The Daughter-in-Law Program

Mint Theater Company

Jonathan Bank Ted Altschuler Laura Gale Aaron Lenehan

Board of Trustees M. Elisabeth Swerz, President Elsa A. Solender, Secretary Carole Chinn Geoffrey Chinn Jon Clark Eleanor Reissa Gary Schonwald Tess Sholom Jonathan Bank

Artistic Director Associate Director Box Office Manager Website Design

Board of Advisors J. Ellen Gainor Charles Keating Austin Pendleton Brian Murray George Morfogen David Rothenberg

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worthy but neglected plays. We excavate buried theatrical treasures; reclaiming them for our time through research, dramaturgy, production, publication and a variety of enrichment programs; and we advocate for their ongoing life in theaters across the world. Mint has a keen interest in timeless but timely plays that make us feel and think about the moral quality of our lives and the world in which we live. Our aim is to use the engaging power of the theater to excite, provoke, influence and inspire audiences and artists alike.

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Mint Theater Company Jonathan Bank, Artistic Director

The Daughter-in-Law Presents

By

D. H. Lawrence with

Mikel Sarah Lambert, Jodie Lynne McClintock, Angela Reed, Peter Russo, Gareth Saxe Scenic Design Bill Clarke

Costume Design Holly Poe Durbin

Production Stage Manager Samone B. Weissman

Dialect Coach Amy Stoller

Prop Specialist Judi Guralnick

Lighting Design Jeff Nellis

Graphic Design Jude Dvorak

Assistant Stage Manager Douglas Shearer

Press Representative David Gersten & Associates

Martin L. Platt Directed by

This event is made possible with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a State agency.

GLOSSARY

The play includes several mining terms that will be unfamiliar, and some colorful words in Eastwood dialect. Here is a brief guide:

Mining Terms Blackleg

Strike breaker a “scab”.

Bob

Slang term for a shilling.

Butty

Club Money Clunch

Refers specifically to pit-face workers. The overall name for mining workers is pitmen.

Day men

Workers who mined the coal in teams, working for the butties. In 1912 they earned 7 shillings per day. In the strike the men were looking for a 6 penny raise.

Guinea Pick Heft

Snap Time

Stall Wringer

This was basically miner's insurance. In the play Joe tries to get In the play Joe tries to get his club money, or accident pay. Mrs Gascoyne receives “club money” as well, as a widow's benefit.

Hard clay found in the mines.

Collier

Roads

A subcontractor who hired men to work the mines. The butty would contract to procure a certain amount of coal for the mine owners, using their crew. A butty earned substantially more than a “Day man”. This was an effort by mine owners to create the illusion that the men did not work for them, but for the sub-contractors.

One pound plus one shilling. Miners earned 2 guineas for 6 days work road-workers only one guinea.

Pick handle.

The underground roadways/tunnels in the mines.

Meal time, so called because of the metal lunch boxes or “snap tins” that the miners carried.

A 10-15 yard face of coal that a day man would mine.

A crow bar, like the one which causes Joe’s injury in the play.

You’ve seen the plays, now buy the book!

Worthy But Neglected: Plays of the Mint Theater Company Just $15.95 - available in the lobby or online.

he grew up the third son of a coal miner.

Lawrence's most widely read novel, Sons and Lovers is an autobiographical account of his youth and was written at the same time as The Daughter-in-Law, which also plumbs the conflict between mother and lover.

D. H. Lawrence was a brilliant and often difficult man. Few modern writers have been as strikingly original or as controversial. Few have inspired such passionate admiration and such committed opposition.

Lawrence is the author of eight full-length plays, none of which he ever saw on stage in his lifetime. The Daughter-in-Law was available in print for the first time in 1965.

In 1968, The Royal Court produced The Daughter-in-Law along with The Widowing of Mrs. Holroyd and A Collier's Friday Night, all under the direction of Peter Gill, and the process of establishing Lawrence's reputation as a great playwright was begun, nearly forty years after his death. Over the last three and a half decades that reputation has grown, and appreciation for Lawrence's gifts as a dramatist is now undeniable.

