artistic director
jonathan bank general manager
sherri kotimsky
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Mint Theater Company
Jonathan Bank, Artistic Director Sherri Kotimsky, General Manager presents
the widowing of mrs. holroyd by
D.H. Lawrence with
Eric Martin Brown, Allyn Burrows, Lance Chantiles-Wertz, Julia Coffey, Nick Cordileone, Randy Danson, Dalton Harrod, Emma Kantor, Arthur Lazalde, Amanda Roberts, Sheila Stasack, James Warke, Pilar Witherspoon
set design costume design lighting design Marion Williams Martha Hally Jeff Nellis sound design properties design dialects and dramaturgy Jane Shaw Deborah Gaouette Amy Stoller assistant director fight choreographer Quin Gordon Michael G. Chin production stage manager assistant stage manager Allison Deutsch Andrea Jo Martin press representative illustration graphics David Gersten & Associates Stefano Imbert Hunter Kaczorowski casting Amy Schecter & Paul Hardt directed by
Stuart Howard Opening night March 1, 2009 The Widowing of Mrs. Holroyd 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.
the widowing of mrs. holroyd cast
Mrs. Holroyd Holroyd Blackmore Jack Holroyd Minnie Holroyd Grandmother Rigley Clara Laura Manager Miner
Julia Coffey Eric Martin Brown Nick Cordileone Dalton Harrod, Lance Chantiles-Wertz Emma Kantor, Amanda Roberts Randy Danson James Warke Pilar Witherspoon Sheila Stasack Allyn Burrows Arthur Lazalde
Understudies: James Warke (Holroyd, Blackmore), Sheila Stasack (Grandmother), Arthur Lazalde (Rigley)
eric martin brown
Allyn burrows
lance chantiles-wertz
julia coffey
nick cordileone
randy danson
Dalton harrod
emma kantor
arthur lazalde
amanda roberts
sheila stasack
james warke
pilar witherspoon
the widowing of mrs. holroyd setting
The action of the play takes place in and around the Holroyd’s cottage.
Act I
Scene I: Evening. Scene II: Two hours later.
Act II
Two hours later.
-- ten minute intermission --
Act III
The following evening.
. .
the widowing of mrs. holroyd d h lawrence
D.H. Lawrence 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 (1928), which was considered to be obscene and was widely banned; Chatterley was not officially legal in England until 1960.
ABOUT THE playwright
Lawrence is the author of eight full-length plays, none of which he ever saw onstage in his lifetime (including The DaughterIn-Law, produced by The Mint in 2003). Though it seems that he never shook off the black mark of rabid literary censorship, his works remain to this day celebrated studies of human passion and desperation. At the time of his death, much of the public regarded him as a pornographer rather than a literary genius; yet in Lawrence’s obituary notice, E.M. Forster cited him as “the greatest imaginative novelist of our generation.”
the widowing of mrs. holroyd about the play
L
by heather j. violanti
awrence began to write plays at the same time he was establishing himself as a professional writer. In November 1909, his first works were published, a series of poems in the literary journal, The English Review. That year, he also began writing his earliest plays, inspired by his troubled childhood in a Midlands mining town.
Lawrence finished his second play, The Widowing of Mrs. Holroyd by Above: Lawrence’s birthplace, 8A Victoria Street. November, 1910. The play had its roots in an earlier short story, “The Odour of Chrysanthemums,” Lawrence wrote about the stormy relationship between his coalminer father and schoolteacher mother. Lawrence tried to get Mrs. Holroyd published or performed, but like all his plays, it baffled potential backers. His unconventional subject matter (working class life), rejection of standard dramatic convention, and use of Yorkshire dialect were anathema to the era’s theatrical protocol. Even Harley Granville Barker, the innovative playwright/producer who helped open the English stage to serious social debate, politely refused Mrs. Holroyd. Finally, after a three-year struggle, Lawrence found a publisher, the American Mitchell Kennerly. Kennerly had previously published Lawrence’s second novel, The Trespasser. Once he read Mrs. Holroyd, he was eager to include it in his catalog. Accordingly, in April, 1914, the play was added to Kennerley’s “Modern Drama” series, alongside works by such leading dramatists as Ibsen, Strindberg, and Andrejev. Lawrence, so misunderstood in his own country, was the only English dramatist included in the series. In his introduction, editor Edwin Bjorkman writes:
ABOUT THE PLAY
In the hands of this writer, barely emerged out of obscurity, sex becomes almost a new thing. Not only the relationship between man and woman, but also that of mother and child is laid bare in a new light which startles — or even shocks — but which nevertheless compels acceptance. One might think that Mr. Lawrence had carefully studied and employed the very latest theories of such men as Freud, for instance, and yet it is a pretty safe bet that most of his studies have been carried on in his own soul, within his own memories.
Contrary to Lawrence’s hopes, publication did not result in an immediate production. It was not until 1916, that Mrs. Holroyd had its first production, at Los Angeles’ Little Theatre for one night only. The play was hailed as “poignant, gripping and vivid” but derided for being “repellently gruesome”
continued
in its realism. Consequently, the play did not become popular. It was not until nearly forty years after Lawrence’s death that his reputation as a dramatist became assured. In 1968, acclaimed director Peter Gill revived three of Lawrence’s plays, including Mrs. Holroyd, The Daughter-in-Law and A Collier’s Friday Night at London’s Royal Court Theatre. Critics hailed Lawrence’s play as a major “new” discovery. The critic for The London Times wrote that Mrs. Holroyd was “a union of naturalism and ritual, which, in the depths of its grief and the dignity of its sorrow, none of the masters of ritual have surpassed, and few have equaled.”
a few words about the dialect
D
by amy stoller
espite its setting in a mining village near Lawrence’s hometown, there is relatively little mining jargon in The Widowing of Mrs Holroyd. The language is the dialect of the area, different (but not always by much) from various other dialects of England’s industrialized Midlands and North. The accent, however, differs considerably from other English accents (and even more from American).
Top: The wives of miners, 1912. Below: Easton Bristol coalfield, 1911.
