater,
JILL TANNER (Laura Anson) With Mint Theater: A Picture of Autumn, Mary Broome. Broadway: Dividing the Estate, Enchanted April, Rose, My Fat Friend, No sex Please, We’re British. National Tour: Lettice and Lovage. Off Broadway: The Golden Bowl with Pilobolus Dance Company. Regional: Enchanted April, Hartford Stage Company; Richard III, Guthrie Theatre, The Rivals, ACT; Coriolanus, You Never Can Tell, Denver Theatre Center; The Importance of Being Earnest, Enemy of the People, Mc Carter Theatre; Premiere of Horton Foote’s Vernon Early, Last Night of Ballyhoo, Ghosts, The Cherry Orchard, Alabama Shakespeare Festival. Over a hundred books on tape for the Library of Congress and Recorded Books. Training: the Royal Academy of Dramatic Art.
AUSTIN PENDLETON (Director) has recently been represented in New York as a director by such productions as Between Riverside and Crazy, by Stephen Adly Giurgis, at the Atlantic and Second Stage Theaters; Hamlet, Ivanov, Three Sisters, and Uncle Vanya (all at CSC); Nora, at the Cherry Lane; and Orpheus Descending, in the sanctuary at St. John’s Lutheran Church, in the West Village. He has directed, and acted, at the Cleveland Playhouse, the Long Wharf, the Williamstown Theater Festival (where he became an actor and director under the guidance of Nikos Psacharopoulos), and at Chicago’s Steppenwolf Theatre, where he is a member of the Ensemble. As an actor he has appeared on, off and off-off Broadway, in over 200 movies, and on TV in “Homicide”, “Oz”, and “Law and Order”. He teaches acting at HB Studio, in New York. He has written such plays as Orson’s Shadow, Uncle Bob, Booth (all published and all produced in New York) and the libretto for A Minister’s Wife, a musical adapted from Shaw’s Candida produced at Writers’ Theatre, in Chicago, and then at Lincoln Center.
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Worcester Foothills, and Gloucester Stage Company, among others. Special thanks to KC, Nora, Catherine, and Miles for taking him along for the ride.
JANE SHAW (Sound Designer & Arrangements) has designed over twenty productions at the Mint including Women Without Men, The New Morality, Fashions for Men, The Fatal Weakness, and The Fifth Column. With Austin Pendleton: Vieux Carré, the Pearl. New York credits include: The Killer, Theatre for a New Audience; Food and Fadwa, New York Theatre Workshop; Men on Boats, Playwrights Horizons and Clubbed Thumb, Ironbound, Women’s Project and Rattlestick. Regional credits: Steel Magnolias, Cleveland Play House; Rear Window, Hartford Stage; Triad Stage, Capital Rep, Two River Theater, Denver Center. Next: Taste of Honey and Public Enemy, the Pearl; All the Way, Cleveland 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.