Mint Theater Company has been producing plays at our W. 43rd St. location since our inception in 1992, specializing in “bringing new vitality to worthy, but neglected plays”. Mint was awarded an Obie Grant in 2001 for “combining the excitement of discovery with the richness of tradition.” Included on the list of lost theatrical treasures found by the Mint is our recent hit production of Arthur Schnitzler’s Far and Wide (Das weite Land), returning to Mint in August 2003. Also: the New York premiere of Harley GranvilleBarker’s brilliant comedy The Voysey Inheritance, the New York premiere of Welcome to Our City by Thomas Wolfe, the first New York performance in over fifty

years of Uncle Tom’s Cabin, the first N.Y. revival’s of the Pulitzer-Prize winning plays Alison’s House by Susan Glaspell & Miss Lulu Bett by Zona Gale, as well as of A.A. Milne's comedy of morals, Mr Pim Passes By. Mint produced the only revival ever of Edith Wharton’s dramatization of her powerful novel, The House of Mirth; as well as the New York premiere of August Snow & Night Dance, two plays by the great American writer Reynolds Price.

Please visit our website: www.minttheater.org

Special Post-Performance Events join us for any events with your tickets stub from any performance - just arrive 21/2 hours after the performance start time.

Saturday, June 7th following the matinee

Artistic Director Jonathan Bank, director Martin Platt and dialect coach Amy Stoller will take your questions.

Tuesday, June 10th

Artistic Director Jonathan Bank and the cast will take your questions.

Saturday, June 14th following the matinee

Dr. Elanor Green, President-elect of the D.H. Lawrence Society, North America will speak about Lawrence and take your questions.

Sunday, June 22nd following the matinee

Dr. Shirley Glass, psychologist, leading specialist on relationships and the author of Not Just Friends will offer marriage counseling to the characters from The Daughter-inLaw and speak about her book and her work as well as take your questions.

Dialect Terms from Eastwood Blortin and bletherin'

By guyney Chelp

Talking and babbling nonsense.

By Jove! (guyney may refer to Guy, Earl of Warwick-or be a euphemism for God).

Cheek, answering back.

Chuntering

Grumbling..

Gabey

A foolish person..

Clat-Fart

Marded Morm

A gossip - our favorite Eastwood word!

Make soft, to spoil (from: mardy childish, cowardly, cry-babyish.

Wander about aimlessly.

Mun

Dialect word for “must”.

Sawne

Simpleton.

Orts and Slarts Slorm

Sluther Wallit

Leftovers.

D.H. Lawrence

Sullen, crawling. Literally to sprawl out, or lie across. Lawrence extends the meaning to acting slushy or mushy.

To drag one’s feet, or dawdle along. Slutherers are lazy loafers.

Useless or clumsy; from wallick- or wallit-handed, meaning lefthanded.

Ahta gooin on?* A Note from the Dialect Coach.

As a production dialect coach, I am always in conflict with myself. The Purist in me falls in love with the unique sounds of the language I encounter in the script. The Pragamatist knows I must help make unfamiliar words and phrases clear not only to the actors, but also to our audience.

In The Daughter-in-Law, D. H. Lawrence recreates the “heart-speech” of his workingclass father, as well as the “head-speech” of his mother, who had middle-class aspirations for herself and her children. The script is written mostly in an inconsistent rendering of “Ilson” (a dialect rife with Old English holdovers and Scandinavian borrowwords), incorporating Standard English (albeit with local accent) for one of the five roles.

Even in England, this sort of thing poses a problem. Folk from one part of the country often have trouble understanding folk from another, and the more obscure the dialect, the greater the difficulty. Many British companies more or less throw up their hands and graft a modern South Yorkshire accent onto adaptations of Lawrence’s works, though they are set in the Erewash Valley, and Yorkshire is somewhere else entirely. (continued)

This Purist doesn't want to settle for anything that wide of the mark. The Pragmatist knows we don't have a budget for opera-style surtitles! And so the editing begins.

