Program - THE LUCKY ONE by A.A. Milne

PRODUCING ARTISTIC DIRECTOR

JONATHAN BANK

By

A.A. Milne Directed by

Jesse Marchese

APRIL 14 through

JUNE 25

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MINT THEATER COMPANY Jonathan Bank, Producing Artistic Director presents

THE LUCKY ONE A.A. MILNE by

with

PATON ASHBROOK, ARI BRAND, ANDREW FALLAIZE, MICHAEL FREDERIC, ROBERT DAVID GRANT, WYNN HARMON, CYNTHIA HARRIS, DEANNE LORETTE, PEGGY J. SCOTT, MIA HUTCHINSON-SHAW S ets V ICK I R. DAVIS

C o s tu m e s M ART H A H A L LY

Wig s & H air R O B E RT-CHA R LES VAL L ANC E P rod uct io n M anage r AD AM G ABEL Illu st r at ion S TE FA NO IM B ERT

C a s ti n g STEPHANIE KLAPPER, CSA

P ro p s Dialects & Dramaturgy JO S H U A Y O C O M AMY STOLLER

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

Gra p h i c s HE Y JU D E D ESI G N , I N C .

Sound T O B Y A L G YA

L i g h ts CHRISTIAN DeANGELIS

A d v e rti s i n g & Ma rk e ti n g THE PEKOE GROUP

Asst Stage Manager K E L LY B U R N S Press Rep D AV I D G E R S T E N & A S S O C I AT E S

directed by

JESSE MARCHESE THEATRE ROW, THE BECKETT THEATRE THE LUCKY ONE is supported in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

characters Gerald Farringdon............................................................................ Robert David Grant Bob Farringdon (his elder brother)..................................................................... Ari Brand Sir James Farringdon (his father)..............................................................Wynn Harmon Lady Farringdon (his mother)................................................................... Deanne Lorette Miss Farringdon (his great-aunt).............................................................. Cynthia Harris Pamela Carey (his betrothed)....................................................................Paton Ashbrook Henry Wentworth (his friend)............................................................... Michael Frederic Thomas Todd (his friend)........................................................................ Andrew Fallaize Letty Herbert (his friend)............................................................ Mia Hutchinson-Shaw Mason (his old nurse)....................................................................................Peggy J. Scott

Act I..................................At Sir James Farringdon’s in the country. A Saturday in June.

Act II.................................A private hotel on Dover Street in London. Two months later.

Act III..............................................At Sir James Farringdon’s again. Three months later.

PATON ASHBROOK

ARI BRAND

ANDREW FALLAIZE

MICHAEL FREDERIC

ROBERT DAVID GRANT

WYNN HARMON

CYNTHIA HARRIS

DEANNE LORETTE

PEGGY J. SCOTT

MIA HUTCHINSON-SHAW

A.A. M i l n e

about the playwright

A BIOGRAPHY OF A.A. Milne

By Maya Cantu

At once ironic and fanciful, the work of A.A. Milne spanned a prolific range of novels, light verse, essays, and children’s literature. Yet beyond his beloved Winniethe-Pooh books, Milne wrote over two dozen plays marked by “enchanting ingenuity” (E.V. Lucas), skillful craftsmanship, and subtle wit. In plays such as Mr. Pim Passes By, The Truth About Blayds, and The Lucky One, Milne peered beneath the polite surfaces and semblances of English life.

Throughout his work, Milne concealed a serious and penetrating eye under a charmingly light touch.

The youngest of educator John Vine Milne’s three sons, Alan Alexander Milne was born in London on January 18th, 1882.

A charmed fortune and jealous temperament coiled together throughout his early life. As Milne acknowledged in his 1939 Autobiography: “I was lucky.”1 A precocious child who started reading at two, Milne attended his father’s Henley House preparatory school, where he excelled at mathematics (and where his science teacher was H.G. Wells). Although distant from his eldest brother Barry, Alan shared an “inseparable”2 bond with the “sweettempered”3 middle child Ken, at whom he directed an equally intense sibling rivalry. As Milne recalled, “Every triumph (of Ken’s) had over it the shadow of my impending triumph.”4 At the age of eleven, he became among the youngest Queen’s Scholars ever elected to attend Westminster School, where he joined Ken. Here, Milne discovered gifts as a writer and humorist. Once again, competitive camaraderie with Ken fueled Alan’s ambitions. Signing themselves “A.K.M.” the two collaborated on light verse for Westminster’s The Elizabethan. However, the two-year writing partnership ended after Alan won a scholarship to Trinity College,

Alan Alexander (A.A.) Milne, 1926

Cambridge, and Ken started training as a solicitor. After editing The Granta at Cambridge, Milne displayed so much promise in the pages of Punch that he was promoted to assistant editor of the legendary humor magazine at the age of twenty-four.

At Punch, Milne earned renown as “already one of the foremost English humorists,” as described by The Times Literary Supplement.

His lucky streak only continued. Intending to send an effusive fan note and his book The Day’s Play (1910) to Rudyard Kipling, Milne opted instead to send both to his greatest literary hero, J.M. Barrie; “I admired much of Kipling, but not like that…. So, not wishing to waste the letter, I sent it and the book to Barrie.”5 Barrie, in turn, became a devoted mentor who inspired Milne to write his first one-act play, Make-Believe. Around this time, the vivacious socialite Dorothy “Daphne” de Sélincourt also entered Milne’s life, and they married in 1913.

Over the course of World War I, Milne transformed from soldier to playwright.

Leaving Punch in 1915, Milne served as a signals officer in England with the Royal Warwickshire Regiment. The next year, he was deployed to France. Encouraged by Barrie to attempt a new play in his spare hours before departure, Milne devised the satiric Wurzel-Flummery. After serving in

about the playwright A.A. M i l n e

J.V. Milne with his sons, likely taken in 1886 when Alan (bottom) was four.

the Battle of the Somme, Milne was invalided back to England with trench fever.

The war, which Milne recalled as a “nightmare of mental and moral degradation,”6 left a lifelong mark. Milne embraced pacifism, even while being drafted in November 1917 to write propaganda for the English War Office. Milne remembered, “If it were not ‘patriotic’ enough…then the Major supplied the operative words in green pencil.”7 Yet, by then, Milne had started his rapid ascent as a dramatist. He followed the successful 1917 West End premiere of Wurzel-Flummery, performed on the same program as two Barrie one-acts, with the light comedy Belinda (1918) and the antiwar one-act drama The Boy Comes Home (1918). As Milne returned to civilian life in 1919, he and Daphne welcomed their only son, Christopher Robin, on August 21, 1920.

