Mint Theater Company Jonathan Bank Ted Altschuler Laura Gale Aaron Lenehan
Artistic Director Associate Producer Box Office Manager Website Design
Board of Trustees M. Elisabeth Swerz, President Elsa A. Solender, Secretary Jon Clark Roger Fields Anita Highton Jonathan Bank Eleanor Reissa
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THE MINT THEATER COMPANY commits to bringing new vitality to 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 Presents
Far and Wide (Das weite Land)
By Arthur Schniztler
Adapted by Jonathan Bank
with Ezra Barnes, Lisa Bostnar, Rob Breckenridge, Lee Bryant, Anne-Marie Cusson, Kurt Everhart, Ken Kliban, James Knight, Victoria Mack, Matt Opatrny, Allen Lewis Rickman, Hans Tester, Pilar Witherspoon
Scenic Design Vicki R. Davis
Costume Design Theresa Squire
Translation Advisor Peter Sander
Prop Specialist Judi Guralnick
Sound Design Stefan Jacobs
Lighting Design Josh Bradford
Assistant Director Linnet Taylor
Associate Costume Designer Naama Greenfield
Graphic Design Jude Dvorak
Press Representative David Gersten & Associates
Production Stage Manager Douglas Shearer
Assistant Stage Manager Lisa M. Webb
Jonathan Bank Directed by
Adapted by….
Adaptation is a tricky term, and not one with which I'm wholly satisfied. Schnitzler wrote in German, so we begin with the question of translation. Now, I don't speak (or read) German, but I started with an English translation by Alexander Caro and Edward Woticky that Schnitzler authorized, which I revised to suit my own contemporary ear. This translation was published in Poet Lore magazine in 1923 (and special thanks to Professor Ellen Gainor of Cornell University for finding a copy of it for me.) In addition to working with this literal translation, I spent a great deal of time with a German/English dictionary (http://dict.leo.org) and with Peter Sander, a professional dramaturg and award-winning translator.
If that were all, I might just say "English version by…" as Tom Stoppard did with his play Undiscovered Country commissioned by the National in 1979. However I've also "adapted" a play with 29-plus characters into one that has 15. I'm sure that sounds like radical surgery, but in fact, I've only cut three characArthur Schnitzler ters with more than two or three lines, and they have absolutely no bearing on the central story. All of the cut characters (with the exception of the Natters silent children, their nanny, and Frau Wahl's philosopher son, Gustav) are exclusive to the play's third act, providing atmosphere at the Hotel Völs Lake. I consulted with Professor Andrew C. Wisely, author of two books on Schnitzler including the forthcoming Twentieth-Century Criticism of Arthur Schnitzler (18621931) and he reassured me that, "cutting from Act III as you did does not diminish the effect in the least (often critics felt Schnitzler should have cut more from his plots…)" I use the term "adapted" so as not to represent the play as a wholly literal version of Schnitzler's play, although I have been scrupulous about trying to honor the spirit of his intentions, and to accurately represent the meaning of every line.
You are no doubt wondering why I would choose to create a new text for this play, rather than using Stoppard's. In fact, two years ago I did seek the rights to produce Undiscovered Country and was turned down, for reasons that were never specified. I think it's probably fair to say that Stoppard did me a great favor in saying, "no" because it's unlikely that we would have ever been able to produce that play. We could no more manage a cast of 29-plus, than we could afford the working elevator that Schnitzler wanted for the hotel. Stoppard does preserve all of the dramatis personae, choosing instead to make his cuts throughout the play.
I learned of the existence of the Woticky/Caro translation, entitled The Vast Domain, when I discovered it catalogued among Stoppard's papers held at the University of Texas, Austin. Stoppard also started with the Woticky/Caro translation, and I think it's probably fair to say that our two versions each owe a far greater debt to their excellent work than we'd care to admit, but, of course, I can only speak for myself.
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.