Fairly early on, Standard English equivalents (“earned” instead of “addled”; “self” instead of “sen”) are substituted for dialect words that appear frequently in the text.

My heart breaks with every one. Having already identified the range of vowel sounds that add up to an authentic early 20th-century Ilson accent, I sigh a little sigh, and cut the ones that we don't hear so frequently in the early 21st. (Old Ilson “geet” is made intelligible as “gate”; “nade” becomes the more easily understood “need”; “wok” is modernized as “work”.) As rehearsals progress and the actors become more at ease in their new speech, the director asks for a few more standard substitutions, and I accommodate him with only the tiniest wince (there's no place like “om”--only now it's “‘ome”.) By the final week of rehearsal, I gleefully wield my axe in ever-increasing circles, sending more details that I might once have considered essential to the chop, in favor of ever-greater clarity for the local listener.

And what do we have by opening night? Perhaps the Purist would consider it a decent pastiche. The Pragmatist has worked to create a consistent stage illusion, based in authenticity, that carries our audience off to a time and place quite different from their own--and to a good story, well told. We both hope it works! * “How are you doing?”

A Note from the Director

The story of The Daughter-in-Law, revolving around a marriage across class-lines in a mining town in 1911-12, is one that Lawrence developed over a series of works - first in the short story “Fannie and Annie”, and later in The Daughter-in-Law and “Sons and Lovers”. What is extraordinary about the play is how tightly it is constructed, how carefully information is given to us, how subtly characters are developed and explored. All of this in a play that was not produced in Lawrence's lifetime-in fact, not until Peter Gill’s 1967 production at the Royal Court in London.

No readings, no workshop, no showcase production. Simply a man writing a play, finding no takers, and putting it in a drawer (along with seven other plays which met similar fates).

When working on the play one is always aware of how modern it seems-it’s psychological realism is often breathtaking in its boldness. As we watch The Daughter-inLaw we can take no comfort in the “superiority” of our age: what happens between Lawrence's characters in 1912 happens today, in the same way, in the same words.

The young fledgling playwright saw through to truths, and wrote about them with honesty, perception, clarity, and an almost clinical precision.

I wonder what other great plays Lawrence might have written had he received any encouragement at all during the decade he wrote his eight existing plays? If any producer had taken a chance on him, a young, untried playwright, trying something new? It seems, indeed, that some things never change.

Opera, Santa Fe Opera, the Rode Hoode in Amsterdam and at Juilliard Opera Theater, where he is Dramatic Advisor and faculty member. Theater directing includes On the Verge, The Road to the Graveyard, and The Glass Menagerie, at Clavis Theater Ensemble in Milwaukee, where he was Artistic Director and many other productions regionally including the long-running, award winning Chicago production of Virginia at Cloud 42. He is working on a series of operatic monodramas with Lance Horn and Mark Campbell being developed at New York Theatre Workshop and The Cornell Project - on the life and work of Joseph Cornell, with the ensemble Ursa Major.

David Gersten & Associates (Press Representatives) is proud to continue its relationship with the Mint. David has worked on and Off-Broadway for almost 20 years, currently representing Tony N' Tina’s Wedding, Late Nite Catechism, Ensemble Studio Theatre, Jean Cocteau Repertory, The Lucille Lortel Foundation, The Drama League and The League of OffBroadway Theatres & Producers’ annual Lortel Awards (seventh year!), which he also writes and co-produces, as well as Tony® Award winners Ann Hould-Ward and Christine Ebersole, Mary Cleere Haran, Maureen McGovern, Don Stephenson (now starring in The Producers), and playwright Adam Rapp, among others. David serves on the Board of Governors of ATPAM, the Association of Theatrical Press Agents & Managers, and on the Advising Board of the Cherry Lane Theatre. He is a producer of Tea At Five starring Kate Mulgrew as Katharine Hepburn.