Milne’s breakthrough came with the sensational 1920 London premiere of Mr. Pim Passes By, which ran for 246 performances at the Gaiety Theatre, followed by its 1921 production by the Theatre Guild. A subtle farce, Mr. Pim followed the momentous implications of a chance encounter between Olivia Marden and the mysterious Carraway Pim, whose

revelations turn her union to husband George upside down. London’s Daily Express enthused, “The fun may have been as thin as gossamer, but the texture was woven with an inimitable touch.” By contrast, The Chicago Tribune observed the play’s dramatic undertones: “Under the somewhat fantastic and sparkling dialogue runs the threads of a perfectly sane and serious study of marriage.”

In the early 1920s, Milne established himself on both sides of the Atlantic as “one of England’s most successful, prolific and best-known playwrights.”8 Indeed, no less than three Milne comedies opened during the 1921-22 Broadway season: the effervescent The Great Broxopp and The Dover Road, and the sardonic The Truth About Blayds, in which the family of late Victorian poet Oliver Blayds discovers his life of literary fraud. Not unlike Milne’s detective novel, The Red House Mystery (1922), all three plays concerned the vagaries of being “mistaken for what one is not.”9 For Blayds (revived by Mint Theater in 2004, with Mr. Pim Passes By), Alexander Woollcott praised Milne in The New York Times as “the happiest acquisition the English theatre has made since it captured Barrie and Shaw.” At the same time, with The Romantic Age (1922), the playwright became increasingly saddled with a reputation for “whimsy.”

With Milne’s next Broadway play, the serio-comic The Lucky One, the playwright continued to demonstrate his versatility beyond being a “scrivener of lighter plays.”10 The play had been written in 1917 during Milne’s WWI service, but failed to find a producer in London. The Nation’s Ludwig Lewisohn considered it Milne’s best play to date, and observed of its 1922 premiere by the Theatre Guild, The Lucky One is “simply in a different world from all the other plays of Mr. Milne…. It analyzes a moral problem in strictly dramatic terms with both delicacy of touch and weightiness of intention.” By contrast, The Stage called the play “‘contrary,’ or perverse.” Running only 40 performances

A.A. M i l n e on Broadway, The Lucky One received its first English production in 1924, finally making its West End debut retitled Let’s All Talk About Gerald in 1928.

The debut of Milne’s children’s books marked a pivotal change in his fortunes.

Introduced in the 1923 poem “Vespers,” Christopher Robin reappeared in the light verse collection When We Were Very Young (1924), which Milne, visiting friends in Wales, had started writing to escape the incessant rain. He recalled, “I had eleven wet days in that summer-house and wrote eleven sets of verses.11 Drawing inspiration from both his three-year-old son and memories of his own childhood, Milne followed the book with a second verse collection, Now We Are Six (1927), and with the indelible Winniethe-Pooh (1926) and The House at Pooh Corner (1928), both inspired by Christopher Robin’s stuffed animals.

Immortalized by his creation of the Hundred Acre Wood (based on the Ashdown Forest surrounding his home at Cotchford Farm, Sussex), Milne and his family attracted worldwide celebrity.

However, Milne was increasingly passed by as a writer for adults. Infamously mocked by Dorothy Parker in her New Yorker “Constant Reader” column, Milne’s literary reputation would never fully recover from reviewers’ slights, nor from his combination of light verse and children’s literature: both perceived as not fully reputable genres, as noted by biographer Ann Thwaite. Milne later reminisced about his critical decline, “…The hero of my latest play, God help it, was ‘just Christopher Robin grown up.’”12 Milne enjoyed his last burst of Broadway and West End stage success in the late 1920s, with an eclectic string of plays.

These included a satiric fairy tale parable about the susceptibility of truth to superstition, The Ivory Door (1927); an ingenious mystery play, The Perfect Alibi (1928); a romantic drama, Michael and Mary (1929); and Toad of Toad Hall (written 1921; first produced 1930), adapted from The Wind

about the playwright

in the Willows. After the disastrous Broadway production of They Don’t Mean Any Harm (1931), a moralizing satire of the Bright Young Things, Milne never had another substantial success as a playwright.

As Christopher Robin Milne recalled, “He was writing just as fluently, just as gracefully.

But fluency and grace were not enough: the public wanted stronger meat.”13 For Milne, the 1930s also brought personal hardship, as the author lost his beloved Ken to tuberculosis in 1929, and fell out permanently with eldest brother Barry in 1932.

In the 1930s and ‘40s, Milne increasingly retreated from the stage to other forms of writing, including short stories, autobiography, and the novels Two People (1932) and Chloe Marr (1946). The latter explored the enigmatic siren of the title from the perspective of her many suitors. While Milne wrote an acclaimed antiwar volume with Peace with Honour (1934), the advance of European fascism prompted his revised views of defending democracy in War with

Mr. Pim Passes By, Mint (2004).

Lisa Bostnar & Stephen Schnetzer Photo by Richard Termine

Honour (1940). His son also fought in WWII; returning from army service, Christopher Robin Milne grew increasingly distant and resentful of their shared fame.

He recalled, “If I was jealous of (my father),

about the playwright A.A. M i l n e he was no less jealous of himself. If I wanted to escape from Christopher Robin, so too, did he.”14 Yet Milne’s final books picked up accolades. The New York Times’ Irwin Edman praised A Table Near the Band (1950) for its “mordant geniality…. The dialogue in these tales is that of the polite comedies of Milne at his playfully ironic best.”

A.A. Milne died on January 31, 1956, at the age of seventy-four, after a long period of illness from stroke and pneumonia.

Although memorialized by The New York Times as “much more than a writer of children’s fantasies,” Milne was primarily remembered for his books for the young; much of his other writing fell out of print.

At the time of his death, the Pooh books had sold some seven million copies. Starting in 1966, they also captivated new generations in their adaptations by Disney. As the legend of Pooh continued to grow, Christopher Robin Milne published a bittersweet 1975 memoir, The Enchanted Places, in which he remembered Milne’s doting love as a parent, but also his deep-seated reserve: “My father’s heart remained buttoned up all his life.”15 A 1913 profile of A.A. Milne in The Daily Citizen described him similarly: “In many ways, he resembles his work. He is refined, subtle, and elusive.”

For all of his recognition as an icon of children’s literature, Milne’s plays focus on the elusiveness of identity, as well as the caprices of fortune that contribute to 1.

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Program cover from Milne at the Mint (2004).

shaping it. His wry and empathetic “comedies of character” echo his insight in Chloe Marr: “Every human is a mystery, and nobody knows the truth about anybody else.” Exploring the balance between surface and substance, his plays question stabilities of name, rank, and reputation, much as Milne himself leaped among literary genres.