MARTHA HALLY (Costumes) Mint: Women Without Men (Drama Desk, Lortel nominations), Fashions for Men, London Wall, Katie Roche, Wife to James Whelan, Mary Broome, A Little Journey. OFF-BROADWAY: Shining City,The Field, Banished Children of Eve, Gaslight (Irish Rep); Secret Order (59E59); The Late Christopher Bean, Bedroom Farce, Three Men on a Horse (TACT) REGIONAL: Milwaukee Repertory Theater, Pittsburgh Public Theater, CenterStage, Cincinnati Playhouse in the Park, Dallas Theater Center, The Repertory Theater of St. Louis, Alley Theatre, Great Lakes Theater Festival and Resident Ensemble Players (Univ.of Delaware). Among her opera designs are the world premiere of The Insect Comedy for The Center for Contemporary Opera, La Resurrezione, Dido and Aeneas for Chicago Opera Theater, Tales of Hoffmann and Aida for Virginia Opera, and L’Olimpiade and Tamerlano JOSHUA YOCOM (Props) collaborates for Little Orchestra Society of Lincoln Center. with the Mint yet again on A Day by the Sea. www.marthahally.com This is his 14th production with the Mint, XAVIER PIERCE (Lights) CREDITS: most recently propping Women Without Men, Harvey (The Guthrie, Dir. Libby Appel), The New Morality, Fashions for Men, The Fatal Fences (Long Wharf / McCarter Theatre co- Weakness, Donogoo, London Wall, and Philip production, Dir. Phylicia Rashad), Fly (Flor- Goes Forth. Joshua has worked as a propida Studio Theatre / Handy Award for Best erties master and freelance artisan with a Lighting), Two Trains Running (Two Rivers number of New York companies, including Theatre, Dir. Ruben Santiago-Hudson), A Roundabout Theatre, Keen Company, Epic Raisin in the Sun (Westport Country Play- Theatre Ensemble, Red Bull Theatre, Pearl house, Dir. Phylicia Rashad), Common Enemy Theatre Company, Second Stage, Primary (Triad Stage, Dir. Preston Lane), The Piano Stages, Theatre for a New Audience, Gotham Lesson (Olney Theatre Center, Dir. Jamil Chamber Opera, NYC Ballet, Lincoln CenJude), and Two Trains Running (The Arden, ter, Queens Theatre, Summerworks, Across Dir. Raelle Myrick Hodges), and 4,000 Miles, the Aisle Productions, Snug Harbor, the AtPeter and the Starcatcher, and The Mountaintop lantic Theater Co., The New School of Dra(PlayMakers Rep). Upcoming: Native Gar- ma, and the York Theatre Company. Joshua dens (The Guthrie, dir. Blake Robison), De- also props and styles bedding and rooms for troit ’67 (PlayMakers Rep), and Smart People print through collaboration with the Mayo (Arena Stage). Xavier is a graduate of New photography studios. York University Tisch School of the Arts MFA in Design Stage and Film.
A D ay ROBERT-CHARLES VALLANCE (Wig and Hair Designer) Recent: Women Without Men (Drama Desk Nomination), First Daughter Suite: The Public, Amazing Grace: Broadway, A Christmas Memory, Bull Durham, Comedy of Errors, Donnybrook, A Civil War Christmas, Cotton Club Parade, Pipe Dream. Broadway Design Favorites: Lucky Guy, Little Shop of Horrors, Long Day’s Journey into Night, Ma Rainey’s Black Bottom, Our Town. Resident Designer: Irish Rep Theatre: Celebrating over 40 productions. Proprietor of: The Broadway Wig Co www.broadwaywigs.com
AMY STOLLER (Dialects & Dramaturgy) celebrates 20 years at the Mint! Past Mint highlights include Women Without Men; The New Morality; London Wall; Katie Roche; Temporal Powers; Wife to James Whelan; Love Goes to Press; The Daughter-in-Law; Rutherford and Son. She is happy to be reunited with Austin Pendleton, having previously done the dialect design for his production of Toys in the Attic at the Pearl. On Broadway she coached Jessie Mueller (Tony Award) as Carole King in Beautiful. A frequent collaborator with Anna Deavere Smith, from here she heads to A.R.T. (Cambridge, MA) with Ms. Smith’s Notes from the Field. Recent New York credits include Himself and Nora (Minetta Lane). Film and television include Selma (NAACP Image Award-winner Carmen Ejogo as Coretta Scott King), “Mozart in the Jungle”; “Nurse Jackie”; “Power”; Let Me Down Easy (“Great Performances”); London Wall (“Theater Close-Up”); “YoungArts MasterClass”; and “Dora the Explorer.” www.stollersystem.com. MAYA CANTU (Add’l Dramaturgy and Program Note) Maya Cantu is a theater historian, scholar, and Dramaturgical Advisor for the Mint, where she has previously worked on Women Without Men, The New Morality, Fashions for Men, The Fatal Weakness, London Wall, and Philip Goes Forth. She received her D.F.A. in Dramaturgy and Dramatic Criticism at Yale School of Drama, and recently joined the Drama faculty of Bennington
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College. Maya is the author of the book, American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy (Palgrave Macmillan, 2015). CATHERINE BLOCH (Production Stage Manager) is delighted to be joining the Mint Theater Company this summer. Her stage management credits include: Forbidden Broadway, The Civilians’ Gone Missing and Nobody’s Lunch, Signature Theatre Company: The Late Henry Moss, Sundance Institute Theatre Lab, O’Neill Playwrights Conference and various events including: SAY 14th Annual Benefit Gala, Aubrey Lynch’s Jazzland with the Jazz at Lincoln Center Orchestra, Dodge Poetry Festival, Newark Peace Conference with the Dalai Lama.