Here are some features that may be new to you. Tha/ta/tuh and thee/thay are local variants of you; thi is used for your. Note (naught) means nothing and ote (aught) means anything. Parents are referred to as me father or me dad, me mother or me mam, when speaking to others—even other close relatives. And when calling a relative by name, local folk often preface it with our, as when Minnie says “Come back, our Jack.”
One last word may be helpful: Mrs Holroyd’s £120 legacy is a bit more than Holroyd would have earned in a year.
the dialect
Negative contractions end in “na” instead of “n’t.” So we hear are’na, isna, wasna, worna/were’na (aren’t, isn’t, wasn’t, weren’t); canna, dunna, munna, wunna (can’t, don’t, mustn’t won’t); didna (didn’t); hanna/hadna or ’anna/’adna (haven’t); and so forth. Other common words include han or ’an (have); wi’ (with); gev (gave, given); meck, teck (make, take); s’ll (shall); on (of); non (not); summat (somewhat, something). She is sometimes her or ’er. And the word that can become what or as (as in who or which), or yon (as in that man).
what happened to holroyd? by amy stoller
Below are lines from the play (in italics), followed by explanatory comments by David Coleman, a former rescue miner, and David Amos, a former miner/union branch secretary, both natives of Eastwood, Lawrence’s home town.
RIGLEY: Ee wor just finishin a stint, like, an ee wanted tuh get it set. … Appen a bit o’ stuff’s fell an pinned im. … But yon young electrician — Mister Blackmore — ee rung down to the night deputy, an it seems as though there’s been a fall or summat. … David Coleman: When coal was won with a pick and shovel, each miner on the coal face had his own yardage to remove; this was called his stall or stint. David Amos: The night deputy would have to check the workings were free from gas and falls of ground, etc., and ensure sufficient equipment was in place for the production of coal for the next shift. DA: Fall refers to a “fall of ground”. Holroyd would be killed by the roof caving in and all the rock above the coal falling on him.
what happened to holroyd?
MRS HOLROYD: It suffocated him? RIGLEY: Yes. Appen th’afterdamp — BLACKMORE: He’d be dead in a few minutes. DA: Sometimes in falls of roof, gas can be brought down by the fall. … In the case of Holroyd it would probably be Blackdamp. DC: Firedamp (methane) is lighter than air and is very explosive, all is needed is a spark to ignite it. Afterdamp is produced after a fire or explosion; basically it contains a lot of carbon monoxide and a few other nasties mixed in with it. Blackdamp is excess
nitrogen and carbon dioxide in the air, after the oxygen content has been depleted. This gas is heaver than air so it is found at floor level; it occurs where the ventilation is bad, and it will not support life. If some one is trapped by a fall, the air supply is cut off; as the man breathes he exhales carbon dioxide and the oxygen content is depleted leaving just the carbon dioxide and nitrogen. When I worked down the pit, ventilation was my speciality.
GRANDMOTHER: An one of mi sons they’ve burned down pit till the flesh dropped off im, an one was crushed till ’is shoulder was all of a mosh, an they brought em ome to me. An now there’s this. … DA: The term burned refers to someone who has been burned by the effects of an underground fire or explosion. These were usually ignitions of firedamp which is a methane based gas. The burning leaves horrific scars on the skin. DC: Fact is, there’s nothing romantic about working down a pit, nothing at all. At the end of the day, it was a terrible way to earn a living, really. Photo above: Miners pose for a company photo, circa 1900.
the widowing of mrs. holroyd biographies
ERIC MARTIN BROWN (Holroyd) Broadway: Dance of Death, Other NY Theater: Fly (Lincoln Center Institute); Servicemen (The New Group); The Ruby Sunrise (The Public Theater/NYSF); Big Trouble in Little Hazard (Soho Playhouse), A Midsummer Nights Dream (Sonnet Rep.),Country Dark (Midtown International Festival), As I Lay Dying (Ohio Theater), After the Show (Drama League), In Vitro (Soho Rep). Regional Theaters: Age of Arousal (The Wilma Theater); Taming of the Shrew (Capital Repertory); Doubt: A Parable (Nevada Conservatory Theatre); Three Days of Rain (The Studio Arena); Richard II, A Midsummer Nights Dream (The Shakespeare Theatre, D.C); Smash (The Old Globe); Arcadia (Bread Loaf); Bertrand Priest (Arkansas Rep.); Richard III (Yale Rep.); One Flew Over the Cuckoo’s Nest (American Drama Group Europe). Film/Television “Third Watch”, “Law & Order: Criminal Intent”, “All My Children”, “One Life to Live”, “As the World Turns”, “The Response”, “Jacklight”, “All I want for Christmas”. Eric holds an MFA in Acting from Yale School of Drama, and received his BFA in Theater from New York University’s Tisch School of the Arts.
Macbeth, La Boheme, Die Meistersinger, Cavalleria Rusticana, Falstaff, Rusulka. New York City Ballet: The Nutcracker (Prince), Mother Goose (Cupid) Carnegie Hall: Carmina Burana. Film; Paralysis
(Azariah), TV: “Go Diego Go”, “Blue’s Room”, “Wonderpets” (Nickelodeon), “Late Show with David Letterman”(CBS), “Game Killers” (MTV). Numerous Commercials and Radio Voice-Overs. Member of the Children’s Chorus at the Metropolitan Opera. Student at The School of American Ballet. Thanks to my friends and teachers for their support. Special thanks to Stuart Howard, Jonathan Bank and The Mint Theater, my agents Ellen, Rachel, and Bonnie and their staff at Abram’s Artists. Extra special thanks to my family, especially my mother.