Yet he most enjoyed his work in the theatre: “The most exciting form of writing is the writing of plays.”16 This identity Milne pursued with wit, technique, and—often— luck.

A.A. Milne, Autobiography, New York: E.P. Dutton and Co., 1939, pg. 28.

Ibid, pg. 19 Ibid., pg. 134 Ibid., pg. 20 Ann Thwaite, A.A. Milne: His Life, London: Faber and Faber Limited, 1990, pg. 138.

Milne, Autobiography, pg. 249 Ibid., pg. 266 Thwaite, A.A. Milne: His Life, pg. 194 A.A. Milne, Year In, Year Out, New York: E.P. Dutton & Co, 1952, pg. 5.

Abel Green, “The Lucky One,” Variety, December 15, 1922, pg. 18.

Milne, Autobiography, pg. 280.

Ibid., pg. 287 Christopher Milne, The Enchanted Places, New York: E.P. Dutton and Co., 1975, pg. 166 Ibid., pg. 166 Ibid., pg. 103 Milne, Autobiography, pg. 290.

The Lucky One PATON ASHBROOK (Pamela Carey) Off-Broadway debut. TV/Film: House of Cards Season 5 (recurring), Limitless. Regional: 4,000 Miles, Gypsy (Hangar Theatre), Salvage (musical workshop at the Pasadena Playhouse). Recently released from The Juilliard School; favorite past roles include Cleopatra in Antony and Cleopatra, Betty in Landscape of the Body, and Iris in The Sign In Sidney Brustein’s Window. Love to the Ashbrook family for being the most supportive people on this planet.

biographies

ing Mr. Maugham, The Call. Andrew is also a voiceover artist with several audiobooks to his name, and multiple BBC appearances in radio drama and readings.

MICHAEL FREDERIC (Henry Wentworth) The Mint: The New Morality. National Tour: The Great Divorce. NY credits include Bill W and Dr Bob (Soho Playhouse), A Funny Thing Happened on the Way to the Gynecologic Oncology Unit at Memorial Sloan-Kettering Cancer Center of New York City (Clurman Lab), The Eyes of Others (New Ohio), Summer and Smoke (Theatre Row), and Night Over Taos (INTAR – directed by Estelle Parsons). Regional credits include The God Game (Hudson Stage Company), August: Osage County, The Unexpected Guest, Doubt (Fulton Theatre), Doubt (Cleveland Play House), The 39 Steps (Florida Studio Theatre and Actors’ Playhouse), 26 Miles (Two River Theatre and Round House Theatre), The Hound of the Baskervilles, Around the World in 80 Days, A Christmas Carol (Public Theatre of Maine), Watson (Gretna Theatre), Play by Play (Stageworks/Hudson). TV: “Odd Mom Out”, “Royal Pains” and “The Men Who Built America”. MFA from the University of North Carolina at Chapel Hill. www.michaelfrederic.com

ARI BRAND (Bob Farringdon) is honored to be making his Mint Theater debut.

His credits include, B’way: The Neil Simon Plays (Nederlander, dir. David Cromer). OffB’way: My Name Is Asher Lev (Westside, dir.

Gordon Edelstein), Black Tie (Primary Stages, dir. Mark Lamos), Romeo and Juliet (NYSF, dir. Michael Greif ). Other: Diner (DTC, dir.

Kathleen Marshall), Bad Jews (Geffen Playhouse), Arabian Nights (Berkeley, Kansas City Rep, dir. Mary Zimmerman), The Last Night Of Ballyhoo (Bay Street), Much Ado About Nothing (New York Classical), The Diary of Anne Frank (Westport), My Name Is Asher Lev (Long Wharf ), Claw of the Schwa (Midtown Int’l, MITF Award). Film/TV: “White Collar”, To The Flame. More at aribrand.com.

This one is for big jess.

ROBERT DAVID GRANT (Gerald FarANDREW FALLAIZE (Thomas Todd) re- rindon) is thrilled to be making his Mint cently moved to New York from London and Theater debut. New York credits include Rosis delighted to be making his Off-Broadway encrantz and Guildenstern are Dead, Hamlet debut with the wonderful Mint Theater. US (The Pearl Theater/Acting Company); MeTheatre credits include: Cornelius (59e59); chanics of Love (Drama League); The FootHamlet (Notre Dame Shakespeare and na- age, A Light Lunch, The Great Recession (The tional tour); Remembrance of Things Past Flea Theater); Clever Little Lies (Westside (92Y); Here We Are Here (McCarter work- Theatre). Regional: title role in Macbeth shop). UK: House and Garden (Royal Na- (Northern Stage); Cymbeline, Hamlet startional Theatre); The Prince of Homburg (RSC, ring Paul Giamatti (Yale Rep); Engagements Lyric Hammersmith); Original Sin (Sheffield (Barrington Stage Company); Henry IV Crucible); King Lear (English Touring The- Part 1, Hamlet (Shakespeare Theatre of NJ); atre); A Midsummer Night’s Dream (Colches- Rey Planta, Christie in Love (Yale Cabaret). ter Mercury); Venice Preserved, Anatol, The Robert holds an MFA from Yale School of Spanish Tragedy (Arcola Theatre); Cornelius, Drama, and unlike Gerald has never played Men Without Shadows (Finborough The- golf. Many thanks to his wife, his family, the atre). FILM/TV: The Death Waltz, Reveal- GBGGs, and friends.

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Lucky One

WYNN HARMON (Sir James Farringdon) is delighted to perform with The Mint for the first time. He played The Detective in Porgy and Bess on Broadway (also broadcast “Live from Lincoln Center” on PBS). Off-Broadway: As You Like It, Tibet Does Not Exist.

International: Royal Opera House of Muscat, Oman; Theatre du Capitole, Toulouse; Grand Theatre de Bordeaux, France. Regional: Shows or seasons with: Kennedy Center, The Shakespeare Theatre DC, Long Wharf Theatre, Arena Stage, American Conservatory Theatre, The Glimmerglass Festival,The Studio Theatre, La Jolla Playhouse, American Repertory Theatre, Alley Theatre, Hartford Stage, Huntington Theatre Company, multiple Shakespeare festivals, and eleven shows with The Old Globe in San Diego. He played Trevor Babcock on “All My Children”, Mayor Van Wyck on “The Knick”, and Mark in the film Paper Cranes. He’s a Helen Hayes Award nominee, and the recipient of the Edwin E. Stein Award for Excellence in the Arts.