ARIELLE GOLDSTEIN (Assistant Stage Manager) Off-Broadway: Head of Passes (The Public Theatre), The Legend of Georgia McBride (MCC Theatre), Gloria, Indecent (Vineyard Theatre) Regional: An Opening in Time, Reverberation, Twelfth Night, A Gentleman’s Guide to Love and Murder, Somewhere, Macbeth and LaDispute in rep (Hartford Stage); Man in A Case (Big Dance Theatre/ Hartford Stage); All’s Well That Ends Well, The Merchant of Venice, Cymbeline (Shakespeare Theatre Company). Graduate of The University of Pittsburgh. Proud member of Actors Equity Association.
JUDY BOWMAN, CSA. (Casting) Judy Bowman, CSA has been casting for The Mint since 2013. Recent theater credits include On the Verge (Attic/Laura Braza), Abigail/1702 (Merrimack Rep/Tlaloc Rivas), Jen Silverman’s Collective Rage (Woolly Mammoth/ Mike Donahue), The Way of the World (Dorset/Theresa Rebeck), East of Heart Mountain (Wyoming Theater Festival), Guess Who’s Coming to Dinner? (St. Michael’s Playhouse) & Jewish Plays Project. FILM: Hurricane Bianca, Lost Cat Corona, Gold Star, and numerous short films & webseries. Judy also cast Luft Gangster, directed by Austin Pendletleton. www.judybowmancasting.com
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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, Eclipsed on Broadway, Natasha Pierre and the Great Comet of 1812, Turn Me Loose, Brooklyn Botanic Garden, The Off Broadway League, 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, 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.
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 (now Theatre at West Shore Station), 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 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. JONATHAN BANK (Producing Artistic Director) has been the artistic director of Mint since 1995. Most recently at the Mint, he directed The New Morality. Other Mint credits include: Katie Roche, Temporal Powers and Wife to James Whelan by Teresa Deevy; Mary Broome by Allan Monkhouse; Maurine Dallas Watkins’ So Help Me God! at the Lucille Lortel, which received four Drama Desk nominations, including Outstanding Revival and Outstanding Director. He is the editor of Worthy But Neglected: Plays of the Mint Theater Company which includes his adaptations of Thomas Wolfe’s Welcome to Our City and Edith Wharton’s The House of Mirth, as well as four volumes in the Reclaimed series. Other directing credits include critically acclaimed productions of Ivanov and Othello for the National Asian American Theater Company, John Brown’s Body, The Double Bass and Three Days of Rain for the Miniature Theater of Chester and The Heiress, Hobson’s Choice, Candida and Mr. Pim Passes By for the Peterborough Players. He earned his M.F.A. from Case Western Reserve University in his hometown of Cleveland, OH.
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 were distributed to the cast and crew of Women Without Men 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
A D ay 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.
