PRODUCING ARTISTIC DIRECTOR
JONATHAN BANK
directed by J.R. Sullivan
MintTheater.org
250 West 40th Street (between 7th and 8th Avenues) New York, NY 10018
Monday - Saturday: 10:00am to 7:00pm Thursdays until 8:00pm Sunday : Noon to 6:00pm
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SINCE 1917
MINT THEATER COMPANY Jonathan Bank, Producing Artistic Director presents
with
MARY BACON, JANIE BROOKSHIRE, LARRY BULL, CHRIS HENRY COFFEY, DAN DAILY, TED DEASY, RODERICK HILL, BETSY HOGG, KIM MARTIN-COTTEN, GEOFFREY ALLEN MURPHY, EVAN ZES
Ca st ing STE P HA NIE KLAPPER, C SA P rod u ctio n M anage r RO B R EESE
Sound J A N E S H AW
L i g h ts CHRISTIAN DEANGELIS
C o s tu m e s AN D R E A VA R G A
S ets HA RRY FE INER
P ro p s JOSHUA YOCOM
Fight Director R O D KIN T ER
D i a l e c ts & D ra m a t u r g y A MY S T O L L E R
P ro d u c ti o n S ta g e Ma n a g e r JE F F ME Y E R S
Illu stra t ion Graphics A d v e rti s i n g & Ma rk e ti n g STE FA NO IMB ERT HEY J UD E D E S I G N , I N C . THE PEKOE GROUP
Stage Manager KR IST I H ESS Publicity D AV I D G E R S T E N & A S S O C I AT E S
Directed by
J.R. SULLIVAN THEATRE ROW, THE BECKETT THEATRE DAYS TO COME 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.
THE ACTORS AND STAGE MANAGERS EMPLOYED IN THIS PRODUCTION ARE MEMEBERS OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.
Characters Hannah............................................................................................ Kim Martin-Cotten Lucy...............................................................................................................Betsy Hogg Cora Rodman................................................................................................Mary Bacon Henry Ellicott..................................................................................................Ted Deasy Andrew Rodman..............................................................................................Larry Bull Julie Rodman.......................................................................................... Janie Brookshire Thomas Firth.................................................................................... Chris Henry Coffey Leo Whalen............................................................................................... Roderick Hill Sam Wilkie.......................................................................................................Dan Daily Mossie Dowel..............................................................................Geoffrey Allen Murphy Joe Easter.......................................................................................................... Evan Zes Callom, Ohio: a small town of Cleveland. 1936. Act I, Scene 1..........................Living room of the Rodman house. Late morning in October. Act I, Scene 2................................................................................ The same. Four weeks later.
Intermission
Act II, Scene 1........................................An office-room, the empty side of a store in an alley. Immediately following Act I, Scene 2. Act II, Scene 2....................................................The Rodman living room. The same evening.
Act II, Scene 3............................... The Rodman living room. Seven-thirty the next morning.
Mary Bacon
Janie Brookshire
Dan Daily
Kim Martin-Cotten
Ted Deasy
Larry Bull
Roderick Hill
Geoffrey Allen Murphy
Chris Henry Coffey
Betsy Hogg
Evan Zes
dramaturgical note “Great Things Can Be Expected:” The History of Days to Come By Maya Cantu The creation of Lillian Hellman’s 1936 drama Days to Come was long in the making. The young and acclaimed playwright of a scandalous Broadway hit, Hellman had first conceived ideas for Days to Come in 1930, but returned to the play five years later in earnest, following The Children’s Hour and her first screenplays in Hollywood. Eager for new theatrical challenges—and aware of the great expectations for her second play—the thirtyyear-old Hellman widened her dramatic lens to encompass the Depression-era American heartland. She envisioned a complex, absorbing play focusing on the domestic and social collisions around a brush factory strike in Ohio. Hellman devoted a full eight months to the research and writing of Days to Come. Seeking authenticity for her fictional setting of Callum, Hellman embarked on a four-week research trip in small Ohio communities between Cleveland and Cincinnati. She set her focus on the town of Wooster, Ohio, with its historic Wooster Brush Company. Founded in 1851 by Adam Foss, it was operated at the time by Foss’s four grandsons. Interviewing both management and workers, Hellman painted a scene of long-standing labor loyalties—despite such grievances as one worker saying “his section of bench work was called Rotten Row.”1 Hellman observed in her notes: They are all American workmen, some of them great-grand-children of the original workers who worked for [Foss’s] grandfather... Some of them called him by first name. There weren’t many young ones. [Foss] said that about 25-30 years ago, somebody made an attempt to unionize them, but it didn’t work. Find out who then would have attempted the unionization.2
Inspired by her research in Ohio, Hellman crafted a textured drama of domestic and communal bonds and betrayals. Describing Days to Come as “the saga of a man who started something he cannot stop,” Hellman elaborated on her intentions to The New York Herald Tribune: “It’s the family I’m interested in principally; the strike and social manifestations are just backgrounds. It’s a story of innocent people on both sides who are drawn into conflict and events far beyond their comprehension.”3 Reuniting with Herman Shumlin (in their second of five collaborations), Hellman prepared Days to Come for its highly anticipated Broadway opening on December 15, 1936 at the Vanderbilt Theatre. Florence Eldridge leant star power as Julie Rodman, and Aline Bernstein—famous for her work in the Little Theatre Movement—designed the sets. In later writings, Hellman candidly recalled the disastrous Broadway opening night of Days to Come, which closed after seven performances. She remembered in a 1942 “Preface and Postscript” to her Four Plays, excerpted in The New York Times: “On the opening night actors moved as figurines in the dream of a frightened child. The deathdance of collapse is slow and unreal.” The night culminated with a conspicuous walkout from publishing magnate (and, later, Citizen Kane inspiration) William Randolph Hearst. Only two weeks earlier he had yielded concessions to the American Newspaper Guild, after a three-month journalists’ strike at his Seattle Post-Intelligencer. Hellman remembered the incident in Pentimento: …The air of a theater is unmistakable: things go well or they do not. They did not. Standing in the back of the side aisle, I vomited without knowing what was going to happen and went home to change my clothes. I wanted, of course, to go to bed and stay there, but I was young enough to worry about cowardice, and so I got back in time to see William
dramaturgical note Randolph Hearst lead his six guests out of the theater, in the middle of the second act, talking very loudly as they came up the aisle. Days to Come also received a surprising level of disapproval from left-wing critics, in such publications as The New Masses. A year earlier, Clifford Odets’ iconic agitprop drama Waiting for Lefty (1935) had galvanized workers. By contrast, Days to Come sounded doubtful tones in revolutionary times. Hellman frustrated her radical colleagues with the play’s ambiguities of character, narrative focus upon the factory-owning Rodman family, and reluctance to dramatize union victories. The Philadelphia Inquirer’s Sidney Williams observed, “Dealing with labor trouble in a small western town, (Days to Come) takes neither side decisively.” Critics in the mainstream New York press additionally took Hellman to task, comparing Days to Come unfavorably with the tight and “direct”4 The Children’s Hour. These reviews chided Hellman less for her non-dogmatic approach than for perceptions of excess; they cited too many ideas, too much plot, and too much mixing of genres. Joseph Wood Krutch of The Nation admired the play, but failed to connect “the labor situation” with the family drama, writing of Days to Come: “One is not sure just where its center lies.” As Hellman moved on to The Little Foxes (1939) and other career-defining successes, Days to Come disappeared from the stage. However, the play never lost its hold on Hellman, who even considered a series of matinee performances of Days to Come to accompany the hit 1941 run of Watch on the Rhine. She also made “small revisions and emendations” to the play, including to its third act; she settled on this “definitive” version for 1971’s Collected Plays. (Mint Theater Company’s production uses this 1971 script). Finally, in November 1978, Days to Come received its first major revival at Off-Broadway’s WPA Theatre, directed by R.