Me Again”; “Passion” and “An American Daughter.”

DEANNE LORETTE (Lady Farringdon) is ever grateful to be making her Mint Theater Company debut. She has appeared on Broadway in La Bete with Mark Rylance, Joanna Lumley and David Hyde Pierce, and Off-Broadway in Edwin at Theatre St. Clements (Great Circle Productions), Benefactors at Keen Company, and Seagulls at Drama League. She has appeared in leading roles at regional theatres across the country such as The Shakespeare Theatre Company, Pittsburg Public Theatre, Cincinnati Playhouse, The Shakespeare Theatre of New Jersey, Goodspeed Opera, The Fulton Theatre Company, Repertory Theater of St Louis, Actors Theatre of Louisville, Pennsylvania Shakespeare, Syracuse Stage, Shakespeare Festival of St Louis, Pioneer Theatre Company, Playmakers Repertory Company, Utah Shakespearean Festival, California Shakespeare, Virginia Stage Company, Capital Repertory Theatre, CYNTHIA HARRIS (Miss Farringdon) is and South Coast Repertory Theatre. Ms. Lohappily making her debut with the Mint. A rette’s film and television credits include Bull, founding member of The Actors Company “Guiding Light”, and The Passion.

Theatre, (TACT) & Co-Artistic Director for PEGGY J. SCOTT (Mason) BROAD21 years; currently on its Board of Direc- WAY: Is He Dead?

OFF-BROADAY: tors. Among her 46 TACT productions act- World Premieres with NY Shakespeare ing credits include: T.S. Elliot’s The Cocktail Festival (Well, Everybody’s Ruby), La Mama, Party, Lost in Yonkers, premier of Noel Coward’s and Negro Ensemble Company. Regional Long Island Sound. NEW YORK: The Tribute favorites include Silda (Other Desert Cities, Artist ; Bad Habits; Company; Any Wednesday; Theatre Aspen, Hudson Stage), Emily (A Natural Affection; Romance Language; Sec- Small Fire, Portland Center Stage), Paulina ond Avenue; Rag; Cloud Nine; Hold Me; The (Winter’s Tale, Shakespeare Santa Fe), Agnes Beauty Part; White House Murder Case; Open (A Delicate Balance, Delaware Theatre ComTheatre America Hurrah; The Serpent; Merry pany), Ethel Banks (Barefoot in the Park, AcWives of Windsor (NY Shakespeare Festi- tors Theatre of Louisville), Emma (Betrayal, val). REGIONAL: Life of the Party; Light Up Virginia Stage Company), Woman (The the Sky; Shadow Box ; Too Much Johnson; My Unexpected Man, Adirondack Theatre FestiMother Said I Never Should; Scenes from Amer- val), The Guthrie, Denver Center, American ican Life. FILM: The Distinguished Gentle- Conservatory Theatre, Mark Taper, A Conman; Reuben, Reuben; Three Men and a Baby; temporary Theatre, Huntington, etc. FILM: Up The Sandbox; Isadora. TV: “Revenge of the In Lieu of Flowers, Finding Amanda, Serial, Middle Aged Woman”; “Mad About You”; The Family Fang, and We Only Know So Much.

“Rescue Me”; “Law and Order” (-naturally), TELEVISION: Recurring roles on HBO “Edward and Mrs. Simpson” (BAFTA nom- mini-series “Show Me a Hero” (directed by inee Best Actress); “Life of the Party”; “Ask

The Lucky One Paul Haggis), “House of Cards”, “The Americans”, and three seasons as Jeannie Reilly on “Rescue Me”; also “30 Rock”, “The Big C”, “Person of Interest”, “Royal Pains”, “Law and Order”, “Ugly Betty”, “Fringe”, “Sesame Street”, and more.

MIA HUTCHINSON-SHAW (Letty Herbert) Theater: The Birds (59E59), All’s Well That Ends Well (Virginia Shakespeare Festival) The Intriguing Engagements of Frances and Meg Cheatham: Ladies of Society (NYC Int’l Fringe), Steel Magnolias (Grandstreet Theater) Film/TV: Shielding Nights, Violeta, The 36, Sarah, Wax. Mia is a graduate of the Royal Conservatoire of Scotland BFA Acting and Interlochen Arts Academy. www. miahutchinsonshaw.com

JESSE MARCHESE (Director) is Associate Director of Mint Theater Company, where he directed The Fatal Weakness by George Kelly as well as “Further Readings” of Conflict by Miles Malleson, Waters of the Moon by N.C. Hunter, Liliom by Ferenc Molnár, and I Am a Camera by John van Druten. Also for the Mint, he curated and directed two theatrical presentations in co-production with the New York Public Library for the Performing Arts: John van Druten: A Writer’s Writer and Meeting Molnár. Jesse recently directed Tennessee Williams’ Sweet Bird of Youth at Gallery Players and Village Light Opera Group’s production of Urinetown. During the 2015-2016 season, he was a member of The Civilians’ Field Research Team contributing directly to the company’s productions and artistic programs. His work as a director has also been seen at Theater for the New City, New World Stages, and Marymount Manhattan College.

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Mirth. Off Broadway credits include projects for Adobe, AMAS, Blue Heron, HB Studio, Lincoln Center Director’s Lab, The Ontological, LaMaMa, Folksbiene, Henry Street Settlement, Kings County Shakespeare, Bronx Opera, Bel Canto Opera, Wings, WPA, Playhouse 91. Regional theater and opera companies include Laguna Playhouse, Arena Stage, The Alliance, Milwaukee Rep., Dallas Theater Center, Spooky Action, Starlight Kansas City, Madison Rep., The Barter, Capital Rep., Passages, Georgia Shakespeare, Utah Shakespearean Festival, Utah Opera, Kansas City Opera, Omaha Opera, Theatre of the Stars, Boston Lyric Opera, Lake George Opera Festival, Chester Theater, and Music Theater North. The recipient of a TCG/NEA Design Fellowship, she is a member of United Scenic Artists Local 829.