Arthur Schnitzler (Playwright 18621931) was one of the most famous of all of the great personalities in Vienna at the turn of the last century. A prolific author, Schnitzler wrote more than twenty prose works including stories, novellas and novels in addition to over twenty-five plays. From before 1900 until 1925, Schnitzler was more talked about, and his plays were more performed on the stages of Germany and Austria than any other writer. Schnitzler was both a Jew and a critic of the Austrian Monarchy, contributing to the censorship of his work in his lifetime, and by the Nazi's after his death. His work ultimately suffered the same fate as the Viennese culture that he was describing and vanished into obscurity after Word War I. His best-known play today is probably Reigen a.k.a. La Ronde. This work was the basis for The Blue Room by David Hare, as well as the recently released film Love in the Time of Money. Audiences may also be familiar with Anatol, an early work (1893) consisting of seven scenes variously controversial,
censored or banned for immorality. Neither of these plays accurately represents the breadth or depth of Schnitzler's genius; what Benedict Nightingale describes as his "inquisitive, complex, formidably moral intelligence."
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 the New York premiere of Harley Granville-Barker'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 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.
tion 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.
Linnet Taylor (Assistant Director) is from England, where she began directing at Cambridge and on the London fringe. She is a recipient of the Woolwich national playwriting award, and has written fiction and journalism professionally in England, Mexico and the US. Directing credits include The Winter's Tale and Gilgamesh (New Stage), Lysistrata, Archie Loves Nathan and El Gato Sin Amigos (Hangar Theatre lab) She is a Drama League Directing Fellow.
Ted Altschuler (Associate Producer) has been a theatre administrator, director and educator for 18 years. He has directed opera productions at The New York City 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 his ensemble Ursa Major.
David Gersten & Associates (Press Representatives) are proud to continue their association with Jonathan Bank and the Mint Theater. Current clients also include Tony N' Tina's Wedding (now in its 14th year!), Late Nite Catechism (6th year Off-Broadway!), The Drama League, Ensemble Studio Theatre, Jean Cocteau Repertory, Storm Theatre, Mary Cleere Haran, Rattlestick Theatre, The Lucille Lortel Foundation, and The League of Off-Broadway Theatres & Producers, among others.
Jonathan Bank (Artistic Director and 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 20 worthy but neglected plays including the much acclaimed American premiere of Harley GranvilleBarker's The Voysey Inheritance, and the American premiere of Thomas Wolfe's Welcome to Our City - which he adapted and directed. He is the editor of the newly published 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
It is my fondest hope that the existence of this more compact version of Schnitzler's masterpiece will encourage other theaters to consider the play for production, just as the Mint version of The Voysey Inheritance (adapted by Gus Kaikkonen) reduced the cast requirement from 18 to 11 and has led to subsequent productions of that great masterpiece. In any event, I am very pleased to be able to introduce you to Das weite Land and to Arthur Schnitzler's remarkable dramatic talent. -Jonathan Bank
A Note on Dueling
In Schnitzler's Austria, duels between gentlemen were frequent and (despite the inaccuracy of dueling pistols) sometimes fatal. Among the upper classes a man was expected to answer any insult with a challenge, failure to do so labeling him forever a coward.
Duels were elaborately ceremonial affairs, governed by precedents and textbooks, whose degree of intensity depended on the type of insult that had provoked them. These ranged from a mere verbal slur, which might result in a saber bout where neither participant would expect to be seriously injured, to the seduction of a wife or female relative (the most serious of all), where pistols would almost certainly be used, and a duel to the death might even be agreed upon in advance.
Once a challenge had been made, the participants then agreed whether to fight with swords or pistols, each choosing two seconds (who were responsible for providing and readying the weapons, and witnessing the duel) and a doctor to preside over the combat.
Although dueling was officially illegal, the authorities could be counted on to turn a blind eye as long as nobody was killed. Penalties for dueling, and their enforcement, varied according to whether the combat proved fatal, but at worst a gentleman might spend up to five years in prison. If the duel was judged to have been justified (for example, in the case of a seduction), the victor could expect little more than a slap on the wrist.