Jonathan Bank (Artistic Director) Since taking the helm in 1994 as Artistic Director of the Obie and Drama Desk Award winning Mint Theater Company, Bank has unearthed and produced over twenty wor-

thy but neglected plays including the much acclaimed New York premiere of Harley Granville-Barker's The Voysey Inheritance, and Arthur Schnitzler’s Far and Wide (Das weite Land) - which he adapted and directed. He is the editor of Worthy But Neglected: Plays of the Mint Theater Company (2002, Granville Press) - which includes his adaptations of Welcome to Our City and The House of Mirth. Mr. Bank directed Othello for the Obie-award winning National Asian American Theater Company, John Brown’s Body, The Double Bass and Three Days of Rain for the Miniature Theater of Chester and Emma: A Noise in the Silence for the Threshold Theater in Boston. At the Mint he has directed: Mr. Pim Passes By, by A.A. Milne; Oroonoko, by Thomas Southerne; Quality Street, by J. M. Barrie; and The House of Mirth, by Edith Wharton and Clyde Fitch. He directed Mr. Pim Passes By again at the Peterborough Players and three acclaimed productions of Pericles one at the Mint, and two different productions for the Kings Company Shakespeare Company. Before coming to the Mint Theater Company, Mr. Bank served as Literary Assistant for Roundabout Theater, Director of the Play Reading Series at the Jean Cocteau Repertory Theatre, and was a member of the professional acting company at the Fairmount Theater of the Deaf in Cleveland, Ohio. He earned his M.F.A. from Case Western Reserve University in Cleveland.

David Herbert Lawrence (Playwright 1885-193) was born in 1885 in Eastwood, Nottinghamshire. He is best known as the author of Sons and Lovers, The Rainbow, Women in Love and the notorious Lady Chatterley's Lover, which was considered to be obscene and widely banned; remarkably, the novel was not legally available in England until 1960. Many of Lawrence's works, including The Daughter-in-Law, are set in the Eastwood of his childhood, where

in Nigeria, Uganda, South Africa, and Haiti and the West End productions of Nixon’s Nixon, A Woman in Waiting, and Gumboots. He directed the London premieres of Miss Evers’ Boys and Lady Day at Emerson’s Bar & Grill, and co-directed The Free State starring Janet Suzman. In Spain he directed El Flamenco Es Vida.

Most recently he directed The Chairs for the Court Theatre (Chicago) and Old Wicked Songs for Merrimack Rep. Later this summer he will be directing The Tempest for Hubbard Hall. Upcoming projects include a new flamenco opera, Don Juan Flamenco for Anea Producciones in Sevilla, Spain; and a new music-theatre piece he is co-writing, Cio Cio San, which will premiere in 2004. Mr. Platt is a native of Beverly Hills, California, and a graduate of Carnegie-Mellon University.

Amy Stoller (Dialect Coach) ) is the sole proprietor of Stoller System, a freelance dialect coaching and design business in NYC. She is delighted to return to the Mint, where her previous credits include The Charity That Began at Home; Rutherford & Son; Diana of Dobson’s; The Voysey Inheritance; and Mr. Pim Passes By. Other clients include Jean Cocteau Rep, Hypothetical Theatre Co., Theater Ten Ten, the Drama League, the Statue of Liberty-Ellis Island Foundation, and New York's longest-running drama, Perfect Crime. She also enjoys teaching individual actors How to Speak Like a Toffee-Nosed Git for Fun and Profit.TM She has per-

formed frequently in New York and regional theatres, winning a 2000 Off-OffBroadway Review Award for Excellence as dialect coach and actor in Distilled Spirits Theatre’s Northanger Abbey.

Samone B. Weissman (Production Stage Manager) Regional credits: Young Abe Lincoln, Oklahoma!