MARTHA HALLY (Costumes) Mint: A Day by the Sea, Women Without Men (Drama Desk, Lortel nominations), Fashions for Men, London Wall, Katie Roche, Wife to James Whelan, Mary Broome, A Little Journey. OFFBROADWAY: Shining City,The Field, Banished Children of Eve, Gaslight (Irish Rep); Secret Order (59E59); The Late Christopher Bean, Bedroom Farce, Three Men on a Horse (TACT) REGIONAL: Milwaukee Repertory Theater, Pittsburgh Public Theater, CenterStage, Cincinnati Playhouse in the Park, Dallas Theater Center, The Repertory Theater of St. Louis, Alley Theatre, Great Lakes Theater Festival and Resident Ensemble Players (Univ.of Delaware). Among her opera designs are the world premiere of The Insect Comedy for The Center for Contemporary Opera, La Resurrezione, Dido and Aeneas for Chicago Opera Theater, Tales of Hoffmann and Aida for Virginia Opera, and L’Olimpiade and Tamerlano VICKI R. DAVIS (Sets) Previously for the for Little Orchestra Society of Lincoln CenMint: Women Without Men, The Fatal Weak- ter. www.marthahally.com ness, Katie Roche, Rutherford and Son, Temporal Powers, Wife to James Whelan, The Fifth CHRISTIAN DeANGELIS (Lights) is Column, The Skin Game, The Lonely Way, delighted to be designing for the Mint. SeEchoes of the War, Far and Wide, The Voysey In- lected Design Credits: Insurrection, All My heritance, Miss Lulu Bett, Welcome to our City, Sons (Arthur Miller Theatre, Ann Arbor, August Snow & Night Dance, and The House of MI.); Mary Poppins (Village Theatre); Spa-

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Lucky One

malot (5th Avenue Theatre); The Fatal Weakness (Henry Hewes Design Award Nomination), The Fatal Weakness, Philip Goes Forth, Love Goes To Press, The New Morality (Mint Theatre); Through the Night (City Theatre, PA. & Cincinatti 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); Trip to Bountiful, Pride & Prejudice, Arabian Nights, Junta High (VCU-Hodges Theatre). Christian currently teaches at Virginia Commonwealth University.

TOBY ALGYA (Sound) Mint: Philip Goes Forth NYC: Gravedigger’s Lullaby, In The Room, Widower’s Houses, Dark Vanilla Jungle/ Tonight With Donny Stixx, H2O, Hard Love, Abundance, Natural Affection, Lost In Yonkers, Awake and Sing!, Tender Napalm, Whida Peru, Mosaic, Rosmersholm,Ringmaster, Human Variations, Pratfalls, Where’s My Money?, The Invested, Hamlet, Fantasy Football: The Musical?. Regional: Hartford Stage, Barrington Stage Company, Northern Stage, Shakespeare Theatre of New Jersey, Lyric Theatre of Oklahoma, Trinity Shakespeare Festival, City Theatre - Pittsburgh, Portland Stage, People’s Light and Theatre, WHAT, Asolo Rep., South Coast Rep., La Jolla Playhouse.

MFA UC San Diego.

JOSHUA YOCOM (Props) collaborates with the Mint yet again on The Lucky One. This is his 16th production with the Mint, most recently propping Yours Unfaithfully, A Day by the Sea, Women Without Men, The New Morality, Fashions for Men, The Fatal Weakness, Donogoo, London Wall, and Philip Goes Forth.

Joshua has worked as a properties master and freelance artisan with a number of New York companies, including Roundabout Theatre, Keen Company, Epic Theatre Ensemble, Red Bull Theatre, Pearl Theatre Company, Second Stage, Primary Stages, Theatre for a New Audience, Gotham Chamber Opera, NYC

Ballet, Lincoln Center, Queens Theatre, Summerworks, Across the Aisle Productions, Snug Harbor, the Atlantic Theater Co., The New School of Drama, and the York Theatre Company. Joshua also props and styles bedding and rooms for print through collaboration with the Mayo photography studios.

ROBERT-CHARLES VALLANCE (Wig and Hair Design) With the Mint: Women Without Men (Drama Desk nomination) Recent: Come From Away – Broadway, Jitney – Broadway, First Daughter Suite – The Public, Amazing Grace - Broadway, A Christmas Memory, Bull Durham, Comedy of Errors, Donnybrook, A Civil War Christmas, Cotton Club Parade, Pipe Dream. Broadway Design Favorites: Lucky Guy, Little Shop of Horrors, Long Day’s Journey into Night, The Play What I Wrote, Ma Rainey’s Black Bottom, Our Town, Hollywood Arms, The Elephant Man, Dance of Death, Amy’s View, The Blue Room. Blood Brothers. Resident Designer: Irish Repertory Theatre: Celebrating over 40 productions.

Proprietor of: The Broadway Wig Company. www.broadwaywigs.com

AMY STOLLER (Dialects & Dramaturgy) has helped Mint casts suit words to actions since 1996. Highlights include A Day by the Sea (Best of 2016: Wall Street Journal); Women Without Men; The New Morality; London Wall; the Teresa Deevy project; Love Goes to Press; The Daughter-in-Law; Rutherford and Son. With Anna Deavere Smith: Notes from the Field (Best of 2016: New York Times, Time, Vulture, TimeOut NY, NorthJersey.com, Towleroad; BuzzFeed; The Forward; WBUR; Theater Pizzazz); Let Me Down Easy; Talking About Race; Watching Wilson and Watson; On Grace; “Great Performances” (PBS);“Master Class” (HBO). Broadway: Beautiful ( Jessie Mueller as Carole King, Tony Award; Jake Epstein as Gerry Goffin). Film/TV: Selma (Carmen Ejogo as Coretta Scott King, NAACP Image Award); “Mozart in the Jungle” (Amazon) “Nurse Jackie” (SHO); “Power” (Starz); London Wall (“Theater Close-Up,” WNET-13); “Dora the Explorer (Nickel-

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odeon).” Coming this June: The Traveling JEFF MEYERS (Stage Manager) was in a Lady at the Cherry Lane, directed by Austin play once. He played the “Captain” in the Pendleton. www.stollersystem.com Grand Junction, Colorado, high school proMAYA CANTU (Program Note) is a theater duction of Carousel. He then turned to stage historian, scholar, and Dramaturgical Advi- management. He is excited to be back worksor for the Mint, where she has previously ing with Mint Theater having previously worked on Yours Unfaithfully, A Day by the worked on Yours Unfaithfully, A Day by the Sea, Women Without Men, The New Morality, Sea, Fashions For Men and Earnest HemingFashions for Men, The Fatal Weakness, London way’s The Fifth Column. New York highlights Wall, and Philip Goes Forth. Maya is on the also include Beyond Therapy and Happy BirthDrama faculty at Bennington College, and day (TACT), Painting Churches and Marry received her D.F.A. in Dramaturgy and Dra- Me A Little (Keen Company), Amazons And matic Criticism at Yale School of Drama. She Their Men (Clubbed Thumb), Orange Flower is the author of the book, American Cinderel- Water and Adam Rapp’s Stone Cold Dead Serilas on the Broadway Musical Stage: Imagining ous (Edge Theater Company), Hamlet (CSC), the Working Girl from Irene to Gypsy (Pal- Critical Darling (The New Group) and Greg Kotis’ Eat The Taste (Barrow St. Theatre). grave Macmillan, 2015).