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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 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 Mint Theater Company writes that the Mint has a “a near-perfect Producing Artistic Director . . . . Jonathan Bank track record of exhuming forgotten plays of the previous century that deserve a happier Managing Director . . . . . . . . . . . . Jen Soloway Associate Director . . . . . . . . . . . Jesse Marchese 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”
Marketing & Development Associate . . . . . . . . . . . . . . . . . . . . . Jason Rost Development Consultant . . . Ellen Mittenthal Dramaturgical Advisor . . . . . . . . Maya Cantu Videographer . . . . . . . . . . Joshua Paul Johnson Advertising, Marketing & Website Design . . . . . . . The Pekoe Group / Amanda Pekoe, Jessica Ferreira, Christopher Lueck, Jason K. Murray, Kathryn Zaccarelli, Jenny Dorso, Corey Gosselin, Noah Fried, Briana Lynch, Mara Roberts Press Rep . . . . . . . . . . . David Gersten & Assoc David J. Gersten, Daniel DeMello Auditor . . . . . . . . . . Lutz & Carr, CPA’s, LLP
Administration:
330 West 42nd St Ste 1210 New York, NY 10036
212.315.9434 Visit us online: minttheater.org
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BE THE FIRST TO KNOW: First Priority Club Members receive advance notification of all of our productions and events. GET THE SEATS YOU WANT: First Priority Club Members have the first opportunity to order the seats you want on the date you prefer. PAY LESS FOR TICKETS: First Priority Club Members save up to 35%. NEVER PAY SERVICE CHARGES: First Priority Club Members pay no service charges. RECEIVE PERSONAL ATTENTION: First Priority Club Members call the Mint directly and not a call center. ATTEND READINGS FOR FREE: First Priority Club Members and their guests are invited to attend readings and other special events at no charge. SUPPORT THE MINT: First Priority Club Members know that we depend on the generosity of our patrons. Ticket sales provide less than half of the income we need.
For more information, visit the InvestMINT page at MintTheater.org, or call 212.315.9434.
The impetus for the fund began with a $95,000 gift that fell from the sky last year when the Edith Meiser Foundation decided to cease operations. Meiser was an actress who began in vaudeville and then conquered Broadway. She was also a Councilor of Actors’ Equity Association for many years. One of the Foundation’s twelve trustees was Carol Wasser, the former Eastern Regional Director of Actors’ Equity. Each Trustee was permitted to designate a single organization to receive 1/12th of the remaining principle. Although Carol had never seen one of our productions, she chose the Mint because of our excellent reputation: “Not only for the quality of the work, but for the respect with which the artists were treated.” We decided that this money should go towards increasing salaries for our actors, and this year they will receive a 10% boost. The “Fund for the Next Fifty,” will help ensure our ability to continue taking good care of the actors who, along with our audience, are our most valued collaborators. We are proud to say that our Fund now has close to $200,000, which is 2/5th of the way to our goal of $500,000 by the end of June 2017 For information about contributing to the “Fund for the Next Fifty,” call 212-315-9434 and speak with Mint’s Associate Director, Jesse Marchese. Or visit minttheater.org
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 Fdn. Jean and Louis Dreyfus Fdn. The Fan Fox & Leslie R. Samuels Foundation Mr. & Mrs. Ciro A. Gamboni Howard Gilman Fdn. 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 John Yarmick
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 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 ChocolateMint: $2,500 - $4,999
Anonymous American Century Theater Kim & David Adler Sarah Billinghurst The Dorothy London Foundation William Downey Agnes & Emilio Gautier Christopher Joy & Cathy Velenchik
Sandra & David Joys Sarah-Ann Kramarsky The Petros K. & Marina T. Sabatacakis Foundation David Stenn SpearMint: $1,500 - $2,499
42nd Street 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 George Morfogen, In Mem. of Lloyd McAulay Dorinda Oliver 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 Foundation Hilda Wenig & Lisa Renz