A gentleman of Schnitzler's time was expected to have dueled in his youth, proving both that he had honor, and was ready to defend it. Scars from such bouts were considered so masculine and attractive that plastic surgeons took out advertisements offering to create them for those unlucky enough not to have acquired them the hard way.
The 1880's saw the invention of a new variant: the American duel. It was so named by European duelists not for its origin but for its recklessness and disregard for convention, typical, it was thought, of the Wild West. This type of duel was fought in the form of a game (which could be anything from billiards to the toss of a coin), where it was agreed that the loser would commit suicide. The American duel was despised by traditionalists as a dishonorable suicide pact, whose principal object was death rather than the restoration of honor. Linnet Taylor
CAST OF CHARACTERS (in order of appearance)
FRIEDRICH HOFREITER, manufacturer.......................................................Hans Tester GENIA HOFREITER, his wife.......................................................................Lisa Bostnar ANNA MEINHOLD-AIGNER, an actress.......................................................Lee Bryant OTTO VON AIGNER, her son, an ensign of marines.................................James Knight DOCTOR VON AIGNER, divorced husband of Frau Meinhold....................Ken Kliban FRAU WAHL......................................................................................Anne-Marie Cusson ERNA WAHL, her daughter........................................................................Victoria Mack NATTER, a banker...........................................................................Allen Lewis Rickman ADELE, his wife.....................................................................................Pilar Witherspoon DOCTOR FRANZ MAUER, a physician........................................................Ezra Barnes DEMETER STANZIDES, a lieutenant..................................................Rob Breckenridge PAUL KREINDL............................................................................................Matt Opatrny SERKNITZ........................................................................................Allen Lewis Rickman HIKER.....................................................................................................Rob Breckenridge ROSENSTOCK, porter in the Völs Lake Hotel.............................................Kurt Everhart
SCENES Act I - veranda and garden of the Hofreiters' villa, Baden, near Vienna on summer afternoon Act II - garden of the Hofreiters' villa, two weeks later. Act III - lobby of the Völs Lake Hotel, a week later. Act IV - as in Act II, a week later. Afternoon.
Act V - a room in the villa adjacent to the veranda, the following morning.
STAFF
Technical Director………………………………………..Carlo Adinolfi Master Electrician………………….……………..…….Andrew Dickey House Manager…………………….……………..………Tara McNally
SPECIAL THANKS
Rosalie Sendelbach Imports, Yasmine Karrenburg & Kurt Gutenbrunner of Wallsé Restaurant and Café Sabarsky, Ernst Aichinger and Krista Lewis at the Austrian Cultural Forum, Performing Arts Center of Purchase College, Dr. Frank Hentschker at Martin E. Segal Theatre Center, J. Ellen Gainor, Roger Fields and The Zuni Café, John Simon of New York Magazine, Leo Carey of The New Yorker, Andrew C. Wisely. 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.
Josh Bradford (Lighting Designer) designed lights for The Good Thief and The Second Man; other theatre credits include Signals of Distress for the Flying Machine, Blue Window starring Marin Hinkle, Endgame for the Rude Mechanicals, Camille at the Olney Theatre, The Countess at the Samuel Beckett, and Pippin at the Gateway Playhouse. Josh started studying design at Middlebury College and holds an MFA from NYU's Tisch School of the Arts.
Stefan Jacobs (Sound Designer) was the sound designer for Keen Company's The Good Thief. Other recent work includes: second recording engineer for This American Life at Town Hall, Clare Byrne Dance St. Patrick Pageant and Sugar Cain, Valerie Shoots Andy and Lay Me Down at the Theatorium, Imago Dance Theatre's Unbecoming Snow White at Joyce Soho, Native Son and Day of Absence at The Harlem School for the Arts, The Women's Project's Our Place in Time, and Barrow Group's Thy Kingdom's Coming. Stefan is the founder of Rainwater Sound, (rainwatersound. com) providing design and technical services to arts organizations and artistic individuals.