Regional highlights include, The Theater at ADAM GABEL (Production Manager), is Monmouth’s 2005 through 2015 summer thankful to the Mint and The Lighting Syn- seasons and The Underpants (Two River Thedicate for bringing him back to the stage after ater Company). His union of choice is AEA, a long hiatus into Broadcast Lighting Design and he dedicates this and every performance and Project Management. Recent Design and to his Mom and Dad. Management Credits include: CNN’s “Erin Burnett OutFront”; HLN’s “The Joy Behar KELLY BURNS (Asst. Stage Manager) Show”; the Internationally Acclaimed Noche Excited for her Mint debut! Off-Broadway: Flamenca and NBC’s Coverage of The 2010 The Gravedigger’s Lullaby, She Stoops to Conand 2012 Olympic Games for which he won quer, Widowers’ Houses, Hard Love, Abundance, an Emmy Award. Adam would like to ex- The Killing of Sister George, Beyond Therapy, press his gratitude to his wife Christine and and Natural Affection (TACT), proud TACT 2 beautiful young daughters, Madeline and Adjunct Company member; A Midsummer Juliet for their support, although it probably Night’s Dream, The Taming of the Shrew, As makes more sense to just tell them that in You Like It, and The Seagull (New York Classical Theatre); Mother Courage and her Children person.

(CSC). New York: Gary Goldfarb: Master Escapist (NYMF); Trevor (Lesser America); PS

FIRST PRIORITY CLUB

First Priority Club Members

get more and pay less.

A tax-deductible contribution of $250 or more makes you a member of our First Priority Club, ensuring you get the best seats at the lowest price.

For more information, visit the InvestMINT page at MintTheater.org, or call 212.315.0231.

biographies T h e

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Jones and the Frozen City (terraNOVA Collective); Island, or To Be or Not To Be (New York Shakespeare Exchange); Stuck (NYMF). Regional: Mystery of Irma Vep, Dial M for Murder, The Sunset Limited (Triad Stage). Film/ TV: Ambition’s Debt (Uwaki Film LLC); Homer and Penelope (Cinema with Cinema LLC). BFA from the University of North Carolina at Greensboro.

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 New York Classical Theatre, The Peccadillo, 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: Yours Unfaithfully; Fade; Wilderness; A Class Act; Edwin, the story of Edwin Booth; That Golden Girls Show!; The Dreyfus Affair (BAM); The Good Swimmer (HERE/Prototype Festival); Another Dance of Death (short film). Member: Casting Society of America and League of Professional Theatre Women.

THE PEKOE GROUP is a full-service advertising and marketing agency for theatrical events and cultural attractions. Clients include Second Stage Theatre, Mint Theater Company, New York Theatre Workshop, Avenue Q, Barrington Stage Company, NYU Skirball Center, Brooklyn Botanic Garden, Oh Hello On Broadway, Paul Taylor American Modern Dance, The Lightning Thief: The Percy Jackson Musical, In & Of Itself, Soulpepper On 42nd Street, and more. www.thepekoegroup.com

DAVID GERSTEN & ASSOC. (Publicist) has served as press representatives and marketing consultants on Broadway and off for over twenty-five years. In addition to the Mint, current clients include several not-for profit theater companies including INTAR,

Keen Company, NAATCO, Red Bull Theater, and TACT, among others, as well as the Off-Broadway hit comedy, Shear Madness.

David serves on the Board of Governors of ATPAM, the Association of Theatrical Press Agents & Managers and is a member of the Off-Broadway League and a founder of the Off-Broadway Alliance.

JONATHAN BANK (Producing Artistic Director) has been the artistic director of the Mint since 1996, where he has unearthed and produced dozens of lost or neglected plays, many of which he has also directed. Under Bank’s leadership the Mint has earned an international reputation as the source for highquality revivals of forgotten works and has become, in the words of The New York Times’ Jason Zinoman, “the leading New York entrepreneur” of the neglected play business. Bank spearheaded Mint’s ambitious Teresa Deevy Project dedicated to reclaiming the lost voice of “one of the most undeservedly neglected and significant Irish playwrights of the 20th century” (The Irish Times). Mint credits include Yours Unfaithfully by Miles Malleson, The New Morality by Harold Chapin, Mary Broome by Allan Monkhouse, Maurine Dallas Watkins’ So Help Me God! (Drama Desk nomination: Outstanding Director ) Also: 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, Susan and God by Rachel Crothers and Far and Wide and The Lonely Way by Arthur Schnitzler.

THEATRE ROW Headquartered in the heart of NYC’s Theater District, 42nd Street Development Corporation (42SDC) is a non-profit organization that uses the arts as a catalyst for economic development. 42SDC owns and operates Theatre Row, a complex of six Off-Broadway theaters, studios, and office spaces that are rented to non-profit theater companies. Additionally, 42SDC operates the innovative Music and the Brain non-profit program, which brings music education to students in more than 160 public

The Lucky One schools in NYC and other cities throughout the and abroad. 42SDC’s history is rooted in the development of 42nd Street, though the mandate is far reaching. 42SDC is currently exploring opportunities for economic development in all of the five boroughs of New York City.

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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.

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, pro- We not only produce lost plays, but we are duction, publication, readings and a variety also their advocates. We publish our work of enrichment programs. and distribute our books, free of charge Under the leadership of Jonathan Bank to libraries, theaters and universities. Our as Producing Artistic Director, Mint has catalog of books now includes an anthology secured a place in the crowded theatrical of seven plays entitled Worthy but Neglected: landscape of New York City. We have Plays of the Mint Theater plus five volumes received Special Obie and Drama Desk in our Reclaimed series, each featuring the Awards recognizing the importance of work of a single author: Teresa Deevy, our mission and our success in fulfilling it. Harley Granville Barker, St. John Hankin Terry Teachout of The Wall Street Journal and Arthur Schnitzler. writes that the Mint has a “a near-perfect track record of exhuming forgotten plays of Mint Theater Company the previous century that deserve a happier Producing Artistic Director . . . . Jonathan Bank fate.”