supporters PepperMint: $750 - $1,499
Anonymous Actors’ Equity Foundation Linda & Lloyd Alterman Louise L. Arias Eugene & Joann Bissell Maury & Joseph Bohan Lois Burke Lynn Charnay Pamela Coker & John Walls Grover Connell George & Susan Crow Jennifer & Greg Ezring Barbara Farrar Barbara Fleischmann Jane & Charles Goldman Marta Gross & Richard Barnes John Hargraves & Nancy Newcomb Carol & Patrick Hemingway Hickrill Foundation Alan Hirsch Paul & Karen Isaac Jim Kilpatric & Harry Neyens Sandra & Jonathan Landers Charlene & Gary MacDougal John David Metcalfe Doreen & Larry Morales Rose Marie Proietti Linda Ray 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 Rob Webb & Pat DeRousie-Webb Steven Williford
DoubleMint ($250 - $749)
Anonymous (11) Barbara & Alan Abrams Judith Aisen & Kenneth Vittor Louis Alexander Dean Alfange Laura Altschuler Carmen Anthony 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 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 Deb Brockway Barbara Brusco Dorothy Burke Ann Butera Peter Cameron Alice B. Cannon-Perkins Robbie Capp Fairfid M. Caudle Aurelie Cavallaro Russell Charlton & Julie Norwell Carolyn Chave & Robert Hand Stephen & Elena Chopek Steven R. Coe Ira Cohen Julie Cushing Connelly
Jo Ann Corkran Penelope Costigan Marina Couloucoundis Tandy Cronyn Leslie Crossley Michael Crowley Lewis B. & Dorothy Cullman Fdn. Mary Curran John & Ellen Curtis Cynthia Darlow 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 Suzanne Dowling James Duffy Kim & William Eckstrom Herzl Eisenstadt Marjorie Ellenbogen Monte Engler & Joan Mannion Judith Eschweiler H. Read Evans Robert Ewing Benjamin Feldman Howard Feldman Orinda & Tom Filipi Douglas Filomena William Finkelstein Angela T. Fiore James Fleckenstein Eve & Norman Fleischer Charles Forma Carol & Burke Fossee Jeffrey & Diana Frank J. Roger Friedman Dr. Barbara Gaims-Spiegel & Robert M. Spiegel Eugene Gantzhorn Michael Garber Mary J. Geissman Marion & Whitney Gerard
supporters 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 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 Henry Hecht Carol Hekimian Reily Hendrickson Michael Herko David Herskovitzs 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 Harriet & Elihu Inselbuch Linda Irenegreene & Martin Kesselman Jocelyn Jacknis James W. Jackson Susan & Stephen Jeffries Wendy & David Johnston Nora & William Johnston Joseph Family Char. Trust 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 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 Evan Leslie & Ryan Goodland 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
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 Leonard & Ellen Milberg Lusia & Bernard Milch 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
supporters 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 Robert & Carlo Prinsky Robert A. Pugsley Judith Quillard Susan & Peter Ralston Teresa Ranellone Susan Read Joe Regan Cordelia & David Reimers Jackie Renton Tom Repasch Peter Robbins & Paige Sargisson Richard V. Robilotti Renee & Seymour Rogoff Brian Rohman & Peggy Herzog Robert & Rhoda Roper Sylvia Rosen Donna & Ben Rosen Saul Rosenthal Mark Rossier 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 Judy Goetz Sanger Catherine Scaillier Judy & Dick Schachter Maxine Scherl Herbert Schlesinger Marilyn & Joseph Schwartz John F. Settel George & Marjorie Shea Camille & Richard Sheely Janet & Joseph Sherman Helen Shufro Shelley & Joel Siegel Joyce Silver Marion & Leonard Simon Adrianne & David Singer Frank Skillern 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 Martha S. Sproule Marcella Ann Stapor Sherry & Bob Steinberg Gary Stern Susan Stockton & William Garvin Mihail & Doina Stoiana Amy Stoller Suzanna & Jon Stout Edna & Robert Straus Elaine Strauss Pamela Stubing Joseph Sturkey Dr. Larry E. Sullivan Richard & Jean Swank Bryna Sweedler Carol Tambor & Kent Lawson Douglas G. Tarr Madeline Taylor Annie Thomas & David H. Kirkwood 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 Janet Weaver Christy Welker Patricia & Richard White Wien Family Fund Robert & Lillian Williams Daniel Marshall Wood Piotr Wyrwinski Donald & Barbara Zucker Mary Zulack & Peter Belmont Burton & Sue Zwick
This list represents donations made from July 1, 2015 - July 12, 2016. Every effort is made to ensure its accuracy.