JULIA COFFEY (Mrs. Holroyd) Off-Broadway: Trip to Bountiful (Signature Theatre). Regional: The Beaux Stratagem and Pericles (The Shakespeare Theatre, D.C.); Juliet in Romeo and Juliet (The Chicago Shakespeare Theatre); Eliza Doolittle in Pygmalion (Shakespeare Santa Cruz); Dracula (Cincinnati Playhouse in the Park and St. Louis Repertory Theater); Comedy of Errors (Shakespeare Theater of New Jersey); Connecticut Repertory Theater; The Ahmanson Theatre; Mark Taper Forum; The Colony Theatre; A Noise Within; South Coast Repertory and The Signature Theatre. TV: “Yes, Dear”. Training: Florida State University and the London Academy of Theatre and Dramatic Art. NICK CORDILEONE (Blackmore) Mint Theater: Debut. Regional: 43 Plays for 43 Presidents, A Christmas Carol (Actors Theater of Louisville); Crime and Punishment (Cincinnati Playhouse, Acclaim Award); Henry VI pts 1,2 and Richard III (Alabama Shakespeare Festival); A Christmas Carol (Westport Country Playhouse 06, 07); Comedy of Errors, Taming of the Shrew (Shakespeare Theater of New Jersey); Lobby Hero (The Old Globe, San Diego Critic’s Circle Award). Off-Broadway: Hamlet (Theater by the Blind); Corleone: The
BIOGRAPHIES
ALLYN BURROWS (Manager) Previously at The Mint: The Flattering Word; and directed by Jonathan Bank, Pericles with King’s County Shakespeare. Off-Broadway: King Lear with Alvin Epstein, Bug, Bonnie, Louis Slotin Sonata, Closetland, Killer Joe. Regionally: All My Sons (Actors’ Theatre of Louisville), Colossus of Rhodes (American Conservatory Theatre), Heartbreak House (Berkshire Theatre Festival), Twelfth Night (Long Wharf Theatre), Romeo & Juliet (Denver Center), The Heiress (Walnut Street Theatre), The Homecoming (Merrimack Repertory Theatre). With Elm Shakespeare: Hamlet. With Shakespeare & Co: King John (King John), Much Ado About Nothing (Benedick), Henry V (Henry), Midsummer Night’s Dream (Oberon), Love’s Labours Lost (Berowne), Henry IV Part1 (Hal). Television: “Law & Order”, “Law & Order: Criminal Intent”, “Against the Law”. Film: “Julie & Julia”, “The Windigo”.
LANCE CHANTILES-WERTZ (Jack Holroyd) is honored to be making his debut at The Mint Theater. New York credits: The Metropolitan Opera: Madama Butterfly (Dolore), Lohengrin (Gottfreid),
Shakespearean Godfather (FringeNYC). Film: “Step Up 2:The Streets”. Television: “Cupid” (upcoming). Love: Amy & Hero. RANDY DANSON (Grandmother) was first seen at The Mint in The Power of Darkness last season. She spent the rest of last year at The Asolo Repertory Theatre playing Sister Aloysius in Doubt and Hesther in Equus. Randy is a recipient of a Helen Hayes Award for her performance of the title role in The Good Person of Szechuan at The Arena Stage, a Barrymore Award for Vivian in Wit at the Philadelphia Theatre Company, and an OBIE for Sustained Excellence. She has appeared in various episodic dramas and PBS productions on television including “Blue Window” and “The Prince of Hamburg” opposite Frank Langella. She played in several films of the independent film maker Mark Rappaport and in Martin Scorsese’s The Last Temptation of Christ. Randy also designs and makes jewelry for her company, Maiden Lane Jewelry which can be found at SoHung Designs, 312 E. 9th Street or on line, www.roxlane.com
BIOGRAPHIES
DALTON HARROD (Jack Holroyd) is thrilled to be making his Mint Theater debut with The Widowing of Mrs. Holroyd. New York credits include: Please Don’t Eat the Daisies - Nicholas (Workshop), A Christmas Story - Ralphie (Staged Reading), Finding Neverland - Jack (Workshop). Regional: Ace - Danny (Signature Theatre), Beauty and the Beast - Chip, and Suessical The Musical - JoJo (both for Lyric Theatre of Oklahoma) to name a few. Dalton is a 6th Grader at Manhattan School for Children. His favorite hobbies are sports (all of them) and playing Guitar Hero with his little brother Kellan. Thanks to Stuart Howard, Nancy Carson, Jonathan Bank, R and R and his family for all of their belief in him. This one’s for PaPa and Chi Chi. EMMA KANTOR (Minnie Holroyd) 10, is delighted to be making her Off-Broadway debut! Theater Credits: CT Community Theater: The Music Man, Cinderella; Manhattan Movement and Arts (Peter): Peter Pan. Film/TV Credits: As Good as Dead (Sara) 2009; “The Electric Company”/PBS (Amy Scrambler) 2009. Thanks to my teachers, Gail, Mimi, Katja. Special thanks to Donnalyn at Harvest Talent, CESD, and especially my parents for always supporting me in fulfilling my dreams. ARTHUR LAZALDE (Joe the Miner) This is Arthur’s first production with The Mint Theater.
Selected New York credits include: Don Carlos in
Don Juan Does New Jersey (Alternate Theatre Co.), “Devil” Anse Hatfield in Feud (New York Theatre Experiment), and Drosselmeyer in The Nutcracker
(Ballet for Young Audiences). Selected regional credits include: Ensemble in Coriolanus (Oregon Shakespeare Festival), Richard Henry Lee in 1776 (Utah Shakespeare Festival) and Cassio in Othello (Texas Shakespeare Festival). Training: MFA from New York University’s Graduate Acting Program.