(Lincoln Amphitheatre), High Dive, Last Train to

Nibroc (Miniature Theatre of Chester), Flights of Angels and National Anthems (Emelin Theatre). New York credits: Happy Days, On The Razzle, The Servant of Two Masters, Medea (Jean Cocteau Repertory Theatre), Hamlet (American Globe Theatre), Bold Girls (Women’s Expressive Theatre/Urban Stages), Metal (HERE American Living Room Series) The Shoebox of Ebbets Field, Out of Sterno (Cherry Lane Alternative), The Last Nickel (2002 NY Int’l Fringe Festival), He Ate the Sun (Manhattan Theatre Source), Self Torture & Strenuous Exercise (Drama League 2002 DirectorFest), The Gifted Program (OVO Center Stage) and Our Sinatra (The Reprise Room). Special thanks to David.

Douglas Shearer (Assistant Stage Manager) Recent Stage Managing credits include: Far and Wide (Mint), 2003 Marathon (E.S.T.), Iphegenia in Taurus (Word of Mouth), Funny (Vital), Long Island Sound (TACT), No. 11 (Blue and White) (The Play Co.), Twelfth Night (Hamptons Shakespeare Festival), 4 Guys Named Jose… (Blue Angel), Mud and Drowning (Signature Theatre).

Sharron Bower (Casting Director) casts theatre, animation voiceovers and independent films. She cast The Miniature Theatre of Chester’s production of Three Days of Rain directed by Jonathan Bank.

Other recent credits include the indies Honey and Max at the Park, and the animation Office Hyjinx, which won I Want My Flash TV's "Hip Clip" award. Also an actress, Sharron was last seen at The Mint in Alison’s House. Recent television includes Law & Order: Criminal Intent.

See www.sharronbower.com.

Ted Altschuler (Associate Director) has been a theatre administrator, director and educator for 18 years. He has directed opera productions at The New York City

CAST OF CHARACTERS

MRS. GASCOYNE..........................................................................Mikel Sarah Lambert JOE, her son.....................................................................................................Peter Russo LUTHER, her son...........................................................................................Gareth Saxe MINNIE, Luther’s wife...................................................................................Angela Reed MRS. PURDY, a neighbor...........................................................Jodie Lynne McClintock CABMAN........................................................................................................Peter Russo

SCENES

The action of the play takes place in Eastwood, a mining town near Nottingham, in 1912.

ACT I

Scene One

Mrs Gascoyne's kitchen. About half past two of a winter's afternoon.

Scene Three

The same evening, around eleven o'clock. The kitchen of Luther Gascoyne's new home.

Scene Two

ACT II

Scene One

Scene Two

The kitchen of Luther Gascoyne's new home. Towards five o'clock in the evening, the same day.

A fortnight later, afternoon. The kitchen of Luther Gascoyne's new home.

The following morning about 5 am. The kitchen of Luther Gascoyne's home.

The performance runs approximately two and one-half hours including a 15-minute intermission.

STAFF

Technical Director…………….…………………………..Carlo Adinolfi Master Electrician………….....……….……………..…….Raquel Davis Wardrobe Assistant...........................................................Sherine Briscoe Production Intern.......................................................Eleanor Boockmeier

SPECIAL THANKS

Dr. Eleanor Green, Dr. Shirley Glass, David Amos of the DH Lawrence Museum & Heritage Centre; D. J. Coleman; Basia Zamorska; Krysia Freestone; Arthur “Arfa” Hancock; Peter Stoller; Phillip Burn; Samantha Palethorpe of the Nottingham City Information Centre; Sean KavanaghDowsett; Lynn Drake; Peter Thorne Lighting equipment provided by the Technical Upgrade Project of the Alliance of Resident Theatres/New York through the generous support of the New York City Council and the City of New York Department of Cultural Affairs. Special thanks to Mary-Jane Louaver.