T h a n k y o u !
A D ay 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.
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Production Staff
Technical Direction . . . . . . . . . . . . AndrĂŠ Sguerra Lighting Supervisor . . . . . . . . . . . . . Desi Fischer/ The Lighting Syndicate Lighting Programmer . . . . . . . . Christine Causey Lighting Asst . . . . . . . . . . . . . . . . Stacey Derosier Board Operator . . . . . . . . . . . . . . Jim Armstrong Sound Supervisor . . . . . . . . . . . . . . . Alex Huerta Wardrobe Supervisor/ Costume Stitcher . . . . . . . . . . . . . Pia Kristjansen Asst. Costume Designer . . . . . . . . Anna Tringali Costume Asst . . . . . . . . . . . . . . Naomi Sherman Erika Feldman...................General Manager Costumes Built by . . . . . . . . . . . . . . . . Kay Stuntz Shawn Murphy............Assoc. Gen. Manager Wardrobe Sub . . . . . . . . . . . . Temma Richardson Keith Adams....................Technical Director Master Carpenter . . . . . . . . . . . . Chris Batstone Geoffrey Bryant, Andre Sguerra, Luis Payero Run Crew/ ......................................Asst. Tech. Directors Child Supervisor . . . . . . . . . . . . Melissa Robilatta Azizi Bell.......................Box Office Manager Production Asst . . . . . . . . . . . . . Sienna Kirtzman Drew Overcash...........Asst. Box Office Mgr. Intern . . . . . . . . . . . . . . . . . . . . Brandon Richards & Social Media Coordinator House Managers . . . . . . . . . . . . Megan Robinson, Valena David, Eryn LeCroy
Amanda Finch, Margarita Javier, Matthew Westerby...............Box Office Staff Special Thanks Jack Donoghue....................House Manager Subsidized studio space provided by the A.R.T./New Scott Pegg............................Studio Manager York Creative Space Grant, supported by the Andrew W. Mellon Foundation.
Please turn off all cell phones and pagers Lighting equipment provided in part by the Technical Upgrade Project of the Alliance of before the performance begins. Thank You! Resident Theaters/New York through the generous
The use of cameras and other recording support of the New York City Council and the City of New York Department of Cultural Affairs. devices in this Theatre is prohibited by law. 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 through any opening in the scenery or drapes 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 and Capital Scenic. Lighting installed by the Lighting Syndicate
Mint Theater Company wishes to thank the TDF Costume Collection for its assistance in this production.
Jeremy Wilson of One Dream Sound, Jason Marsh of Hayden Production Services, Jon Kunst, Sheila McArdle, Douglas Filomena of The Lighting Syndicate, Erika Feldman and Shawn Murphy of Theatre Row, and Manhattan Theatre Club. 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 2016 Women Without Men by Hazel Ellis • 5 Drama Desk Award Nominations: Outstanding Revival of a Play; Outstanding Director of a Play, Jenn Thompson; Outstanding Featured Actress in a Play, Kellie Overbey; Outstanding Costume Design for a Play, Martha Hally; Outstanding Wig and Hair, Robert-Charles Vallance. • 2 Lucille Lortel Award Nominations: Outstanding Revival; Outstanding Costume Design, Martha Hally. • Off-Broadway Alliance Award Nomination: Best Play Revival. 2015 Fashions for Men by Ferenc Molnár • 2 Drama Desk Award Nominations: Outstanding Revival of a Play; Outstanding Set Design, Daniel Zimmerman. • Lucille Lortel Award Nomination: Outstanding Revival. • Outer Critics Circle Award Nomination: Outstanding Revival of a Play. • Off-Broadway Alliance Award Nomination: Best Play Revival. The Fatal Weakness by George Kelly • 2 Drama Desk Award Nominations: Outstanding Actress in a Play, Kristin Griffith; Outstanding Costume Design, Andrea Varga. • 3 Henry Hewes Design Award Nominations: Scenic Design, Vicki R. Davis; Costume Design, Andrea Varga; Lighting Design, Christian DeAngelis.