AMANDA ROBERTS (Minnie Holroyd) is a fifth grader at the Trinity School in New York. Her prior experience includes appearances on HBO’s comedy sketch show, “Human Giant,” on which she played a very tough young prison guard, and reading her own work of short fiction, “Hope,” at the Writopia/ Barnes & Noble Young Writers Workshop. Amanda has studied with Audrey Kaplan of Applause, and Judith Stillman of Juilliard. She loves acting, singing, writing, creating YouTube videos, and any kind of performing. Amanda lives in Manhattan with her parents and her sister Phoebe, who is her chief creative partner. This is Amanda’s first appearance in an Off-Broadway production, and she is very excited! SHEILA STASACK (Laura) is a recent transplant to New York where she appeared earlier this year in The Fabulous Kane Sisters at the New York Fringe Festival. She has worked across the US and toured Russia, the Ukraine and performed in France. Favorite roles include Nat in Rabbit Hole (Premiere Stages), Gertrude in Hamlet ( Chekhov Theater) and Nurse Ratched in One Flew Over the Cuckoos Nest (Spiral Stage). TV: “Law & Order”, “The Brotherhood”, “Against The Law”, “The Guiding Light”, “The Unusuals” and “Unsolved Mysteries”. She has done a variety of voice-overs including commercials for Johnson and Johnson, The United Way and Lindt Chocolates, and for the past four years she has been the voice of The Mayor’s Holiday Special in Boston. She is a proud member of Actors Equity. JAMES WARKE (Rigley) graduated from the Lee Strasberg Institute in NYC in August 2007. Since then he has worked consistently in Film, Television and New Media. In 2009 he can be seen starring in the upcoming movie Plague Town and as a guest star on MTV’s College Humor TV series. He is the voice of “Faust” in the new Jay Marks animated feature of the same name and through motion
capture provided the physical life of both “Satan” and “The Mad Abbot” for the major 2010 Konami video game “Lords of Shadow”. You might also see him playing the English Police Officer in the current IBM T.V. commercial. He holds a BA in Performing Arts from DeMontfort University in his native England where he performed regularly in regional Theatre. The Widowing of Mrs. Holroyd is his New York stage debut and he thanks Jonathan and all at The Mint for the opportunity. PILAR WITHERSPOON (Clara) is delighted to again be working with The Mint Theater Company after appearing in the Arthur Schnitzler production Far and Wide. International Theatre: Teatre Lliure, Barcelona, Spain in Rezo Gabriadze’s acclaimed production The Doctor and the Patient. NY Theatre: Lincoln Center, Playwrights Horizons/Underwood Theatre, 59E59 Street Theatre, Second Stage, Cherry Lane, Juggernaut Theatre Company, The Drama League. Regional Theatre: The Kennedy Center, The Shakespeare Theatre in Washington D.C., Guthrie Theatre, Sundance Theatre Lab, McCarter Theatre, Alabama Shakespeare Festival, The Repertory Theatre of St. Louis, Pioneer Theatre Company, the St. Louis Shakespeare Festival and the Idaho Shakespeare Festival. Film & T.V.: “Three Days in September”, “Ten Stories Tall”, “Warlord”, “Trio Sonata”, ”Law & Order”, “Law & Order: Special Victims Unit”, “Third Watch”, “Guiding Light”, “All My Children” and “One Life to Live”. Pilar is a proud recipient of the Fox Fellowship award.
QUIN GORDON (Assistant Director): Quin recently completed the Kenan Fellowship for directing at Lincoln Center Institute. He received his BFA in directing from the North Carolina School of the Arts. Directing credits include: The Dinner Party (LCI), Burn This, Lunchtime, and As You Like It (NCSA), Picnic (Conservatory Theatre Ensemble). Quin also assistant-directed Red Eye of Love for director Ted Sperling (O’Neill Playwright’s Conference) and Hamlet for director Gerald Freedman and conductor John Mauceri (NC Symphony). MICHAEL G. CHIN (Fight Choreographer) is a professional actor (AEA, AFTRA, SAG) as well as a sanctioned Master instructor and choreographer with the Society of American Fight Directors. He serves as fight director in residence for both The White Horse and Pan Asian Rep in NYC. He’s taught/choreographed/consulted in the New York area on Broadway as well as The Mint, Murder-ToGo, Theatreworks USA, La Mama ETC, National Asian American Theater Co, The Public, The Vineyard, Julliard, NYU, Henry St. Settlement, The Drama League, Classical Theatre of Harlem, New York Renaissance Fest and Brooklyn College. Nationally he has worked at The Barter, Celebration Barn, Burt Reynolds Institute for Theater, Univ. of Tulsa, The Crossroads, Brown Univ., Cape Cod Community College, The Hangar, Dickinson College, Louisiana Tech, NY State Theatre Inst., Tennessee Rep, Merrimack Theatre and Yale School of Drama. Mr. Chin currently teaches at Muhlenberg College, Brooklyn College and Fights4. He is a student of Northern Style, Shaolin Long Fist Kung Fu. www.Fights4.com ALLISON DEUTSCH (Production Stage Manager) is thrilled to return to The Mint. Previous Mint Theater credits include: The Fifth Column,
The Madras House, Far & Wide, The Voysey Inheritance, and No Time For Comedy. Other OffBroadway credits include: A Dangerous Personality (Perry Street Theatre); Down South (Rattlestick); WASPs In Bed (Om Productions) Regional credits include: Ford’s Theatre: Trying; Geva Theatre Center: Gem of the Ocean; Peterborough Players:
BIOGRAPHIES
STUART HOWARD (Director) would like to thank Mint Theater Artistic Director Jonathan Bank for asking him to direct D.H. Lawrence’s magnificent play in its New York premiere. Stuart is one of the founders of the York Theatre Company in New York City along with John Newton and the late Janet Hayes Walker. He directed many plays there, including G.B. Shaw’s Candida, Harold Pinter’s Landscape and Silence and Arthur Laurents’ The Time of The Cuckoo starring Michael Learned. He has also directed plays and musicals in Canada and around the United States, including On Golden Pond in Los Angeles starring Charles Durning which won a Drama-Logue Award for Best Production. Stuart has taught at The Juilliard School and Brooklyn College. He received his Bachelor of Fine Arts degree in Drama from Carnegie Mellon University. He spent his Junior year in Paris studying French classic theatre at La Sorbonne. He received his Master’s Degree in Drama from Purdue University
under Dr. Joseph Stockdale and received a Distinguished Alumnus Award from that University in 2005. Stuart Howard Associates is his office where, along with Amy Schecter and Paul Hardt he casts for Broadway, Off Broadway and Regional Theatres.
seven seasons including Doubt, Our Town, Last 5 Years, The Heiress, Cookin’ at the Cookery, Inherit the Wind, Candida, and Mr. Pim Passes By. Proud
member of Actors’ Equity Association.
ANDREA JO MARTIN (Assistant Stage Manager) credits include: Rent on Broadway (sub); Broadway Backwards 3 and Broadway Backwards 4; The Madras House and The Glass Cage (Mint Theater); Busker Alley, Fanny Hill, A Fine and Private Place, 2005 & 2007 Musicals in Mufti Series, NEO 3 (York Theatre Company); A Dangerous Personality (Perry Street Theatre); WASPs In Bed (Om Productions); Beauty on the Vine (Epic Theatre Center); De Novo (Houses on the Moon); Trouble in Shameland (EMPYREproductions). Thanks to Allie, Stuart and the great folks at The Mint. Proud member AEA.