Very special thanks to Dr. John Worthen, Professor of D H Lawrence Studies at The University of Nottingham for his invaluable assistance.

Mikel Sarah Lambert (Mrs. Gascoyne) At the Mint Diana of Dobson’s, Rutherford & Son. Roundabout: Cyrano de Bergerac, You Never Can Tell, All Over. Union Square Theater: Wit. Judith Anderson: Private Battles.

Westport Country Playhouse: The Constant Wife. Circle Rep: 900 Oneonta. The Pearl Theatre: Way of the World, The Oresteia. The Royal Shakespeare Company: Henry IV, Pt. ii, Henry V, Man Is Man, The Merry Wives of Windsor, Hamlet. Several series for BBCTV. Ms. Lambert also teaches and directs.

Her sons are Patrick and Timothy Rowe.

Jodie Lynne McClintock (Mrs. Purdy) Broadway/International: Cathleen in Long Day’s Journey with Jack Lemmon & Kevin Spacey, on film for PBS and Showtime; Royal Shakespeare Company’s Broadway/Kennedy Center Repertory: Much Ado About Nothing, Cyrano de Bergerac.

Other: Art of Success (Manhattan Theatre Club); Daisy in Dreamtime (Abington); Shanghai Moon, Wuthering Heights (Papermill Playhouse); Timeslips; also productions at Long Wharf Playhouse, McCarter Theatre, TVA, Primary Stages, St. Louis Rep. and Shakespeare Festival and several seasons at Alabama Shakespeare Festival.

Ms. McClintock directs and coaches both in the U. S. and England. Thanks Brian & Dame Judi for the talisman.

Angela Reed (Minnie) Angela was last seen at the Mint in Miss Lulu Bett. Other New York productions include: Standby for Lizzie in The Rainmaker at the Brooks Atkinson, Therese Raquin at Classic Stage Company, The White Princess at the Flamboyan, and the Lincoln Center Director’s Lab. Regionally, Angela has worked at Baltimore Center Stage, Actors Theatre of Louisville, La Jolla Playhouse, Indiana Rep, Santa Fe Stages, Merrimack, Coconut Grove Playhouse and the New Jersey Shakespeare Festival, among others.

She has appeared on Law and Order and Law and Order: Criminal Intent. Angela received her MFA from U. C. San Diego.

Peter Russo (Joe) Most recently appeared in New Boy at the Lion Theater in the role of Dan and as understudy for Phaeton and Hermes in Mary Zimmerman’s Metamorphosis on Broadway. Other roles include The Prince in Liz Swados’ The Prince and the Pauper at Manhattan Theater Club, Septimus in Arcadia, Claude in Hair, Benvolio in Romeo and Juliet, and Max Bloch in Sam Forman’s Hunter for Hunter Green. Peter is a graduate of Northwestern University, lives in New York and would like to thank his friends and family, especially Mom, Dad and Kate.

Gareth Saxe (Luther) Off Broadway: Bert in The Wax at Playwrights Horizons; Understudy for Buddy in Kimberly Akimbo at MTC; Aderrazak in The Earth's Sharp Edge at La Mama; Archidamus in The Winter's Tale at the NYSF/Public Theatre; Elliot in The Stolen Child with the Drama League Director’s Project. Regional: Thaliard/ Leonine in Pericles at the Old Globe. Film: The Wormhole, winner of the 2002 Student Academy Award Gold Medal. Training: NYU's M.F.A. program.

Bill Clarke (Set Design) is happy to continue his collaboration with Martin Platt on The Daughter-in-Law. He designed A Walk in the Woods on Broadway, abroad in Moscow and Vilnius, and on television for American Playhouse; at City Center he designed the new musical Abby’s Song.