Stuart White. This time, the play opened to an enthusiastic reception—and recognition of its layered complexity, sharply etched characters, and thematic purpose.
The Foss family. They ran the Wooster Brush Company.
The 1978 revival made a persuasive case for Days to Come as a significant play. Harold Clurman, writing for The Nation, speculated that 1930s critics had misunderstood Hellman’s intentions. Clurman characterized Hellman as “a dramatist-critic of the wellto-do, semi-educated middle-class American family” navigating a “society that they have never really examined or understood.” Likewise, The Village Voice’s Terry Curtis Fox considered Days to Come “a crucial transitional work” between The Children’s Hour and The Little Foxes. Curtis Fox also found the writing of Days to Come “far more compelling and less explanatory” than The Children’s Hour: “There is open evil in (Days to Come)…(but) Hellman is after the more slippery, confusing stuff ” in her characters. In her 1979 study Lillian Hellman, Katherine Lederer also argued for the strength of Days to Come among Hellman’s dramas of moral vigilance. Lederer observed, “Hellman attempted to develop a theme common to all her plays, that the world we live in is the sum total of the acts of each individual in it. Ignorance, dishonesty and cowardice in personal lives affect social events.” Lederer considered 1944’s The Searching Wind the play most structurally similar to Days to Come, quoting Cassie Bowman in the former work: “…Maybe the hardest thing in the
D ay s world is to see yourself straight.’”
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Lillian Hellman Biography
Also concerned with ideas of perception and awareness, Days to Come invites fresh engagement with Hellman’s insights into the intersections of family, industry, and community, as well as their relationship to American capitalism. In Pentimento, Hellman looked back: “[Days to Come] is a good report of rich liberals in the 1930s, of a labor leader who saw through them, of a modern lost lady, and has in it a correct prediction of how conservative the American labor movement was to become.” If out of tune with the “Fervent Years” of the 1930s, Days to Come piercingly resounds in our own time Lillian Hellman in 1935, of labor friction and social fractures, while when Days to Come was written. not overlooking possibilities for empathy and renewal. In 1936, Edwin Seaver of The Daily She was “very full of the most miraculous Worker wrote with foresight: kind of contradictions,” observed Jane Fonda on playing Lillian Hellman (1905I am convinced that Miss Hellman’s 1984). Hellman persistently spoke her ‘failure’ in Days to Come is of more mind as one of America’s most celebrated significance to herself as a playwright and playwrights and controversial icons. Hailed to the American drama than her success as a “dramatist of extraordinary strength in The Children’s Hour. Great things can and skill” ( John Chapman, The New York be expected of this splendid writer. Daily News), Hellman pursued questions of truth and deception, integrity and complicity throughout her life and her twelve plays. Drawing from melodrama’s conflicts between good and evil, Hellman created characters of textured moral ambiguity, including the indelible Regina Giddens of The Little Foxes.
Wooster Brush Ad
(Endnotes) 1. Lillian Hellman Papers, Harry Ransom Center, University of Texas at Austin, Days to Come “Notes,” Box 11, Folder 2. 2. Ibid. 3. Beebe, Lucius. “An Adult Hour is Miss Hellman’s Next Effort,” The New York Herald Tribune, Dec. 13, 1936, pg. G2. 4. Eaton, Walter Pritchard. “New Plays to Read,” The New York Herald Tribune, June 20, 1937, pg. 17.
Raised in a Southern Jewish family, Hellman was born in New Orleans on June 20, 1905, the daughter of banking heiress Julia Newhouse and Max Hellman. Due to her father’s work as a traveling shoe salesman, the family split households between New Orleans and New York City. Following three years at NYU, Hellman acquired a series of literary jobs. She served as a manuscript reader at Boni and Liveright, and—following first husband Arthur Kober to the West Coast— read screenplays for MGM. In Hollywood, she embarked on a 30-year-long romance with The Thin Man writer Dashiell Hammett.
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After divorcing Kober, Hellman returned with Hammett to New York. Here, she found work as a script reader for Broadway producer-director Herman Shumlin, with whom she shared a draft of her own play, The Children’s Hour. The sensational 1934 premiere of The Children’s Hour catapulted Hellman to the ranks of Broadway’s most successful dramatists. The tragedy controversially portrayed rumors of lesbianism between two teachers at an all-girls’ boarding school. Following the Broadway failure of Days to Come, Hellman rebounded with The Little Foxes (1939), followed by Watch on the Rhine (1941), The Autumn Garden (1951), Toys in the Attic (1960), and the book of the succès d’estime 1956 musical Candide. Political battles accompanied her theatrical fame. Committed to Popular Front radicalism since the 1930s, Hellman famously defended her principles in 1952 before the House UnAmerican Activities Committee: “I cannot and will not cut my conscience to fit this year’s fashions.” In the 1960s and ‘70s, Hellman’s firebrand legend continued to grow, along with her profile as a cultural lightning rod. She published a bestselling series of truth-seeking, but fact-blurring, memoirs, including An Unfinished Woman (1969) and Pentimento (1973). These books inspired the 1977 film Julia, starring Fonda as Hellman—and fueled accusations of being a “dishonest writer” from Mary McCarthy, who Hellman sued in 1980 in a much-publicized defamation lawsuit. She died in Martha’s Vineyard on June 30, 1984, memorialized for her unsentimental moral vision and incisive characterizations, often centered around “difficult women.” In the twenty-first century, Hellman’s plays have inspired many revivals and celebrations, highlighting the playwright’s complexities and “miraculous contradictions.” She is also the namesake of the Lilly Awards, honoring women in theatre.
MARY BACON (Cora) is happy to be back at The Mint. She’s been seen on and off Broadway, favorites include Broadway’s Tom Stoppard’s Rock N’ Roll and Arcadia, and Off Broadway in Horton Foote’s The Roads to Home with Hallie Foote and Harriet Harris and Harrison, TX with Hallie Foote and Jayne Houdyshell, as well as Charles Busch’s The Tribute Artist and the premiere of Happy Now at Yale Rep and Primary Stages; Giant at The Public, Lortel and Drama Desk nominated Women Without Men at the Mint, Becky Shaw at Second Stage, and Alma in the NY Times critic’s pick The Eccentricities of A Nightingale for TACT, among others. Regional theatre includes Hudson Valley Shakespeare Festival, Hartford Stage, Williamstown Theater Festival, Westport Playhouse, The McCarter, Seattle Rep, The Long Wharf, The Old Globe, Denver Center, Dorset Theatre Festival, Chautauqua Theater Festival, and others. TV/film credits include “The Mist”, “Blue Bloods”, “Elementary”, “Blacklist”, “Madam Secretary”, recurring on “Law and Order’s SVU”, & “Criminal Intent”, “Boardwalk Empire”, “The Good Wife”, “Mildred Pierce”, and PBS’s “American Experience”. Carnegie Mellon, BFA. Co-founder of the Dorset Theatre Festival’s Women Artists Writing Collective (dtf waw), and a member of the Actors Center. JANIE BROOKSHIRE (Julie Rodman) Mint: Mary Broome and Wife to James Whelan. Broadway: The Philanthropist (Roundabout). Off-Broadway: The Mound Builders (Signature), Man and Superman (Irish Rep), The Misanthrope (Pearl Theatre Co). Regional: The Wanderers (World Premiere, Old Globe), Othello (Folger Shakespeare Theatre), Disgraced (Milwaukee Rep), Angel Street (Repertory Theatre of St. Louis); A Delicate Ship (World Premiere, Cincinnati Playhouse); Cry It Out, Intimate Apparel, Dial “M” for Murder (all for Dorset Theatre Festival); The Illusion; Romeo and Juliet; Crimes of the Heart; Doubt; Amadeus (all for PlayMakers Repertory Company). TV/film credits include “Blue Bloods”, “The Good Wife”, “Forever”, “Dawson’s Creek”, “He’s Way More Famous than You”; “Mike, Mike Tan” (upcoming), and “So Good to See You” opposite Sienna Miller (Official Selection, Sundance Film Festival). MFA from UNC/Playmakers Rep.