BIOGRAPHIES
MARION WILLIAMS (Scenic Design). Mint Theater Company debut. Marion’s New York design credits include MCC, Worth St. Theatre, Blue Light Theatre, The Directors Company, Jose Limon, Juilliard Drama, Dance, and Opera, Manhattan School of Music, Parson’s Dance Company, and PS 122 among others. Regionally, she has designed for the Williamstown Theatre Festival, PlayMakers Repertory Company, Sacramento Theatre Company, The Shakespeare Theatre of New Jersey, Two River Theatre Company, Barrington Stage Company, Berkshire Theatre Festival, Annex Theatre, Fairfield Theatre Company, Louisville Ballet. Internationally, Marion designed scenery and costumes for the opera The Turn of the Screw in Leipzig, Germany. She is the recipient of the Princess Grace Award for Design (2004) and Princess Grace Foundation Special Projects Grant (2007) and holds an MFA in design from the University of Washington. MARTHA HALLY (Costume Design) has designed costumes at regional theaters across the country including Milwaukee Repertory Theater, Pittsburgh Public Theater, Centerstage, Cincinnati Playhouse in the Park, Dallas Theater Center, The Repertory Theater of St. Louis, Alley Theatre, Asolo Repertory Theater and Portland Stage. Among her opera designs are the world premiere of The Insect Comedy for The Center For Contemporary Opera, La Resurrezione and Dido and Aeneas for Chicago Opera Theater, Tales of Hoffman for Virginia Opera, Tamerlano for Little Orchestra Society of Lincoln Center. New York designs include the Off-Broadway productions of Gaslight, The Field, Defender of the Faith (all for Irish Rep), Bedroom Farce (TACT),
Treason, A Dangerous Personality (Perry Street Theater Company) as well as productions for The Acting Company, Ensemble Studio Theater, The Phoenix Theater and The Actor’s Studio. Her work for television includes several comedy specials for HBO, “Hard Rock Live!” (VH-1) and “Live on Tape” (NBC). JEFF NELLIS (Lighting Design) Mint: The Fifth Column, The Daughter-In-Law, Diana of Dobson’s, John Ferguson, The Power of Darkness, Rutherford and Son. Broadway: Prymate. Off Broadway: Tryst (NY Outer Critics Circle Nomination), The Milliner, Treason, Flight, Shylock, From Door to Door, Zanna Don’t!, One Shot One Kill, Cobb, Our Sinatra, The Devils Music, The It Girl, My Italy Story. Regional: Hartford Stage, Center Stage, Williamstown Theatre Festival, Alley Theatre, Walnut Street Theatre, Westport Country Playhouse, Actor’s Theatre of Louisville, The Repertory Theatre of Saint Louis, TheaterWorks, North Shore Musical Theatre, Bay Street Theatre, Florida Stage, Madison Rep, City Theatre Company, Trinity Repertory Theatre, Adirondack Theatre Festival, Connecticut Grand Opera.
JANE SHAW (Sound Design) At The Mint: The Fifth Column, Return of the Prodigal, Susan and God, The Lonely Way, Walking Down Broadway, and No Time for Comedy. Other recent designs include Another Side of the Island with Olympia Dukakis, Liberty City (New York Theater Workshop), The Rise and Fall of Annie Hall (Stage 13), Antony and Cleopatra (Theater for a New Audience), Comme Toujours Here I Stand (Big Dance Theater).
Collaborators include The Pearl, Women’s Project, National Asian American Theater Company, The Foundry Theater, David Dorfman Dance, Queen’s Company, Target Margin and Susan Marshall and Company. Her designs have been heard at BAM’s Next Wave Festival, Biennale Bonn, Urban Stages, Primary Stages, RSC, The Kitchen, The Ohio and The Japan Society. She is a graduate of the Yale School of Drama, a recipient of the NEA/TCG Career Development Program, a member of USA 829, and hails from Lawrence, Kansas. DEBORAH GAOUETTE (Properties Design) has been propping and scene designing in the NYC area for the past six years. Prop credits include: OffBroadway: The Glass Cage at the The Mint, String of Pearls, Sakarham Binder, Sabina, and Going to St. Ives, props coordinator for the national tours of
Evita, Sound of Music, Crazy for You, and South Pacific for Troika Entertainment, Cabaret and 42nd Street at the Trump Plaza Casino in Atlantic City,
and was the assistant props coordinator for New York City Opera. Scene design credits include: The Dead Guy at The Producer’s Club, the workshop production of the opera Rain for CMC USA, The
Retreat, Autumn Moon, A Rock Opera, Meet George Orwell, and various productions for City Lights Youth Theatre.
AMY STOLLER (Dialects And Dramaturgy) has been resident dialect designer/coach (and occasional dramaturge) at The Mint since 1997. Last season at The Mint she coached The Fifth Column, and her many other productions here include D. H. Lawrence’s The Daughter-in-Law, The Madras House, Echoes of the War, Milne at the Mint, and The Voysey Inheritance. Currently she is also dialect designer for the world premiere production of Athol Fugard’s Coming Home at Long Wharf. Other credits this season include Paula Vogel’s A Civil War Christmas (world premiere), directed by Tina Landau at Long Wharf; Let Me Down Easy, by Anna Deavere Smith at American Repertory Theatre, and Summer and Smoke at Boomerang. Television dialect coaching includes Nickelodeon’s “Dora the Explorer” and “Go, Diego, Go!” Amy is Associate Editor for NYC at International Dialects of English Archive, and a proud member and officer of the Voice and Speech Trainers Association. For more information, please visit www.stollersystem.com. DAVID GERSTEN & ASSOCIATES (Press Representatives) also represents the long running Off-Broadway hits Altar Boyz, Naked Boys Singing!, and The Awesome 80s Prom. Other clients include New World Stages, Aquila Theater, Ars Nova, Ensemble Studio Theatre, INTAR, Red Bull Theater, and York Theater. David is Associate Producer of the Off-Broadway hit, My First Time; previously, he produced Tea at Five starring Kate Mulgrew as Katharine Hepburn, BASH’d the new gay musical at the Zipper Theater, and as well as the musical Dr. Sex. He serves on the Board of Governors of ATPAM, The Association of Theatrical Press Agents & Managers. www.davidgersten.com
jonathan bank (Artistic Director) 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, Bank directed Ernest Hemingway’s The Fifth Column in its premiere production. Also Return of the Prodigal by St. John Hankin (2008 Drama Desk nom., Outstanding Revival of a Play) and before that, 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. Sherri Kotimsky (General Manager) Produced for Naked Angels: Meshugah, Tape,
Shyster, Omnium Gatherum, Fear: The Issues Project and several seasons of workshops and
readings. As Naked Angels Managing Director,
Hesh and Snakebit. Produced Only the End of the World and Blood Orange. For two years Theatre
Manager for the Michael Schimmel Center for the Arts at Pace University, home to National Actors Theatre, Tribeca Film and Theatre Festivals, River to River Festival and the Carol Tambor Awards 2005 productions, amongst many others. Currently working with several theater companies as business consultant, including Theater Breaking through Barriers, South Ark Stage Company and New Globe Theatre Inc..