Off-Broadway work includes the Drama Dept.’s June Moon, Queen’s Blvd, Disappearing Act, Ann Magnuson's You Could Be Home Now (NYSF), Keith Reddin’s The Innocents Crusade (MTC), Alan Havis’ Morocco (WPA), and The Cherry Orchard (Juilliard). He works extensively in regional theaters including Seattle Rep, Old Globe, Denver Center, the

Huntington, A.R.T., Coconut Grove, Pittsburgh Public, McCarter, Milwaukee Rep, Cleveland Playhouse and Cincinnati Playhouse. He is a graduate of the Yale School of Drama and a recipient of a Hollywood Drama-Logue Award and a San Diego Theater Critics Circle Award.

Holly Poe Durbin (Costume Designer) is the recipient of numerous Los Angeles costume design awards and nominations.

Osaka, Japan: Universal Studios Theme Park gateway film Movie Magic, featuring Steven Spielberg. London: Chekhov’s The Wood Demon, Miss Evers’ Boys. West Coast: The Berlin Chalk Circle with John Fleck and Megan Mullaly, Gershwin...Alone Tiffany Theater, Collected Stories with Linda Lavin and Samantha Matthis at the Geffen Playhouse, Much Ado About Nothing for Shakespeare LA, Dreamplay for The Actor’s Gang, The Wood Demon for the Mark Taper Forum.

Regional: Time Flier, An INfinite Ache and Beyond Therapy for the Old Globe Theater, The Cherry Orchard with Marsha Mason fro Santa Fe Stages, Winter’s Tale Missouri Repertory Theatre, Cabaret Verboten Boston’s Huntington Theater.

Film/Television: Cable series Last Chance, In Pursuit with Claudia Schiffer and Daniel Baldwin, HBO short Trust. Her best project to date is her 14-year-old son J. L. who wants to be a Navy pilot.

Jeff Nellis (Lighting Designer) At the Mint Diana of Dobson’s, Rutherford & Son. Off-Broadway productions include Zanna Don't, Cobb, Our Sinatra, One Shot One Kill, Yentl, The Devils Music, The It Girl, and My Italy Story. Regional designs include the Williamstown Theatre Festival, Alley Theatre, North Shore Music Theatre, Bay Street Theatre, Florida Stage, City Theatre Company, Madison Repertory Theatre, and Trinity Repertory Theatre. He has worked as assistant designer for the Broadway productions of Riverdance,

Swing!, Epic Proportions, The Sunshine Boys, On The Town, Civil War, and Amy’s View.

Judi Guralnick (Properties Specialist) is the Prop Shop Supervisor at the Performing Arts Center at Purchase College, and freelances in the New York and Connecticut areas. She spent five years as Prop Specialist at the Walnut Street Theatre in Philadelphia, and many summers at Maine State Music Theater.

Favorite props that she’s created include the fruit for a Fruit of the Loom commercial, carousel animals for a production of “Joseph…”, and a macramé ass’s head for Midsummer’s Night Dream. Judi has also designed sets for small theaters from Maine to Washington, DC and in Israel. She has been the resident prop specialist at the Mint Theater for the last two seasons.

Martin L. Platt (Director): has directed extensively in England and Europe and at regional theatres throughout the U.S. He was founding artistic director of the Alabama Shakespeare Festival, where he directed over 60 productions during his 18year tenure. His productions have included Cabaret Verboten (Huntington Theatre), Cyrano De Bergerac (Repertory Theatre of St Louis), True West (PlayMakers Rep), A Midsummer Night’s Dream (Cincinnati Playhouse), To Kill a Mockingbird (Pioneer Theatre), Tartuffe (Santa Fe Stages), Betrayal and Pygmalion (Alabama Shakespeare Festival). He also directed the U.S. premieres of Tom Stoppard's Rough Crossing, Alan Bennett's Talking Heads, and Tim Firth's Neville’s Island. Mr. Platt also served as General Director of Birmingham Opera Theatre, and was founding artistic director of Santa Fe Stages, an international theatre festival.

From 1991-2001 he was co-director of Fifth Amendment Ltd (UK), producing and presenting over 50 productions in the UK and US, including productions originating