D ay s LARRY BULL (Andrew Rodman) Broadway: The Coast of Utopia at Lincoln Center Theatre. NY: 1776: Encores! New York City Center. Off-Broadway: The Traveling Lady, Nora: Cherry Lane Theatre. Rocket to the Moon: Pecadillo Theatre Company. Off-Off Broadway: Kenneth - What Is the Frequency? - 78th St. Theatre Lab / Edinburgh Fringe. Regional: Appropriate (Humana Festival), A Christmas Carol, The Mystery of Irma Vep: Actors Theatre of Louisville. Outside Mullingar: Arizona Theatre Company. King Charles III: Pioneer Theatre Company. Twelve Angry Men, Much Ado About Nothing, Sense & Sensibility, Richard II, King Henry IV pts 1&2, Henry V: Utah Shakespeare Festival. Denver Center Theatre Company, Geva Theatre, Pennsylvania Shakespeare Festival, Shakespeare Theatre Company, Chautauqua Theatre, Merrimack Repertory Theatre, Huntington Theatre, Trinity Repertory Company, Cincinnati Playhouse, Asolo Repertory, Virginia Stage Company, Repertory Theatre of St. Louis, Alabama Shakespeare Festival. Film & TV: “Madam Secretary”, “Law & Order: SVU”. Additional Credits: Joseph Jefferson Award, Of Mice and Men. CHRIS HENRY COFFEY (Thomas Firth) has originated roles on & off-Broadway and regionally in numerous world-premieres including Eric Simonson’s Bronx Bombers (Circle in the Square and Primary Stages), Neil Labute’s Happy Hour (LaMama), Water by the Spoonful (Second Stage), Gina Gionfriddo’s Can You Forgive Her? (Huntington), Richard Nelson’s Frank’s Home, directed by Robert Falls (Playwrights Horizons, Goodman), and How Shakespeare Won the West (Huntington) and working alongside Arthur Miller in his penultimate play, Resurrection Blues (Old Globe). Additional appearances at the Alley, DTC, Yale, WTF, Dorset and many others. Coffey has appeared in the films Trust, The International and Thirteen Days, and has starred in many indies including “Impossible Monsters” (2018), “Walking on the Sky”, “June”, and “Play it by Ear”. Television appearances include guest-starring and recurring roles on all three versions of the Law & Order franchise, Instinct, The Good Wife, Cupid and Billy & Billie, among others. He is a graduate of the Yale School of Drama.
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DAN DAILY (Sam Wilkie) Theatre- Keen Company: The Dining Room (Drama Desk Award, Outstanding Ensemble Acting), In The Matter Of J. Robert Oppenheimer. The New Group: Sin: A Cardinal Deposed (Obie Award, Production). Lincoln Center Theatre Co.: The Tenth Man. The Pearl Theatre Company: Stupid Fucking Bird, Major Barbara, The Bald Soprano, The Rivals, Misalliance, The Subject Was Roses, Richard III, The Master Builder, Angel Street, The Gentleman Dancing Master, Heartbreak House, I Have Been Here Before, The Oresteia, The Country Wife, The Cherry Orchard, and many others. CSC: The Scarlet Letter. Film- “The Kitchen”, “The Wolf of Wall Street”, “Blood and Wine”, “Seabiscuit”, “Daylight”, “Duplicity”. TV“House of Cards”, “Law & Order”, “Law & Order: CI, & SVU”, “Ed”, “The Prosecutors”, “Pete & Pete”. “One Life to Live”, “Ryan’s Hope”, “All My Children”, “Loving”, “As the World Turns”, “Another World”, “The City”. Mr. Daily teaches and directs at The American Musical and Dramatic Academy, and taught for The Pearl Theatre Conservatory. He was trained by Robert L. Hobbs in the Professional Actor Training Program, earning an MFA at the University of Washington, and earned a B.A. From The University of Notre Dame. TED DEASY (Henry Ellicott) The Mint: Debut. Other credits: National Tour of The 39 Steps, Off-Broadway productions of The 7th of October (Working Theatre) and A Phoenix Too Frequent (Clurman), 9 seasons as a company member with Oregon Shakespeare Festival (Shakespeare in Love, Julius Caesar, Twelfth Night, Taming of the Shrew, A Midsummer Night’s Dream, As You Like It, Comedy of Errors and Rough Crossing among others), and Regional credits including Born Yesterday (Repertory Theatre of St Louis), The King and I (Dallas Summer Musicals), The North Pool, The Foreigner, (Cincinnati Playhouse), Doubt (Actor’s Theatre of Louisville), Anna Karenina, Cyrano, The Shaughraun, Lady Windermere’s Fan, Sueño, Mary Stuart, (Milwaukee Rep), All’s Well That Ends Well, The Foreigner (Utah Shakespeare Festival), Stones in His Pockets (New American Theatre), California Shakespeare, American Players Theatre, Syracuse Stage, Berkeley Rep, Yale Rep, Geva Theatre and Indiana Rep. Television and film credits include “To the Flame” and “Prophet of Evil”.
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RODERICK HILL (Leo Whalen) is proud to be returning to the Mint after appearing in The Return Of The Prodigal and Mary Broome. Other credits include: Broadway: Butley, Lestat. Off Broadway: Stalking The Bogeyman (New World Stages) Unnatural Acts (CSC), The Irish Curse (Soho Playhouse), Cymbeline (RSC/Theatre For A New Audience), Trans-Euro Express (Irish Arts Center). Selected regional credits include: Smart People, What The Butler Saw (Huntington), Singing Forest (Long Wharf ), The Picture Of Dorian Gray (Roundhouse), Diosa (Hartford Stage), “Master Harold”… and the boys (Playmakers Rep.), Twelfth Night (Shakespeare & Co.) Film and television: “Run All Night”, “King Kelly”, “The Heart Machine”, “Song One”, “Kinsey”, “Strays”, “Life is what happens...”, “The Newsroom”, “Louie”, “Longmire”, “Unforgettable”, “Instinct”, “Doubt”, “Person Of Interest”, “The Good Wife”, “Madam Secretary”, “Law & Order”, “Chappelle’s Show”, and “Stranger’s With Candy”. Roderick is a graduate of The Juilliard School and The Interlochen Arts Academy.
BETSY HOGG (Lucy) Broadway: Peter and the Starcatcher (Molly, closing company), Fiddler on the Roof (2005), The Crucible (2002). Off-B’way/ Regional: Speech and Debate (Barrington Stage Co.), Linda (MTC), The Miracle Worker (Florida Rep, Queens Theatre), The Marriage of Figaro (McCarter Theatre), A Maze (NYSAF), On Borrowed Time (Two River Theater), Peter and the Starcatcher (St. Louis Rep), The Crucible (Pioneer Theatre Co.), Summer of ‘42 (Bucks County Playhouse), Adult (TerraNOVA), The Prime of Miss Jean Brodie (The New Group). TV/Film: “Law & Order: SVU,” “The Marvelous Mrs. Maisel,” “Onion SportsDome,” Indignation, The Missing Person, Rocket Science. Proud Northwestern graduate & AEA member. For more, check out betsyhogg.com. KIM MARTIN-COTTEN (Hannah) Broadway: The Little Foxes, Time and the Conways, The Merchant of Venice (with Al Pacino). National Tour: August Osage County. Off-Broadway: Moon for the Misbegotten (The Pearl Theatre, Drama Desk Nomination), Not What Happened (BAM). Select Regional: King Lear (with Stacy Keach), and the world premiere of Ghost Written by Naomi Izuka (The Goodman Theatre), Time
and the Conways (The Old Globe), King Lear and Antony and Cleopatra (The Shakespeare Theatre, Company DC), Macbeth and Bake-off (Actors Theatre of Louisville), Other: Guest Faculty, Yale School of Drama. Producing Artistic Director, Hang A Tale (Off-Broadway Alliance Nomination) www.hangatale.com.