BIOGRAPHIES
AMY SCHECHTER (Casting) has been a casting director in NYC for 29 years, and has cast many Broadway, Off Broadway and even further Off Broadway shows in her career. She is especially proud of her work with The Mint (for the past four
seasons) and is grateful for the opportunity to collaborate with Jonathan Bank.
about the mint theater company 1995-1998 QUALITY STREET By J.M. Barrie MR. PIM PASSES BY By A.A. Milne UNCLE TOM’S CABIN By George Aiken THE HOUSE OF MIRTH By Edith Wharton & Clyde Fitch 1999-2000 THE VOYSEY INHERITANCE By Harley Granville Barker ALISON’S HOUSE By Susan Glaspell MISS LULU BETT By Zona Gale 2000-2001 WELCOME TO OUR CITY By Thomas Wolfe THE FLATTERING WORD & A FAREWELL TO THE THEATRE By George Kelly & Harley Granville Barker
DIANA OF DOBSON’S By Cecily Hamilton 2001-2002 RUTHERFORD AND SON By Githa Sowerby NO TIME FOR COMEDY By S.N. Behrman 2002-2003 THE CHARITY THAT BEGAN AT HOME By St. John Hankin FAR AND WIDE By Arthur Schnitzler THE DAUGHTER-IN-LAW By D.H. Lawrence 2003-2004 MILNE AT THE MINT Two Plays by A.A. Milne ECHOES OF THE WAR By J.M. Barrie 2004-2005 THE LONELY WAY By Arthur Schnitzler THE SKIN GAME By John Galsworthy 2005-2006 WALKING DOWN BROADWAY By Dawn Powell SOLDIER’S WIFE By Rose Franken SUSAN AND GOD By Rachel Crothers
about the mint
2006-2007 JOHN FERGUSON By St. John Ervine THE MADRAS HOUSE By Harley Granville Barker RETURN OF THE PRODIGAL By St. John Hankin 2007-2008 THE POWER OF DARKNESS By Leo Tolstoy THE FIFTH COLUMN By Ernest Hemingway 2008-2009 THE GLASS CAGE By J.B. Priestley THE WIDOWING OF MRS. HOLROYD By D.H. Lawrence
Mint Theater Company produces worthwhile plays from the past that have been lost or forgotten. These neglected plays offer special and specific rewards; it is our mission to bring new vitality to these plays and to foster new life for them. Under the leadership of Jonathan Bank as 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. The Wall Street Journal describes Mint as “one of the most consistently interesting companies in town.” 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. Educating our audience about 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—postperformance discussions feature world class scholars discussing complex topics in an accessible way and are always free and open to the general public. 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 three volumes in our “Reclaimed” series, each featuring the work of a single author: Harley Granville Barker, St. John Hankin and Arthur Schnitzler.
The following generous Individuals, Foundations, and Corporations support the Mint Theater, and we honor their contributions: Crème de Mint: $10,000 and above Robert Brenner Carnegie Corporation of New York Robert Sterling Clark Foundation The Gladys Krieble Delmas Foundation The Fan Fox & Leslie R Samuels Foundation Gardner Grout Foundation Lucille Lortel Foundation New York City Department of Cultural Affairs New York Foundation for the Arts New York State Council on the Arts The Shubert Foundation, Inc. anonymous SilverMint: $5,000 to $9,999 Axe-Houghton Foundation Virginia Brody Barbara Bell Cumming Foundation Max & Victoria Dreyfus Foundation Edgar & Renee Jackson The Edith Luytens and Norman Bel Geddes Foundation The Ted Snowden Foundation The Harold & Mimi Steinberg Charitable Trust Michael Tuch Foundation
SpearMint: $600 - $1,499 Lisa Ackerman American Friends of Theatre Inc. Jonathan Bank Richard Barnes & Marta Gross Joann & Eugene Bissell Cory & Bob Donnally Charitable Fund Monte Engler Fine Family Foundation Ruth Friendly Mr. & Mrs. Ciro Gamboni The Gordon Foundation The Hemingway Society Hickrill Foundation Joseph Family Charitable Trust Peter Haring Judd Fund Mildred C. Kuner Eugene M. Lang Foundation Dorothy Loudon Foundation George Morfogen The New York Times Company Foundation Pfizer Foundation Eleanor Reissa & Roman Dworecki The Martin E. Segal Revocable Trust Harriet Seiler Rob Sinacore State of New York – Office of Parks, Recreation and Historic Preservation David Stenn Suzanne & Jon Stout Katherine & Dennis Swanson M. Elisabeth Swerz Kathryn Swintek Jill Tran Mrs. Thomas Wyman anonymous DoubleMint (First Priority Club) Actors Equity Foundation David R. Adler Judith Aisen & Kenneth Vittor Louis Alexander
DONORS
ChocolateMint: $1,500 - $4,999 American Theater Wing Lea & Malvin Bank Edith C. Blum Foundation Inc Linda Calandra Carol & Geoffrey Chinn Jon Clark Lori & Edward Forstein Ronald Guttman Carol & Patrick Hemingway The Heidtke Foundation Herrick Theater Foundation Blanche & Irving Laurie Foundation Karl Lunde DJ McManus Foundation Edith Meiser Foundation The New York Times Company Foundation Fund for Mid-size Theaters, a project of A.R.T./New York The James B. Oswald Co. G & L Picard Foundation Judith & Jeffrey Prussin Gary A. Schonwald & Ruth Gruhin Wallace Schroeder
David Schwartz Foundation The Dorothy Strelsin Foundation Sukenik Family Foundation Bala & Kala Sury Litsa Tsitsera Steven Williford
DONORS