Associate Director . . . . . . . . . . . Jesse Marchese 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”

Associate Producer . . . . . . . . . . . . . Jason Rost Associate Producer . . Rebecca Nell Robertson Management Associate . . . . . . . . Jack Mattern Development Consultant . . . Ellen Mittenthal Exploring the Arts Intern . . . . . . . . Li Fang Li Dramaturgical Advisor . . . . . . . . . Maya Cantu Videographer . . . . . . . . . . . . . . . Mike LoBello Advertising, Marketing & Website Design . . . . . . . . The Pekoe Group/ Amanda Pekoe, Jason K. Murray, Kathryn Zaccarelli, Christopher Lueck, Briana Lynch, Jenny Dorso, Noah Fried Press Rep . . . . . . . . . . . David Gersten & Assoc David J. Gersten, Daniel DeMello Financial Services . . . . . . . Nellis Mgt. Services Andrea Nellis Auditor . . . . . . . . . . Lutz & Carr, CPA’s, LLP

Board of Trustees

Gretchen Adkins Jonathan Bank Bob Donnalley Ciro A. Gamboni John P. Harrington

Brian Heidtke Jann E. Leeming Eleanor Reissa Kathryn Swintek John Yarmick

The following generous Individuals, Foundations, & Corporations support the Mint Theater, and we honor their contributions: Crème de Mint: $10,000 and above

Anonymous Malvin Bank Barbara Bell Cumming Foundation Cory & Bob Donnalley

Charitable Foundation Jean and Louis Dreyfus Foundation The Fan Fox & Leslie R.

Samuels Foundation Gail & Ciro Gamboni Johanna & Leslie Garfield Howard Gilman Foundation The Gladys Krieble

Delmas Foundation Edith Meiser Foundation The Andrew W.

Mellon Foundation New York City Department

of Cultural Affairs New York State Council

on the Arts Royal Little Family Foundation The Shubert Foundation, Inc. The Ted Snowdon Foundation The Harold & Mimi Steinberg

Charitable Trust Michael Tuch Foundation SilverMint: $5,000 to $9,999

Anonymous Axe-Houghton Foundation Robert Brenner Virginia Brody Janet & John Harrington The Heidtke Foundation Marta Heflin Foundation David L. Klein, Jr. Foundation Blanche & Irving Laurie Foundation Lucille Lortel Foundation Lorna H. Power Jerome Robbins Foundation Wallace Schroeder The South Wind Foundation

The Dorothy Strelsin Foundation The Geraldine Stutz Trust, Inc. Sukenik Family Foundation Kathryn Swintek John Yarmick

Susan & Zachary Shimer Helen S. Tucker, Gramercy Park Fdn. Hilda Wenig & Lisa Renz

ChocolateMint: $2,500 - $4,999

Anonymous (2) Actors’ Equity Foundation David & Kim Adler Louise L. Arias John H. & Penelope P. Biggs Lois Burke Pamela Coker & John Walls George & Susan Crow W. Leslie Duffy Jennifer & Greg Ezring Barbara Farrar & Tom Evans Agnes & Emilio Gautier Jane & Charles Goldman Marta Gross & Richard Barnes David Herskovits Barbara Hill Hickrill Foundation International Friends of the London Library Linda Irenegreene

& Martin Kesselman Mildred Kuner Charlene & Gary MacDougal Martin & Maude Meisel Doreen & Larry Morales Mark Rossier John Q. & Karen E. Smith Dr. Norman Solomon Stagedoor Manor Alec Stais & Elissa Burke Amy Stoller Stella Strazdas & Hank Forrest

Charitable Fund M. Elisabeth Swerz Joan & Jack Thorne Francis Williams Steven Williford

Anonymous 42nd St. Development Corp.

Grover Connell William Downey Nicholas & Edmée Firth Paul & Karen Isaac Christopher Joy

& Cathy Velenchik Sandra & David Joys Rebecca Kaplan Sally & Wynn Kramarsky The Dorothy Loudon Foundation Gemzel Hernandez Martinez M.D. Dorinda Oliver Joe Regan The Petros K. & Marina T.

Sabatacakis Foundation David Stenn Dennis & Katharine Swanson Michael Thomas Mary Ellen & Karl von der Heyden SpearMint: $1,500 - $2,499

Linda & Lloyd Alterman Mr. & Mrs. Edward W. Franklin The Friars Foundation Ruth Friendly The Gordon Foundation Robin Jones Sandra & Jonathan Landers Frederick Meyer George Morfogen Eleanor Reissa Drs. Carole M. Shaffer-Koros & Robert M. Koros

PepperMint: $750 - $1,499

supporters DoubleMint ($250 - $749)

Anonymous (11) Stephen Abel & Frank Wolf Richard Abrons Thomas & Mary Adams Judith Aisen & Kenneth Vittor Louis Alexander Dean Alfange Laura Altschuler Carmen Anthony Randy & Ruth Bank William N. Banks Judith Barlow Joseph Bell Barbara Berliner & Sol Rymer Al Berr Nidia Besso Clint Best Peter & Helena Bienstock Judith Bihaly Gene & Joann Bissell Iris & Alan Blanc Steven Blier & James S. Russell Allison Blinken Julian & Zelda Block Rose-Marie Boller &

Webb Turner Dr. & Mrs. Jeffrey Borer Alice Boyle Nathan Brandt Steven Brauser Bebe & Douglas Broadwater Dorothy Burke Ann Butera Peter Cameron Alice B. Cannon-Perkins & Fred Perkins Fairfid M. Caudle Aurelie Cavallaro Russell Charlton &

Julie Norwell Lynn Charnay Stephen & Elena Chopek C.L. Christensen Toni Coffee Ira Cohen Julie Cushing Connelly Jo Ann Corkran Peggy Correa Penelope & Peter Costigan Audrey & Fergus Coughlan Marina Couloucoundis Lorraine Coyle Tandy Cronyn Leslie Crossley Michael Crowley John & Ellen Curtis Cynthia Darlow &

Richard Ferrone Sue & Stuart Davidson Ann DeInnocentiis Anthony & Ruth Demarco

Denny Denniston

& Christine Thomas Katherine & Bernard Dick Ruth & Robert Diefenbach Thomas A. Dieterich Nancy M. Donahue Caroline Donhauser Elizabeth Dooley Suzanne Dowling Joan Drelich James Duffy Emily Dunlap Don & Sheila Dunphy Kim & William Eckstrom Marjorie Ellenbogen Monte Engler &

Joan Mannion Fred & Sara Epstein Judith Eschweiler Elen & Frank Estes H. Read Evans Robert Ewing Ronald & Diana Ezring Kathleen Feely James Feldman Douglas Filomena William Finkelstein Angela T. Fiore James Fleckenstein Eva & Norman Fleischer Barbara Fleischman Carol & Burke Fossee Jeffrey & Diana Frank Roger & Patricia Friedman Dr. Barbara Gaims-Spiegel