Donogoo by Jules Romains • Drama Desk Award Nomination: Outstanding Projection Design, Roger Hanna & Price Johnston. • Henry Hewes Design Award Nomination: Notable Effects, Roger Hanna and Price Johnston (Projection Design). 2014 London Wall by John van Druten • 2 Drama Desk Award Nominations: Outstanding Revival of a Play; Outstanding Featured Actress in a Play, Julia Coffey. • Lucille Lortel Award Nomination: Outstanding Featured Actress in a Play, Julia Coffey. 2012 A Little Journey by Rachel Crothers • 2 Drama Desk Award Nominations: Outstanding Revival of a Play; Outstanding Set Design, Roger Hanna. 2010 So Help Me God! by Maurine Watkins • Winner! Lucille Lortel Award: Outstanding Costume Design, Clint Ramos.
selected awards and nominations
• 4 Drama Desk Award Nominations: Outstanding Revival of a Play; Outstanding Director, Jonathan Bank; Outstanding Actress, Kristen Johnston; Outstanding Costume Design, Clint Ramos. Wife to James Whelan by Teresa Deevy • Winner! 1st Irish Festival Special Jury Prize. • 3 1st Irish Festival Award Nominations: Best Actress, Rosie Benton; Best Set Design, Vicki R. Davis; Audience Choice Award for Best Play.
2009 Is Life Worth Living? by Lennox Robinson • Winner! 1st Irish Festival Award: Best Set Design, Susan Zeeman Rogers. • Lucille Lortel Award Nomination: Outstanding Revival. The Widowing of Mrs. Holroyd by D.H. Lawrence • Lucille Lortel Award Nomination: Outstanding Sound Design, Jane Shaw. • Drama League Award Nomination: Distinguished Performance, Julia Coffey. The Glass Cage by J. B. Priestley • Winner! Lucille Lortel Award: Outstanding Scenic Design, Roger Hanna.
2008 Return of the Prodigal by St. John Hankin • 2 Drama Desk Award Nominations: Outstanding Revival of a Play; Outstanding Set Design, Clint Ramos.
2007 The Madras House by Harley Granville Barker • Winner! Henry Hewes Award: Costume Design, Clint Ramos.
2006 Soldier’s Wife by Rose Franken • 2 Drama Desk Award Nominations: Outstanding Revival of a Play; Outstanding Featured Actress in a Play, Judith Hawking. Walking Down Broadway by Dawn Powell • Drama Desk Award Nomination: Outstanding Set Design, Roger Hanna. 2005 Echoes of War by J.M. Barrie • Drama Desk Award Nomination: Outstanding Actress in a Play, Frances Sternhagen.
2004 The Daughter-In-Law by D.H. Lawrence • 2 Drama Desk Award Nominations: Outstanding Revival of a Play; Outstanding Featured Actress in a Play, Mikel Sarah Lambert.
Win a one-of-a kind treasure: An autographed copy of
signed by John Gielgud, Ralph Richardson, Irene Worth and the rest of the original West End Cast.
To buy raffle tickets: minttheater.org/make-an-investmint and click on the Raffle tab or call: (212) 315-9434 Tickets are $5 each, or 5 for $20.
(To purchase 5 for $20, simply select and purchase 4 tickets and we’ll throw in an extra one for free!)
The winner will be drawn and notified on September 25, 2016.
Enter our raffle to win a hardcover, first edition publication of A Day by the Sea by N.C. Hunter, illustrated with gorgeous black-and-white production photos and autographed by the star-studded original West End cast. Take home this rare token of theatrical history signed by British theatrical royalty, including Sir John Gielgud, Sir Ralph Richardson, and Irene Worth.