Steve Allen & Caroline Thompson Linda Alster Laura Altschuler Marc Anello Carmen Anthony Barbara Austin Mitch Bacharach Earl Bailey Bank of America Judith Barlow Julia Beardwood & Jonathan Willens Jayne Bentzen Jeanne Bergman & Anna Kramarsky Robert & Ellie Berlin Robert & Helen Bernstein Nidia Besso Elizabeth Bicknell Helena & Peter Bienstock Mary & Jeffrey Bijur Evelyn Bishop David M. Blank Steven Blier Frederick & Bernice Block Louis Blumberg & Ellen Harrison Dr. & Mrs. Allan Blumenthal Ronald Blumer & Muffie Meyer Rose-Marie Boller & Webb Turner Dorothy Borg Lori & Rick Borman Barbara & Leonard Bornstein Renee Brennan Ann Butera Elaine B. Bye Peter Cameron Richard Carroll Andrew H. Chapman Lynne Charnay Stephen & Elena Chopek The City College of the City University of New York Steven Coe Phyllis & Herbert Cohen Jeffrey Compton & Norma Ellen Foote Kathleen H. Corcoran Penelope & Peter Costigan Tandy Cronyn George & Susan Crow Patricia Daily Stuart Davidson Gennaro A. DeVito Susanne Diamond Katherine & Bernard Dick Ruth & Robert Diefenbach William Downey M. Burton Drexler Mina & Martin Ellenberg Jack Ellenberger Marjorie Ellenbogen Sara & Fred Epstein Jeanne Epstein Grace & Don Eremin
Judith Eschweiler Susan Etra & Michael Yeoli H. Read Evans Anne Ewers William Finnegan Angela T. Fiore Edmee & Nicholas Firth Eva & Norman Fleischer Barbara Fleischman Martha Fleischman Barbara Fogel Fred Forrest Donald Fowle & Lionel Lorona Nancy Fowler Phyllis Fox & George Sternlieb Foundation Joan & Edward Franklin Dr. Mio Fredland Monroe Freedman The Friars Foundation Loren Friedman Dr. H. Paul & Delores Gabriel Mary Ann & John Garland James C. Giblin Ardian Gill & Anna L. Hannon Joann & Howard Girsh Suellen & David Globus Joyce Golden Gloria Goldenberg Jane & Charles Goldman Caryl Goldsmith Samuel Gonzalez Margaret Goodman Joyce Gordon & Paul Lubetkin Mary & Gordon Gould Anna Grabarits The Gramercy Park Foundation Inc. Virginia Gray Arthur Grayzel, MD & Claire Lieberwitz Anita & Edward Greenbaum Harry Greenwald & Babette Krolik Greenwich House Inc. Theater Program Antonia & George Grumbach The Rodgers Family Foundation/Mary R. Guettel Gunilla Haac Lanie Hadden Julia B. Hall Lynne & Bob Hanson Joseph Hardy Carol Hekimian Reily Hendrickson Sigrid Hess Barbara Hill Roderick Hill Dorothy & Edward Hoffner Madelaine & Milton Horowitz Anne Humphreys Anna B. Iacucci Camille Infranco & Edwin Partikian Karene Infranco Harriet Inselbuch
Joseph Morello Frank Morra Elaine & Ronald Morris Carole & Theodore Mucha Georgia & Mark Munsell Janet G. & Daniel Murnick Carol & Dick Netzer Susan & Robert H. Peterson-Neuhaus The New School Tim Nolan Dorinda J. Oliver Robert O’Neill Dottie & Richard Oswald Francis C. Parson, Jr. & Brinton Taylor Gwen & Bruce Pasquale Naomi & Gerald Patlis Judith & John L. Peakes Kathy Perutz & Michael Studdert-Kennedy Susan & Robert Peterson-Neuhaus Penina Petruck Martin Platt Ina & Jack Polak Sheila & Irwin Polishook Joseph Psotka Phyllis & David Quickel Ken Raboy Stanley Raiff Susan & Peter Ralston Joe Regan, Jr. Henry Reilly Clayton Reynolds James J. Reynolds Arleigh Richards & William Wise Howard Rieger Irven Rinard George Robb William Robbins Phyllis & Earl S. Roberts Susan Robinson Theodore Rogers Renee & Seymour Rogoff Sylvia Rosen Barbara Rosenthal Mark Rossier Susan & Jon Rotenstreich James Russell Jordin Ruderman & Kevin Shand Herb & Joan Saltzman Anita Sanford Judy & Sirgay Sanger Anita & Mark Sarna Kit & Ray Sawyer Anne Kaufman Schneider Herbert Schlesinger Nan Schubel Michael Schussler Marilyn & Joseph Schwartz Phyllis Schwartz Susan Scott Earlyne S. & William Seaver
DONORS
Jocelyn Jacknis Ellie Jacob Ellen & Peter Jakobson Cathy & Neil Janovic Morton & Dahlia Jarashow James & Jacqueline Johnson Roberta A. Jones Thomas Kane Jane Kapsales Mia Katigbak Joan Kedziora, MD. Karen Kelly Regina Kelly Laurie Kennedy & Keith Mano Roberta & Gerald Kiel Kaori Kitao Carol & Robert Kleckner Caral G. Klein Richard Kline Dr. Elizabeth & Rabbi William Kloner Susanna Kochan-Lorch & Steven Lorch Sarah Kovner Karl Kroeber Carmel Kuperman Mary & David Lambert Lee & Richard Laster Gene Laughorne Kent Lawson & Carol Tambor Margaret & Gordon Leavitt Gloria & Ira Leeds Eliot & Jane Leibowitz Dr. Albert Leizman Rachel & Roy Levit Carol & Stanley Levy Julia Levy Eva Lichtenberg & Arnold Tobin Susan Linder Kathleen Lingo Diane & Joel Lipset Ruth Lord Gabrielle & Samuel Lurie Charlene & Gary MacDougal Judith Mahler Mary Rose Main Vivian & John Majeski Marcia & Robert Marafioti Barry Margolius Jacqueline Maskey George Mayer Ann McCrory Betsy McKenny Martin Meisel Richard Mellor, Jr. John David Metcalfe Leila & Ivan Metzger Radley Metzger Judith K.& Allan Mohl Elaine & Richard Montag Elaine Montgomery Doreen & Larry Morales
DONORS