Peter Sander (Translation Advisor) is an award-winning director, translator and dramaturg. For the past 30 years he has served as a major presence in American regional theater. His translation of Franz Xaver Kroetz's Request Concert, directed by Joanne Akalaitis in 1981, was honored with Drama Desk, Obie and Rosamond Gilder Awards, and was published in Farmyard & Four: Plays by Franz Xaver Kroetz (Urizen, 1976) and Yale/Theater (June 1975). Mr.
Sander has served as Professor and Chair of Drama and Dance at Hofstra University, a full Professor at Ohio University and the Hallmark Distinguished Professor of Theatre at University of Missouri-Kansas City. He has directed over 50 productions nationwide and was nominated for Chicago's pretigious Jeff Award for his production of Moonchildren at the Academy Playhouse. His play The Dreams of Manhood (1977) received an Ohio Program for the Humanities Grant, and Kafka: The World of Parable, was honored with a Goethe House Grant.
Douglas Shearer (Stage Manager) Recent Stage Managing credits include: 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).
Lisa M. Webb (Assistant Stage Manager) is excited to be working with the Mint for the first time! Some favorite credits include: American Globe Theatre: Macbeth, Our Town. Vital Theatre: The Nastiest Drink in the World, Funny, Vital Signs New Works Festival, Spring 2002. Play Company: No. 11 (Blue and White), Fall 2001 New Works/ New World Festival. 78th Street Theatre Lab: Snatches, Wyoming, Anatomy of a Knucklehead. Thanks, Doug & Jonathan! Love to Mom & Waring. Sharron Bower (Casting Director) casts theatre, animation voiceovers and independent films. She recently cast The Miniature Theatre of Chester's produc-
Stage. He is the winner of LA Theatre Critic Awards for acting and directing. On TV and film he is best known as Leif on Melrose Place and series regular Guenter on Super Dave. He has done leads in two pilots and starred in Millennium Man and Mike Figgis' One Night Stand. Hans is a graduate of Yale.
Pilar Witherspoon (Adele) OffBroadway: Elaine in the American premiere of One Good Beating at the Jose Quintero Theatre, Sandra in Beautiful Thing at Cherry Lane, Solange in The Maids, Lili in Why We Have a Body. Regional credits include: Helena in All's Well That Ends Well at Playmakers Repertory Theatre, Viola in Twelfth Night at the Alabama Shakespeare Festival. Also at ASF: Margaret Moore in A Man for All Seasons and Maggie Cutler in The Man Who Came to Dinner. At the Shakespeare Theatre in Washington D.C.: Macbeth starring Stacy Keach, and the Chorus in Michael Kahn's production of Henry V. For the St. Louis Repertory Theatre: Laura in The Glass Menagerie and Regina in Ghosts. At the Indiana Repertory Theatre, Pilar played Madame George Sand in the premiere of Les Trois Dumas. Other regional credits include: The Sundance Playwriting Lab, Idaho Shakespeare Festival, Pioneer Memorial Theatre. Television credits include: Law & Order, Law & Order: Special Victims Unit, One Life to Live, and Guiding Light.
Vicki R. Davis (Set Design) previously designed scenery at the Mint for Welcome to Our City, The Voysey Inheritance, Miss Lulu Bett, August Snow & Night Dance, The House of Mirth, The Time of Your Life, and cos-
tumes for Pericles. Upcoming : Blues In the Night at Arena Stage, Cold Sassy Tree for Kansas City Opera. NYCScenery: Yoshke Muzicant and An American Family - Folksbiene 'Til The Rapture Comes - WPA, Black Mask at The Ontological. Costumes: Adobe's Meanwhile on the Other Side of Mt. Vesuvious, Andre Serbans's Caucasian Chalk Circle - LaMama, American Silents, directed by Anne Bogart. OffBroadway: The Occupation, Slasher, Out to Lunch, Relative Values. Regional: Alliance Theatre, Utah Opera Co, Starlight in Kansas City, Utah Shakespearean Festival, Barter Theatre, Capital Repertory Theatre, The Miniature Theatre of Chester, Music Theatre North, Theatre of the Stars, Boston Lyric Opera, Lake George Opera Festival. TCG/NEA Design Fellow. Member USA Local 829.