GEOFFREY ALLEN MURPHY (Mossie Dowel) Broadway: The Nance, War Horse (LCT); New York: The Tempest (Porpentine Theater Company) Regional: Finger Lakes Musical Theater Festival, Two River Theater, Nebraska Shakespeare Festival, Chautauqua Theater Company, Barrington Stage Company, Williamstown Theater Festival; TV: “Orange is the New Black”, “Blacklist”, “Forever”, “Gotham”; Training: Juilliard EVAN ZES ( Joe Easter) Evan’s New York credits include Incident at Vichy at The Signature Theatre; Rent Control (writer and performer) at Soho Playhouse; Freedom of the City, Man and Superman, White Woman Street, Around the World in 80 Days at Irish Repertory Theatre; American Dreams with The Acting Company, and The Eyes of Others at The New Ohio. International: Rent Control at Teatro Jaco in Costa Rica; Rent Control at Elliniko Theatro in Athens, Greece; Julie Taymor’s The King Stagg at the Barbican, London and Dream Play at the Moscow Art Theatre. Select regional credits include The McCarter, Hartford Stage, The Alley, The Goodman, The Old Globe, NY Stage and Film, Cleveland Playhouse, Westport Country Playhouse, La Jolla Playhouse, Arena Stage, Cincinnati Playhouse in the Park, The Shakespeare Theatre DC, Pittsburgh Public Theater, St. Louis Repertory Theater, Baltimore Centerstage, and Berkeley Rep. Evan’s film and TV credits include “The Path”, “The Street”, “Last Night at Angelo’s” and “All My Children”. He has an MFA from A.R.T/ Moscow Art Theatre at Harvard University. Follow Evan’s award winning solo show at evanzesrentcontrol.com. J.R. SULLIVAN (Director) 2009-2013, J.R. Sullivan was the Artistic Director of New York’s Pearl Theatre Company, presented with a special Drama Desk Award in 2011, where he directed productions of Hard Times, Playboy of the Western World, Widowers’ Houses, Biography, The
D ay s Importance of Being Earnest, Richard II, A Moon for the Misbegotten, and the New York premiere of Wittenberg. Sullivan was the founder and producing director of the New American Theater in northern Illinois, a company that thrived under his direction before he moved on to a free-lance career and then to his stint as associate artistic director with the Utah Shakespeare Festival from 2002-2009, staging productions ranging from Shakespeare to Tennessee Williams, including Henry IV, Part One, Amadeus, Hamlet, Henry V, The Glass Menagerie, and Romeo and Juliet. His work has also been seen in regional theaters nationwide, including the Oregon Shakespeare Festival, the Milwaukee Repertory Theatre, Theatre X, Philadelphia’s Arden Theatre, the Studio Theatre in Washington DC, the Delaware Theatre Company, and the Resident Ensemble Players at the University of Delaware. In Chicago Sullivan has directed for Northlight Theatre, American Theatre Company, Turnaround, A Red Orchid Theatre, Live Bait Theatre, Prop Theatre, and the Onyx Theatre. His adaptations of Jane Austen’s Pride and Prejudice and Sense and Sensibility, in collaboration with Joseph Hanreddy, have been produced at regional houses nationwide, including Milwaukee Repertory Theatre, the Oregon and Utah Shakespeare festivals, South Coast Repertory Theater, Round House Theatre, People’s Light & Theater Company, The Cincinnati Playhouse, and Connecticut Rep. www.jrsullivan.net
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Broadway, LORT and regional productions, include designs for: Cherry Lane Theatre, Peccadilo Theatre Company, Directors Company, Pearl Theatre, Two River, Missouri Repertory Theatre, Virginia Stage, Premier Stages, A Red Orchid Theatre, Premier Stages, Working Theatre, Ensemble Theatre, Peoples’ Light & Theatre Company, Olney, Studio Arena, Pittsburgh Public Theatre, McCarter, Capital Rep, Delaware Theatre Company, , GEVA, George Street Playhouse, Syracuse Stage, Theatre Virginia, Philadelphia Drama Guild, Pennsylvania Stage Company, New Jersey Rep, & Actors’ Studio. He has designed for Shakespeare Theatre of New Jersey, Colorado, Alabama, and North Carolina Shakespeare Festivals. Dance designs include Rioult Dance, Viewsonic Dance & North Carolina Dance Theatre. Opera designs for Central City Opera, Boston Lyric, Lake George, Florida State Opera, Pennsylvania Opera Theatre, Syracuse, Chatauqua, Opera Theatre of Pittsburgh, Fort Worth, Orchestra of St. Luke’s and Manhattan School of Music. Mr. Feiner teaches at Queens College, CUNY. CHRISTIAN DEANGELIS (Lights) is delighted to be designing for the Mint. Selected Design Credits: Insurrection, All My Sons (Arthur Miller Theatre, Ann Arbor, MI.); Mary Poppins (Village Theatre); Preludes (Firehouse Theatre); Spamalot (5th Avenue Theatre); Hindle Wakes, The Fatal Weakness (Henry Hewes Design Award Nomination), The Lucky One, Philip Goes Forth, Love Goes To Press, The New Morality (Mint Theatre); Through the Night (City Theatre, PA. & Cincinnati Playhouse in the Park, OH.); Don Giovanni (Ash Lawn Opera); Dr. Jekyll & Mr. Hyde, The Brother’s Size (City Theatre, PA.); Lizzie Borden (Living Theatre, NY. Drama Desk Nomination); The Clean House, A Blessing of a Broken Heart (San Diego Rep); Pericles (Old Globe Theatre); Into the Woods, Boy Gets Girl, Trip to Bountiful, Pride & Prejudice, Arabian Nights, Junta High (VCU-Hodges Theatre). Christian currently teaches at Virginia Commonwealth University in Richmond, Virginia.
ANDREA VARGA (Costumes) Andrea is a freelance costume designer and Associate Professor of Theatre Design at SUNY New Paltz. She is a proud graduate of the MFA program at FSU. Andrea is very happy to be back at The Mint where she previously designed Teresa Deevy’s The Suitcase Under the Bed and Temporal Powers, as well as Martha Gellhorn’s Love Goes to Press, and was a Drama Desk costume design nominee in 2015 for George Kelly’s The Fatal Weakness. Andrea and her scenic designer husband, Nathan Heverin have a wonderful 6 year old son, Finnian. Special thanks to Draper/Dressmaker Eleanor Wolfe who makes all of JANE SHAW (Sound & Original Music) has designed over twenty-five productions for the the beautiful things go from page to stage. Mint including Hindles Wakes, The Suitcase under HARRY FEINER (Sets) designs scenery the Bed, Women Without Men, London Wall, and and lighting for theatre, opera and dance. OffThe Fifth Column. With J.R. Sullivan: Richard
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II, Biography, The Sneeze and Widowers Houses at the Pearl. New York credits include: Measure for Measure (Theatre for a New Audience); Men on Boats (Playwrights Horizons and Clubbed Thumb); Ironbound, (Women’s Project and Rattlestick); Actually (MTC). Regional credits: Cleveland Play House, Hartford Stage, Mark Taper Forum, Milwaukee Rep, Two River Theater, Denver Center. Next: I Was Most Alive with You, Playwrights Horizons; Sweat, 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.