Barbara & Donald Shack Carole M. Shaffer-Koros & Robert M. Koros Camille & Richard Sheely Virginia Shields & Audrey Eisman Kayla J. & Martin Y. Silberberg Silicon Valley Community Foundation Rayna & Martin Skolnik Lily N. Smith Philip J. Smith Barbara & Stanley Solomon Dr. Norman Solomon Linda & Jerry Spitzer Erika Stadtlander Stagedoor Alec Stais & Elissa Burke Lee Steelman Sherry & Bob Steinberg Frances Sternhagen Penelope & Gerald Stiebel Ilene Stone Elaine & Ulrich Strauss Stella Strazdas & Hank Forrest Pamela Stubing Carol & Will Sullivan Larry E. Sullivan Mary Swartz Myra & Leonard Tanzer Gerda Taranow Douglas Tarr Anne Teshima Annie Thomas & David H. Kirkwood Thomson Tax & Accounting Roberta & Peter Tomback Linda & Ken Treitel Susan & Charles Tribbitt Noel Valis Jan Vinokour Joan & Bob Volin Jerry Wade Younghee Wait Edith & Gordon Wallace John Walsh Robb Webb & Pat DeRousie-Webb Lillian & Saul Wechter George Weeks Richard Weisman Patricia & Howard M. Weiss Margot White Janice Savin Williams Lillian & Robert Williams Marsha & Vincent Williams Ralph M. Wynn, MD Kenneth Zarecor Burton Zwick anonymous This list represents donations made from July 2007 through January 2009. Every effort is made to insure its accuracy. Please contact us regarding any mistakes.
Would you like to take your support of the Mint to the next level by joining our board of trustees? Over the next few months we’ll be talking with interested individuals who know and appreciate our work and are willing to use their contacts and resources to help the Mint grow and prosper. Contact Jonathan Bank at 212-315-9434 or jbank@ minttheater.org to express your interest.
Crème de Mint $10,000 and above
• Invitation for two to join the Artistic Director for lunch
• Invitation to a rehearsal • Plus all of the benefits listed below
SilverMint $5,000-$9,999
• Two tickets to two special dinner/reading events
• Invitation for two to an opening night and cast party
• A script from one Mint production
autographed by the cast and director
• Plus all of the benefits listed below
ChocolateMint $1,500-$4,999
• Two tickets to each of the year’s productions • A poster from one of the year’s productions • Acknowledgement in Mint Theater newsletters • Plus all of the benefits listed below
SpearMint $600-$1,499
• Two tickets to one special Mint play reading • Invitation for two to a pre-performance discussion with the Artistic Director
• A Mint Theater publication, signed by the Artistic Director
• Opportunity to purchase “house seats” • Plus all of the benefits listed below
DoubleMint (First Priority Club) $150-$599
• Acknowledgement in every Mint program • Invitations to all special events and readings • Advance notice of all Mint productions • Subscription to Mint’s First Priority Club Newsletter
To make a donation, call (212) 315-0231 or use the form in the enclosed brochure.
the glass cage staff Assistant Production Manager Assistant Set Designer Assistant Costume Designer Assistant Lighting Designer Wardrobe Supervisor Production Assistant/Wrangler Board Operator Master Electrician Master Carpenter Carpenters Scenic Charge Scenic Artists Box Office Manager Box Office Assistant Press Representatives
Christine Massoud Ann Bartek Erika Ingrid Lilienthal Ben Krall Natasha Ticotin Maddy Rockwell Michael Watkins Keith A. Truax Autonomous Production Services Carlo Adinolfi CK Edwards, Khader Humied, Dennis Luczak, Eric Nightengale, Joe Rayome, Nicholas Weiss-Richmond Julia Hahn Brian Howard, Jake Hanson Martha Graebner Alexandra Duerr David Gersten & Associates, David J. Gersten, Kevin McAnarney/ Jacob Langfelder
the producers would like to thank the following: Special thanks to the Eastwood natives who generously shared their speech, stories, and other resources with us: David Amos, ex-coal-miner and current local historian; and David Coleman, the Eastwood Pitman, ex-coal miner and mines rescue, current Historical Coal Mining Entertainer and poet. Ay up mi ducks! The Producers wish to thank the following for their assistance in this production: tdf Costume Collection, Odds Costume Rental, Milwaukee Repertory Theater, University of Delaware Theater Department, and Reiko Ishikawa. Production design support provided by the Edith Lutyens and Norman Bel Geddes Foundation. Lighting equipment provided in part by the Technical Upgrade Project of the Alliance of Resident Theaters/New York through the generous support of the New York City Council and the City of New York Department of Cultural Affairs. Ricola Natural Herb Cough Drops courtesy of Ricola USA, Inc.
Actor’s Equity Association was founded in 1913. It is the labor union representing over 40,000 American actors and stage managers working in the professional theatre. For 89 years, Equity has negotiated minimum wages and working conditions, administered contracts, and enforced provisions of its various agreements with theatrical employers across the country.
MINT THEATER COMPANY STAFF Jonathan Bank Artistic Director Sherri Kotimsky General Manager Martha Graebner Box Office Manager Hunter Kaczorowski Assistant to the Artistic Director Ellen Mittenthal Development Consultant Heather J. Violanti Dramaturg BOARD OF TRUSTEES Jonathan Bank Linda Calandra Jon Clark Ciro A. Gamboni Eleanor Reissa Kathryn Swintek
“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.”
MINT THEATER COMPANY commits to bringing new vitality to 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.
311 West 43rd Street, Suite 307 New York, NY 10036
www.minttheater.org Box Office: (212) 315-0231