Theresa Squire (Costume Designer) has been designing costumes in and around New York for the past eight years. New York credits include ThreeCornered Moon, Museum, The Voice of the Turtle, The Good Thief, and The Second Man with the Keen Company; Signals of Distress and Utopians with The Flying Machine; Gameshow (OffBroadway); Pitchfork Disney (Rob Bundy), and Tony Kushner's Hydriotaphia (Michael Wilson). Regional and tour credits include Bat Boy (Yale Drama), Leader of the Pack (Kurt Stamm), Promises, Promises! (Tony Stevens), Pirates of Penzance (Worth Gardner) at Virginia Opera; Les Miserables, Godspell, Jr. and Bugsy Malone Jr. (Tim McDonald) at the Helen Hayes PAC. Theresa received her MFA in costume design from NYU, TISCH.
The Mint is seeking a limited number of supporters to join our Board of Trustees. Please send resume and/or inquiries regarding requirements for potential service to: elsasol@aol.com. Skills in finance, real estate, and law especially welcome.
The Award-Winning Mint Theater Company “When it comes to the library,” our 2001 Obie citation states, “there's no theater more adventurous.” In 2002 the Mint was awarded a special Drama Desk Award for “unearthing, presenting and preserving forgotten plays of merit.”
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.
Ezra Barnes (Dr. Mauer) Mint Debut. New York: Richard II (Pearl), new plays by John Bishop and Leonard Melfi. Elsewhere: Wuthering Heights (Paper Mill Playhouse), An Ideal Husband, Arcadia, Misalliance (Pioneer Theatre Company), The Mousetrap (Cincinnati Playhouse), Three Sisters (Philadelphia Festival Theatre for New Plays), My Fair Lady (Weston Playhouse), Joyful Noise (Fulton Opera House). Founding Artistic Director of Shakespeare on the Sound, where he's played Benedick, Aguecheek, Hortensio, Friar Laurence and Chorus (Henry V) and directed A Midsummer Night's Dream and As You Like It. Television: Law & Order, Law & Order: SVU. Film: The Pornographer. Education and training: Amherst College and the National Theatre Conservatory.
Lisa Bostnar (Genia Hofreiter) is thrilled to be back at the Mint under the direction of Jonathan Bank. Mint regulars may have seen Lisa in such roles as Lily Bart in The House of Mirth, Olivia in Mr. Pim Passes By, Beatrice in The Voysey Inheritance, and Genevieve in Night Dance. Other favorite New York roles include Beth in A Lie of the Mind, Kate in Taming of the Shrew, Liz in Our Country's Good, Desdemona in Othello, and Olivia in Twelfth Night. Lisa has also guest starred in Law & Order, All My Children, and Another World.
Rob Breckenridge (Demeter Stanzides/ Hiker) Off-Broadway: The Rivals, Long Island Sound, Tooth, Rio, Hope II, The Phantom Toolbooth. Regional: Sister Carrie, An Ideal Husband, Sylvia, A Map of the World, The Strange Case of Dr. Jekyll and Mr. Hyde. Television: Guiding Light, Fuego Verde, Padres e
Hijos. Rob worked as an actor, teacher and director in Colombia, South America during the 1990's. He is currently developing RIO, his bilingual solo performance piece about the Rio Grande borderlands of Texas and Mexico.
Lee Bryant (Anna Meinhold-Aigner) Broadway: End of the World, American Daughter. Off-Broadway: Powder, Saving Grace, Later Life, A Cheever Evening, Christmas on Mars. Regional: Steel Magnolias, All My Sons, Richard III, A Streetcar Named Desire, March Tale. Film: Capricorn One, Airplane, Airplane II, The Main Event, Holy Man, several indies including Fear of Fiction, The Street. Television: Regular on T.J. Hooker, The Lucie Arnaz Show, As the World Turns. Recurring on Alien Nation, America Tonight. Many network TV movies & episodics.