JOSHUA YOCOM (Props) is excited to collaborate with the Mint theater once again. Most recent works include Ain’t No Disco at the Atlantic theater company and Mary Page Marlow at Second Stage. He is grateful for the continued support of his husband, Roberto. ROD KINTER (Fight Director) is pleased to make his debut at the Mint. Recent Off Broadway credits include, Red Roses Green Gold at the Minetta Lane, Mary Shelly’s Frankenstein at Signature and The Lightning Thief, The Percy Jackson Musical at the Lucille Lortel Rod was the resident Fight Director at the Pearl Theatre Company from 2009 - 2016 Other OffBroadway credits include: Fatal Attraction: A Greek Tragedy, The Anthem, and Abe Lincoln’s Big Gay Dance Party. From 1995 until 2010 Rod was the resident Fight Director for New York City Opera. Regional Credits include; American Repertory Theatre; The Utah Shakespeare Festival; The Barter Theatre, The Hudson Valley Shakespeare Festival, Shakespeare on The Sound, The Princeton Festival, Princeton Rep and Glimmerglass Opera. Rod is also on faculty at The American Musical and Dramatic Academy. RodKinter.com
and Hindle Wakes. Other recent stage productions are Anna Deavere Smith’s Notes from the Field (Royal Court, London) and Little Rock (Sheen Center). Coming up is Tennessee Williams’s A Lovely Sunday for Creve Coeur, to be directed by Austin Pendleton at St. Clement’s. Recent screen work includes the series Dietland (AMC) and the film version of Notes from the Field (HBO). www.stollersystem.com. MAYA CANTU (Dramaturgical Advisor) has worked on twelve productions at the Mint. Maya is on the Drama faculty at Bennington College, and received her D.F.A. in Dramaturgy and Dramatic Criticism at Yale School of Drama. As a dramaturg, Maya has also worked on productions at Yale Repertory Theatre and Yale Summer Cabaret, and with Dorset Theatre Festival. Her academic writing has appeared in Studies in Musical Theatre, New England Theatre Journal, Theatre Journal, and The Palgrave Handbook of Musical Theatre Producers, among others. 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). ROB REESE (Production Manager: The Lighting Syndicate), is a Production Manager at large working through The Lighting Syndicate for such theater companies as the Mint Theater Company, Classic Stage Company, and Bay Street Theater. Rob is also a Director and Writer of plays, operas, and musicals including Miranda (HERE, Winner of the Innovative Theater Award for Outstanding Musical), Yahweh’s Follies (ARS NOVA “Godspell for a new millennium”) and Keanu Reeves Saves the Universe (The Sci-Fi Parody Adventure EVER!). Reese is currently Directing the performance art piece Ciphered Bridges for the Brick’s Festival of Lies this June, in collaboration with the Conceptual Cipher Artist Køvvånng. Rob Reese is a member of the Indie Theater Hall of Fame.
JEFF MEYERS (Production Stage Manager) was in a play once. He played the “Captain” AMY STOLLER (Dialects & Dramaturgy) in the Grand Junction, Colorado, high school last had the pleasure of working with J.R. Sul- production of Carousel. He then turned to stage livan on A Moon for the Misbegotten. She has management. He is very pleased to be continubeen helping Mint casts suit words to actions ing his collaboration with Mr. Bank having for more than 20 years, most recently in Conflict previously worked on eight Mint productions
D ay s including Conflict, Hindle Wakes, Fashions For Men and Earnest Hemingway’s The Fifth Column. His 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, ten summer seasons with The Theater at Monmouth 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. KRISTI HESS (Stage Manager) Broadway: The Humans, Blackbird, Hello, Dolly!, The Cherry Orchard, The Audience. Off-Broadway: Light Shining in Buckinghamshire (NYTW), Too Heavy For Your Pocket (Roundabout), Discord (Primary Stages), Engagements (Second Stage), The Humans (Roundabout). Psalm 18:30. STEPHANIE KLAPPER, CSA (Casting)’s work is frequently seen on Broadway, OffBroadway, regionally, internationally, on television, film and the internet. Resident Casting Director for Primary Stages and continues her long collaborations with numerous companies such as Mint Theater Company, New York Classical Theatre, 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: Conflict; The Saintliness of Margery Kemp; Romeo and Juliet; A Letter to Harvey Milk; First Love; Red Roses, Green Gold; A Walk with Mr. Heifetz; Pride and Prejudice (Kate Hamill); Hindle Wakes; Sweeny Todd (KCR); The Mecca Tales; Westside Story (Philadelphia Orchestra); Epiphany V(short film). Member: Casting Society of America. DAVID GERSTEN & ASSOC. (Publicist) has proudly represented the Mint for 25 years! DGA has served as press representatives and marketing consultants on Broadway and off for over twenty-five years; current clients include several other not-for profit theater com-
to
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biographies
panies including Ensemble for the Romantic Century, INTAR, Keen Company, NAATCO, Project Shaw/Gingold Group, and Red Bull Theater, among others. 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 has been the artistic director of Mint since 1996 where he has unearthed and produced dozens of lost or neglected plays, many of which he has also directed. Most recently at the Mint, he directed Yours Unfaithfully by Miles Malleson. Other Mint credits include: The New Morality by Harold Chapin, Katie Roche, Temporal Powers and Wife to James Whelan by Teresa Deevy, Maurine Dallas Watkins’ So Help Me God! at the Lucille Lortel, which received four Drama Desk nominations, including Outstanding Revival and Outstanding Director; Lennox Robinson’s Is Life Worth Living?, the American Professional Premiere of The Fifth Column by Ernest Hemingway, The Return of the Prodigal by St. John Hankin (Drama Desk nomination for Outstanding Revival) and Susan and God by Rachel Crothers. Bank both adapted and directed Arthur Schnitzler’s Far and Wide and The Lonely Way which he also co-translated (with Margaret Schaefer). These two plays were published in a volume entitled Arthur Schnitzler Reclaimed which Bank edited. He is also the editor of two additional volumes in the “Reclaimed” series (Harley Granville Barker and St. John Hankin) as well as Worthy But Neglected: Plays of the Mint Theater Company which includes his adaptations of Thomas Wolfe’s Welcome to Our City and Edith Wharton’s The House of Mirth, both of which he directed, along with five other Mint rediscoveries. Other directing credits include critically acclaimed productions of Ivanov and Othello for the National Asian American Theater Company, John Brown’s Body, The Double Bass and Three Days of Rain for the Miniature Theater of Chester and The Heiress, Hobson’s Choice, Candida and Mr. Pim Passes By for the Peterborough Players. He earned his M.F.A. from Case Western Reserve University in his hometown of Cleveland, OH.
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.
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 the previous century that deserve a happier 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” 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.
Mint Theater Company Board of Trustees Gretchen Adkins Jonathan Bank Bob Donnalley John P. Harrington Brian Heidtke Kathryn Swintek John Yarmick In Memoriam Ciro Gamboni
Producing Artistic Director.......Jonathan Bank Assoc. Producer..........Rebecca Nell Robertson Marketing & Devo. Assoc...........Karina Mena Interns......................Margot Gage, Tara Novie Financial Services.............Nellis Mgt. Services Andrea Nellis & Lucy Mallett
Dramaturgical Advisor..................Maya Cantu Videographer..............................Mike LoBello
Advertising & Website Design.........The Pekoe Group: Amanda Pekoe & Jason K. Murray Publicity......................David Gersten & Assoc David J. Gersten, Daniel DeMello Auditor.....................Lutz & Carr, CPA’s, LLP
Thank you to the generous donors below for Celebrating with us this year! List as of 07/10/2018
To donate to the Celebrate 2018 Campaign to support actor salaries, go to minttheater.org/make-an-investmint or call us at 212-315-9434.
Anonymous (2) 42nd St. Development Corp. David & Kim Adler Judith Aisen & Kenneth Vittor Linda & Lloyd Alterman Laura Altschuler Sylvia Amato Louise Arias Jordan Baker & Kevin Kilner Sylva Baker Muriel Bermar Al Berr Peter & Helena Bienstock Robert Brenner Deb Brockway Lois Burke Ann Butera Alice B. Cannon-Perkins Judith Castagna JuJu Chang & Neal Shapiro Lynne Charnay Jon Clark & Ryan Franco Pamela Coker & John Walls Peggy Correa Tandy Cronyn Ann DeInnocentiis Francisco Diaz Nancy M. Donahue Cory & Bob Donnalley Charitable Foundation Malcolm Duffy Herzl Eisentadt Marjorie Ellenbogen Anne & Sidney Emerman Judith Eschweiler Ellen & Frank Estes H. Read Evans Barbara Farrar & Tom Evans Howard Feldman Angela Fiore Nicholas & EdmĂŠe Firth Charles Forma Edward & Joan Franklin Gail P. Gamboni Agnes & Emilio Gautier June O. Goldberg Robert Gorman & Howard Oboler
Stanley Gotlin & Barry Waldorf Maureen Griffin Deane Gross George & Antonia Grumbach Lanie Hadden Joseph Hardy John Hargraves & Nancy Newcomb Sheldon & Margery Harnick Cynthia Harris Catherine Hart & Mark Stoeckle Darlene & Brian Heidtke Gemzel Hernandez Martinez, M.D. Michalann Hobson Fletcher Hodges Linda Irenegreene & Martin Kesselman Gale & James Jacobsohn Gus Kaikkonen & Kraig Swartz Brian Kaltner Rebecca Kaplan J.A. Kedziora Patricia Kelley Louise Kerz Hirschfeld Kaori Kitao Gerald & Marlene Kolbert Sally & Wynn Kramarsky Dr. Albert Leizman & Ann Harte David Lerner & Lorren Erstad Cathie Levine & Josh Isay Nina Levy Daniel & Sharon Lowenstein Paul Lubetkin & Joyce Gordon Mary Rose Main Vivian Majeski Florence Mannion Fran Markus Eileen Mason Margaret P. Mautner Judy Mayfield Patricia A. McCormack Ilse Melamid
John David Metcalfe Susan & Joel Mindel Charlotte Moore Doreen S. Morales Joseph Morello Saleem & Jane Muqaddam Dorinda Oliver Stephanie & Robert Olmsted Colleen Orsatti Lynn Poole Lorna Power Donna & Ben Rosen Thomas & Lynn Russo Kathy Salem Archer Scherl Ronald Shaw George & Marjorie Shea Zachary & Susan Shimer Robert Shivers Joyce Silver Barbara Madsen Smith Anothony Smith & Patricia Bettin Smith Charles Sperling Stagedoor Manor Susan Stockton Meryl Stoller The Dorothy Strelsin Foundation Dennis & Katharine Swanson Jean Swintek in honor of Kathryn Swintek Brinton Taylor & Francis C. Parson Jr. Gladys Thomas J. Michael Thomas David Toser Helen S. Tucker, Gramercy Park Foundation Gene Tweraser Robert & Janet Wagner John Michael Walsh Pat De Rousie-Webb & Robb Webb Patricia & Richard White Mary Wight John Yarmick
The following generous Individuals, Foundations, & Corporations support the Mint Theater, and we honor their contributions:
Crème de la Crème: $25,000 and above
Anonymous Estate of Ciro P. Gamboni Estate of Irving B. Fine Howard Gilman Foundation The Andrew W. Mellon Foundation New York City Department of Cultural Affairs Royal Little Family Fdn. The Shubert Foundation, Inc. The Ted Snowdon Fdn.
Crème de Mint: $10,000 - $24,999
Anonymous The Achelis & Bodman Fdn. Barbara Bell Cumming Foundation Cory & Bob Donnalley Charitable Foundation Richard Forstmann The Fan Fox & Leslie R. Samuels Foundation The Gladys Krieble Delmas Foundation Marta Heflin Foundation The Heidtke Foundation Gail P. Gamboni Rebecca Kaplan Lucille Lortel Foundation New York State Council on the Arts The Harold & Mimi Steinberg Charitable Trust The Dorothy Strelsin Foundation Geraldine Stutz Trust, Inc. Michael Tuch Foundation John Yarmick
SilverMint: $5,000 to $9,999
Anonymous Gretchen Adkins Axe-Houghton Foundation Robert Brenner Virginia Brody Johanna & Leslie Garfield Agnes & Emilio Gautier John & Janet Harrington Gemzel Hernandez Martinez M.D. Sandra & David Joys David L. Klein, Jr. Fdn. Blanche & Irving Laurie Foundation Elaine & Richard Montag Lorna H. Power Jerome Robbins Foundation
Wallace Schroeder The South Wind Foundation Sukenik Family Foundation Dennis & Katharine Swanson Kathryn Swintek
ChocolateMint: $2,500 - $4,999
Anonymous 42nd St. Development Corp. David & Kim Adler Grover Connell Jennifer & Greg Ezring Jon Clark & Ryan Franco William Downey Nicholas & Edmée Firth Mr. & Mrs. Edward W. Franklin Christopher Joy & Cathy Velenchik Joan Kedziora Kaori Kitao The Dorothy Loudon Foundation Dorinda Oliver The Petros K. & Marina T. Sabatacakis Foundation Susan & Zachary Shimer David Stenn Michael Thomas Helen S. Tucker, Gramercy Park Fdn. Stagedoor Manor Mary Rllrn & Karl von der Heyden Jivan Wolf
SpearMint: $1,500 - $2,499
Judith Aisen & Kenneth Vittor Carole B. & Kenneth J. Boudreaux Fdn. Lois Burke Pamela Coker & John Walls Barbara Farrar & Tom Evans Ruth Friendly Robin Jones Roselle & Brian Kaltner Sally & Wynn Kramarsky The Lambs Foundation Sandra & Jonathan Landers John David Metcalfe Frederick Meyer George Robb Sarah Billinghurst Solomon J. Michael Thomas Hilda Wenig & Lisa Renz
PepperMint: $750 - $1,499
Anonymous Actors’ Equity Foundation Louise L. Arias Joseph Bell & Peter Longo John H. & Penelope P. Biggs Ann Butera C.L. Christensen Ann DeInnocentiis Catherine N. Dugan Marjorie Ellenbogen Doreen Morales in memory of Larry Morales Pat DeRousie-Webb & Rob Webb Judith Eschweiler Jane & Charles Goldman Barbara Gottlieb George & Antonia Grumbach Lanie Hadden David Herskovits Hickrill Foundation Louise Kerz Hirschfeld International Friends of the London Library Linda Irenegreene & Martin Kesselman Bill & Margaret Kable Frank Lenti Charlene & Gary MacDougal Vivian Majeski Florence Mannion Margaret P. Mautner Martin & Maude Meisel George Morfogen Joseph Morello Saleem & Jane Muqaddam Stephanie & Robert Olmsted James J. Periconi Richard Robilotti Mary & Winthrop Rutherfurd Drs. Carole M. Shaffer-Koros & Robert M. Koros John Q. & Karen E. Smith in honor of Malvin Bank Charles Sperling Alec Stais & Elissa Burke Susan Stockton Stella Strazdas & Hank Forrest Charitable Fund M. Elisabeth Swerz Elaine Taylor-Gordon Susan & Charles Tribbitt Steven Williford Elaine Yaffe
supporters DoubleMint $250 - $749