Anne-Marie Cusson (Frau Wahl) New York appearances include Craig Lucas' Unmemorable with Circle East, a workshop for Hal Prince's Parade for Lincoln Center and the American premiere of the British two-handed thriller Killing Time. Regional roles: Teacher in Defying Gravity, the Marquise de Merteuil in Les Liaisons Dangereuses, Truvy in Steel Magnolias, Bella in Lost in Yonkers, both Maggie and Kate in separate productions of Dancing at Lughnasa, and Josie Hogan in O'Neill's A Moon for the Misbegotten, for which she was nominated for Boston's Outer Critic's Award.
Kurt Everhart (Rosenstock) has appeared at the Mint in The Voysey Inheritance and recently performed in The Tempest at Raw Space. He has worked at Arena Stage in Washington
D.C., Baltimore's Center Stage, at the Fulton Rep. in Lancaster and with the Oasis Theatre Company. He received his MFA in acting from Catholic University and has appeared in a number of films as well as a leading role in the film Talk to Me. He has several acting students that teach him quite a lot.
Ken Kliban (Doctor Von Aigner) is happy to be back at the Mint, where he played George Marden in A.A. Milne's Mr. Pim Passes By. Broadway: Stanley with the Royal National Theatre; national tour of Social Security with Lucie Arnaz, Neil Simon's Rumors; As Is (Drama Desk nomination for Best Supporting Actor); Passion; War and Peace with the APA Rep Co., and Elizabeth the Queen with Judith Anderson. Off-Broadway: Sam in Lips Together Teeth Apart and a member of Circle Rep. since 1973. Also regional theatres throughout the U.S. and 25 years as a narrator of Talking Books.
James Knight (Otto Von Aigner) recently arrived in New York City from Kansas City, where he was seen in the Missouri Repertory Theatre's productions of Machinal and The Winter's Tale. Other regional credits include Orlando in As You Like It and Cassio in Othello at the Utah Shakepearean Festival. James received his MFA in acting and directing from the University of Missouri- Kansas City.
Victoria Mack (Erna Wahl) is thrilled to be in her first production at the Mint. She recently performed the title role in the world premiere of The Tillie Project at Centenary Stage Company. Before that she played the goddess Diana in Shakespeare's Pericles at the NJ
Shakespeare Festival, as well as Lady Macbeth (Macbeth) and Titania (A Midsummer Night's Dream) for the Festival's 5-month tour. Victoria is a graduate of Columbia University's Barnard College, where she received her B.A. in English literature.
Matt Opatrny (Paul Kreindl) was last seen at the Mint in Alison's House. He has also played with the Roundabout Theatre Company, Theatre by the Blind, National Shakespeare Company, Vermont Stage Company, Georgia Shakespeare Festival, The Warehouse Theatre (SC), and the Fulton Opera House (PA). He is a founding member of blessed unrest, whose most recent project was LYING. Matt trains with the SITI Company and is a teacher and director of violence for the stage. Love to Burr and the bean.
Allen Lewis Rickman (Natter/ Serknitz) Off-Broadway: A Klezmer's Tale, Theda Bara and the Frontier Rabbi, Tony 'n' Tina's Wedding. Regional: Victor/ Victoria (Paper Mill), The Foreigner (Virginia Stage), Laughter on the 23rd Floor (Charlotte Rep), Below the Belt (Centenary Stage), I'm Not Rappaport (Forum Theatre), and two productions of his own co-written farce Off the Hook (which recently closed in Madrid and will open in Rome and Paris later this year). Television: Michael Moore's The Awful Truth, Buck Henry's Are We On?, Law & Order.
Hans Tester (Friedrich Hofreiter) is happy to be back in NYC after 10 years in LA. He has performed at theatres including The Guthrie, Berkshire Theatre Festival, West Coast Opera, Arkansas Rep, Odyssey, and Arena