Anonymous (8) Stephen Abel & Frank Wolf Barbara & Alan Abrams Dr. Albert Leizman & Ann Harte Louis Alexander Dean Alfange Linda & Lloyd Alterman Laura Altschuler Carmen Anthony Jordan Baker & Kevin Kilner Stacy Banks & Scott Balogh Judith Barlow Robin Baskett Helen Hadjiyannakis Bender Barbara Berliner & Sol Rymer Muriel Bermar Al Berr Nidia Besso Clint Best Peter & Helena Bienstock Judith Bihaly Gene & Joann Bissell Steven Blier & James S. Russell Allison Blinken Julian & Zelda Block Ronald Blumer & Muffie Meyer Dr. & Mrs. Jeffrey Borer Joan & Seymour Boyers Alice Boyle Nathan Brandt Steven Brauser Charles & Rosemary Brennan Deb Brockway in memory of Clinton Brockway Melinda Bush Albert Butzel Catherine Cahill & William Bernhard Peter Cameron Alice B. Cannon-Perkins & Fred Perkins Fairfid M. Caudle Aurelie Cavallaro Elinor Ceresney Russell Charlton & Julie Norwell Lynne Charnay Carolyn Chave & Robert Hand Gwin Joh Chin Stephen & Elena Chopek Mervyn Clay Steven Coe Toni Coffee Ira Cohen Julie Cushing Connelly
Dennis Consumano & Cynthia Appelblatt Jo Ann Corkran Peggy Correa Audrey & Fergus Coughlan Tandy Cronyn Leslie Crossley George & Susan Crow Cynthia Darlow & Richard Ferrone Sue & Stuart Davidson Denny Denniston & Christine Thomas Carolyn Demarest Francisco Diaz Katherine & Bernard Dick Ruth & Robert Diefenbach Thomas A. Dieterich Nancy M. Donahue Caroline Donhauser Suzanne Dowling Joan Drelich Jeffrey Dubiner James Duffy Emily Dunlap Don & Sheila Dunphy Kim & William Eckstrom Herzl Eisenstadt Monte Engler & Joan Mannion Sara & Fred Epstein Elen & Frank Estes H. Read Evans Linda Feinstone Howard Feldman William Finkelstein Angela T. Fiore Dena & John Fisher James Fleckenstein & Lori Hiatt Eva & Norman Fleischer Barbara Fleischman Charles Forma Carol & Burke Fossee Jeffrey & Diana Frank Roger & Patricia Friedman Dr. Barbara Gaims-Spiegel & Robert M. Spiegel Dina Gamboni in loving memory of my father Ciro Gamboni Eugene Gantzhorn Nicholas Garaufis & Betsy Seidman Michael Garber Peter Gates Mary J. Geissman Marion & Whitney Gerard Virgina Gerst Susan & David Gerstein Suellen & David Globus Betty & Joshua Goldberg Margaret Goodman Minette Gorelik
Stanley Gotlin & Barry Waldorf Susan & Marc Gottridge Gordon Gould Anna Grabarits Bruce & Diane Gregory Arnold H. Grossman Stephanie W. Guest Carol & Steven Gutman Gunilla Haac Dr. Ronald & Maria Hagadus Bernard & Shirley Handel John Hargraves & Nancy Newcomb Janet Hariton Delphi Harrington Cynthia Harris Alvan & Joan Harrison Ellen Hayden Charles Hayman Henry Hecht & Sally Wasserman Carol Hekimian Reily Hendrickson Michael Herko Gabor Herman Sigrid Hess Linda & George Hiltzik Louise Hirschfeld & Lewis B. Cullman Alan Hirsh Eleanor Hodges Carol Hoffman Heather & Bruce Horner Harriet & Elihu Inselbuch Josephine Lea Iselin Jocelyn Jacknis James W. Jackson Susan & Stephen Jeffries Wendy & David Johnston Joseph Family Char. Trust Gerhard Joseph Virginia Josephian Gregory & Mary Juedes Peter Haring Judd Fund Dawn Kafcos Gus Kaikkonen & Kraig Swartz Greg & Karin Kayne James Kelly & Lisa Hendricksson Laurie Kennedy James J. Kolb Marlene & Gerald Kolbert Harold Kooden & John Hunter Sarah & Victor Kovner Anna Kramarsky & Jeanne Bergman Mildred Kuner Carmel Kuperman Julie Laitin David & Mary Lambert William & Robert Lang
supporters Karl Laub Gordon Leavitt Ira Leeds Laura & Rodney Leinberger David Lerner & Lorren Erstad Mary Linda Levine Cathie Levine & Josh Isay Gloria & Mitchell Levitas Carol & Stanley Levy Eva Lichtenberg & Arnold Tobin Claire Lieberwitz & Arthur Grayzel, MD Joseph Lombardi Daniel & Sharon Lowenstein Mary & Boyd Lowry Joan M. Lufrano Paul Lubetkin & Joyce Gordon Edward Maguire & Mary Atwood Mary Rose Main Jane Majeski Sharyn & Stephen Mann Barbara Manning Christina Mantz Jean & Robert Markley Jacqueline Maskey Eileen Mason Michael Massimilla Lorraine Matys Cheryl & Harris May Doris & David May Pamela Mazur, PhD Patricia A. McCormack Carolyn McGuire Robert McLaughlin & Sally Parry Joan & John Mendenhall Leonard & Ellen Milberg Lusia & Bernard Milch Susan & Joel Mindel Ann Miner Frank Morra Elaine & Ronald Morris John & Michelle Morris Georgia & Mark Munsell Karol Murov Marin & Lucy Murray Virg & Bob Nahas Louise Neville Peter & Susan Nitze Alexa Shae Niziak William Nolan Greenway O’Dea June O’Donnell Modest & Linda Oprysko Janice Oresman Colleen Orsatti
Frances Pandolfi Jeanine Parisier Plottel Pauline Pinto Isaac Pollak Mary & Larry Pollack Lynn Poole Gary Portadin Georgette & David Preston Robert & Carlo Prinsky Robert A. Pugsley Judith Quillard Susan & Peter Ralston Teresa Ranellone Linda Ray Joe Regan Jacqueline Reich Cordelia & David Reimers Eleanor Reissa Tom Repasch Peter Robbins & Paige Sargisson Brian Rohman & Peggy Herzog Robert & Rhoda Roper Donna & Ben Rosen Saul Rosenthal Mark Rossier Charles & Meryl Rubin Marcia & Michael Rubin William Rumancik & Paul Cowan Lynn & Thomas Russo Richard Safran Kathy Salem Rosemarie Salvatore Corrine Samios Jacqueline Sandler Mary Ann Scaggs Catherine Scaillier Judy & Dick Schachter Archer & Maxine Scherl Caroline Schimmel Marilyn & Joseph Schwartz Jim & Ann Settel Dimitri Sevastopoulo Ronald Shaw George & Marjorie Shea Richard & Camille Sheely Janet & Joseph Sherman Robert Shivers Helen Shufro Herbert Shultz Shelley & Joel Siegel Linda Silberman Marion Simon James & Daisy Sinclair Frank Skillern Beverly Sloan Janet & Mike Slosberg
Anthony Smith & Patricia Bettin Smith Barbara Madsen Smith Bernice Smith Hope Sobie Barbara Solomon Sandra & Graham Spanier Shondell & Ed Spiegel Martha S. Sproule Sherry & Bob Steinberg Gary Stern Kipp & Lauren Stevens Amy Stoller Elaine Strauss Eve Stuart Pamela Stubing Joseph Sturkey Dr. Larry E. Sullivan Will & Carol Sullivan Jean Swintek, in honor of Kathryn Swintek Carol Tambor & Kent Lawson Douglas G. Tarr Brinton Taylor & Francis C. Parson Jr. Madeline Taylor Deborah Thompson Deborah & Craig Thompson Joan & Jack Thorne Lee Toole & Kimiko Otsuka Stan & Madelene Towne Linda & Ken Treitel Martha Van Hise Jean-Francois Vilain & Roger Wieck Anthony & Elaine Viola Joan & Bob Volin Robert & Janet Wagner Daniel & Judith Walkowitz John Michael Walsh Steven Warshawsky & Kim Ruska Kevin & D.G. Weber-Duffy Donna Welensky Patricia & Richard White Anita & Byron Wien Mary Wight Robert & Lillian Williams Constance Wingate Frank Wolf & Stephen Abel Trudy Wood & Jacob Goldberg Daniel Marshall Wood Diana Zoltick Donald & Barbara Zucker Mary Zulack & Peter Belmont Burton & Sue Zwick
This list represents donations made from July 10, 2017 - July 10, 2018. Every effort is made to ensure its accuracy; please notify us if we have made a mistake.
days to come Production Staff
Production Manager . . . . . . . . . . . . Rob Reese Technical Director . . . . . . . . . . . Carlo Adinolfi Assoc. Technical Director . . . . Abbigale Walsh Production Supervisor . The Lighting Syndicate Asst. Set Designer . . . . . . . . . . . . . Frank Oliva Master Electrician . . . . . . . . . . . . . . Erin Jones Asst. Lighting Designer & Programmer . Emily Darone Assts. to the Lighting Desginer . Travis Stoy & Margaret York Sound Supervisor . . . . . . . . . . . Laura Brauner Board Operator . . . . . . . . . . . . Jim Armstrong Wardrobe Supervisors . . . . . . . Kelsey Buerger, Meg Glassco, Christina Limerick Asst Costume Designer . . . Christina Limerick Draper/Dressmaker . . . . . . . . . . Eleanor Wolfe Prop Artisan . . . . . . . . . . . . . . . . . . Jon Knust Asst. Director . . . . . . Samuel-James DeMattio Deck Crew . . . . . . . . Courtney Kupferschmidt Production Assts . . . . . . . . Jean-Daniel Milius, Tina Truong Fight Director Assistant . . . . . . Brynn Knickle Casting Asst . . . . Lacey Davies, Leah Shapiro Asst. to SKC ���������������������������Caitelin McCoy House Managers . . . . . . . . . . . . Margot Gage, Samuel-James DeMattio
General Manager...................Erika Feldman Assoc. Gen. Manager........... Shawn Murphy Technical Director................... Keith Adams Asst. Tech Dir........................Colin Colford, Jamianne Devlin, Matthew Sells Box Office Manager...................... Azizi Bell
Mktg. & Social Media Mgr..Drew Overcash Asst. Box Office Mgr........... Amanda Finch, Kelsey Kennedy Box Office Staff..................Kiley McDonald, Bailey Reeves House Manager.................... Jack Donoghue Studio Manager........................... Scott Pegg
42SDC Board of Directors Joseph ( Jay) Beasley Carmen Bowser, Secretary Daniel Biederman, Treasurer Andy Hamingson Kevin Harrington, Chair Miriam Harris Jeffrey A. Horwitz Josh Landay William J. Maloney Melissa Pianko Wendy Rowden, President Zachary Smith THEATRE ROW This theater is operated by Theatre Row Studios, a program of the 42nd Joyce Storm Street Development Corporation (42SDC). 42SDC is a non-profit (501(c)(3)) that champions and funds arts ventures that catalyze creative neighborhood development. Since its founding in 1976, 42SDC has been at the forefront of the redevelopment and revitalization of 42nd Street. In the event of fire, please proceed quietly to the nearest exit. Exits are located where you entered the theater complex. The use of cameras and other recording devices in this theater is prohibited by law. There is no smoking anywhere in this theater or in the theater complex, including, lobby, stairways and restrooms. This presentation is not a Theatre Row Studios or 42nd Street Development Corporation production, nor does its presentation in this theater imply approval or sanction by either Theatre Row Studios or 42nd Street Development Corporation.
Executive Team Wendy Rowden, President Bruce Levine, Chief Financial Officer Special Thanks Douglas Filomena of The Lighting Syndicate, LLC. Erika Feldman and Shawn Murphy of Theatre Row. Program Lighting equipment provided in part by the ETC Corporate Giving Equipment Grant and 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. Mint Theater Company wishes to thank the TDF Costume Collection, University of Delaware Theater Department: Barbara Hughes, Costume Director, and the American Players Theatre: Scott RÖtt, Costume Director.
Mint Production History Conflict, 2018
A Little Journey, 2011
Echoes of the War, 2004
Hindle Wakes, 2018
What the Public Wants, 2011
Milne at the Mint, 2004
The Suitcase Under the Bed, 2017
Wife to James Whelan, 2010
By Miles Malleson By Stanley Houghton
By Teresa Deevy
The Lucky One, 2017 By A.A. Milne
Yours Unfaithfully, 2017 By Miles Malleson
A Day by the Sea, 2016 By N.C. Hunter
By Rachel Crothers
By Arnold Bennett By Teresa Deevy
By J.M. Barrie
Two Plays by A.A. Milne
Far and Wide, 2003 By Arthur Schnitzler
Doctor Knock, 2010
The Daughter-In-Law, 2003
So Help Me God!, 2009
The Charity That Began at Home, 2002
By Jules Romains
By Maurine Dallas Watkins
Is Life Worth Living?, 2009 By Lennox Robinson
By D.H. Lawrence
By St. John Hankin
No Time for Comedy, 2002 By S.N. Behrman
Women Without Men, 2016
The Widowing of Mrs. Holroyd, 2009
Rutherford & Son, 2001
The New Morality, 2015
The Glass Cage, 2008
Diana of Dobson’s, 2001
Fashions for Men, 2015
The Fifth Column, 2008
The Fatal Weakness, 2014
The Power of Darkness, 2007
The Flattering Word & A Farewell to the Theater, 2000
By Leo Tolstoy
By George Kelly & Harley Granville-Barker
Donogoo, 2014
The Return of the Prodigal, 2007
Welcome to Our City, 2000
By Hazel Ellis
By Harold Chapin By Ferenc Molnár By George Kelly
By Jules Romains
London Wall, 2014 By John Van Druten
Philip Goes Forth, 2013 By George Kelly
A Picture of Autumn, 2013 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
By D.H. Lawrence By J.B. Priestley
By Ernest Hemingway
By St. John Hankin
The Madras House, 2007 By Harley Granville-Barker
By Githa Sowerby
By Cicely Hamilton
By Thomas Wolfe
Miss Lulu Bett, 2000 By Zona Gale
John Ferguson, 2006
The Voysey Inheritance, 1999
Susan and God, 2006
Alison’s House, 1999
By St. John Ervine
By Rachel Crothers
Soldier’s Wife, 2006
By Harley Granville-Barker By Susan Glaspell
The House of Mirth, 1998
By Rose Franken
By Edith Wharton & Clyde Fitch
Walking Down Broadway, 2005
Mr. Pim Passes By, 1997
By Dawn Powell
The Skin Game, 2005 By John Galsworthy
The Lonely Way, 2005 By Arthur Schnitzler
By A.A. Milne
Uncle Tom’s Cabin, 1997 By George Aiken
Quality Street, 1995 By J.M. Barrie