& Robert M. Spiegel Eugene Gantzhorn Michael Garber Mary J. Geissman Marion & Whitney Gerard Susan & David Gerstein Suellen & David Globus Betty & Joshua Goldberg Ryan Goodland &

Evan Leslie Margaret Goodman Charles Gordanier & Susan Kornacki Sarah Gordon Stanley Gotlin &

Barry Waldorf Anna Grabarits Arnold H. Grossman Jeffrey H. Grover Georgia & Antonio Grumbach Carol & Steven Gutman Lanie Hadden Dr. Ronald & Maria Hagadus Joseph Hardy John Hargraves &

Nancy Newcomb Cynthia Harris Alvan & Joan Harrison Charles Hayman

Henry Hecht & Sally Wasserman Carol Hekimian Reily Hendrickson Michael Herko Gabor Herman Sigrid Hess Linda & George Hiltzik Claire Hinchcliffe Louise Hirschfeld & Lewis B. Cullman Alan Hirsh Eleanor Hodges Heather & Bruce Horner Cheryl Hurley Harriet & Elihu Inselbuch Jocelyn Jacknis James W. Jackson Wendy & David Johnston Joseph Family Char. Trust Gerhard Joseph Virginia Josephian Peter Haring Judd Fund Bill & Margaret Kable Dawn Kafcos Elizabeth Kaming Greg & Karin Kayne Joan Kedziora Frances & Carter Keithley James P. Kelly Laurie Kennedy & Keith Mano Kaori Kitao Frederick Koch James J. Kolb Marlene & Gerald Kolbert P. Koopman Anna Kramarsky &

Jeanne Bergman Jean Kroeber Carmel Kuperman Julie Laitin David & Mary Lambert Sybil Landau William & Robert Lang Pearl & Karl Lazar Ira Leeds Laura & Rodney Leinberger Dr. Albert Leizman

& Ann Harte 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 Lowenstein Mary & Boyd Lowry Paul Lubetkin &

Joyce Gordon Dayna Lucas Joan M. Lufrano

supporters Jon Lukomnik

& Lynn Davidson Bette Lyons Mary Rose Main Vivian Majeski Martin Maleska &

Julia McGee Raoul Mancini Barbara Manning Florence Mannion Jean & Robert Markley Jacqueline Maskey Eileen Mason Jill Matichak Lorraine Matys Cheryl & Harris May George W. Mayer Pamela Mazur, PhD Barbara & Dan McCarthy John McCaskey Patricia A. McCormack Carolyn McGuire Robert McLaughlin &

Sally Parry Ilse Melamid Joan & John Mendenhall John David Metcalf Radley Metzger Lusia & Bernard Milch Stephen Mills Susan & Joel Mindel Ann Miner Ellen Mittenthal Elaine & Richard Montag Joseph Morello Frank Morra Elaine & Ronald Morris John & Michelle Morris Carole & Theodore Mucha Mike & Jane Muchmore Georgia & Mark Munsell Daniel Murnick &

Janet George Karol Murov Maureen Murphy Virg & Bob Nahas Mary Martin Nelson Alexa Shae Niziak June O’Donnell Stephanie & Robert Olmsted Modest & Linda Oprysko Colleen Orsatti Frances Pandolfi Jeanine Parisier Plottel Jonathan Parker James J. Periconi Steven Phillips & Isabel Swift Sheila & Irwin Polishook Isaac Pollak Lynn Poole Georgette & David Preston

Robert & Carlo Prinsky Robert A. Pugsley Judith Quillard Judith & Sheldon Raab Susan & Peter Ralston Teresa Ranellone Linda Ray Cordelia & David Reimers Tom Repasch Peter Robbins

& Paige Sargisson Phyllis & Earl Roberts Richard V. Robilotti Renee & Seymour Rogoff Robert & Rhoda Roper Donna & Ben Rosen Saul Rosenthal Charles & Meryl Rubin Marcia & Michael Rubin William Rumancik &

Paul Cowan Lynn & Thomas Russo Mary & Winthrop Rutherfurd Kathy Salem Rosemarie Salvatore Peter and Mary Jane Sander J.B. Sandler Judy & Sirgay Sanger Judy & Dick Schachter Maxine Scherl Daphne & Peter Schwab Marilyn & Joseph Schwartz Robert Secor Jim & Ann Settel Ronald Shaw George & Marjorie Shea Camille & Richard Sheely Robert Shivers Helen Shufro Shelley & Joel Siegel Joyce Silver Marion Simon Adrianne & David Singer Frank Skillern Janet & Mike Slosberg Barbara Madsen Smith Bernice Smith Barbara Solomon Sandra & Graham Spanier Charles Sperling Shondell & Ed Spiegel MĂŠlie & John Spofford Voytek Sporek Emmy & Richard Springer Martha S. Sproule Marcella Ann Stapor Sherry & Bob Steinberg Gary Stern Peter & Wendy Stetson Susan Stockton &

William Garvin

Mihail & Doina Stoiana Edna & Robert Straus Elaine Strauss Pamela Stubing Joseph Sturkey Dr. Larry E. Sullivan Richard & Jean Swank Jean Swintek Kelsey Swintek Carol Tambor &

Kent Lawson Douglas G. Tarr Brinton Taylor & Francis C. Parson Jr. Elaine Taylor-Gordon Deborah & Craig Thompson Caroline Thomson &

Steve Allen Lee Toole &

Kimiko Otsuka Stan & Madelene Towne Linda & Ken Treitel Susan & Charles Tribbitt Evelyn Truitt Martha van Hise Joan & Bob Volin Robert & Janet Wagner John Michael Walsh Robert G. Walsh Rob Webb & Pat DeRousie-Webb Kevin & D.G. Weber-Duffy Donna Welensky Patricia & Richard White Anita & Byron Wien Robert & Lillian Williams Constance Wingate Daniel Marshall Wood Donald & Barbara Zucker Mary Zulack & Peter Belmont Burton & Sue Zwick

This list represents donations made from March 25, 2016 - March 25, 2017.

Every effort is made to ensure its accuracy.

The Lucky One This Theatre is operated by Theatre Row Studios and 42nd Street Development Corporation as a service to individuals and companies who do not have their own performances spaces. This presentation is not a Theatre Row Studios or 42nd Street Development Corporation production, nor does its presentation in this Theatre imply approval or sanction by either Theatre Row Studios or 42nd Street Development Corporation.

Production Staff

Production Manager . . . . . . . . Adam Gabel Master Carpenter . . . . . . . Allison Nowicki Lighting Asst/Programmer . . . Sam Updike Board Operator . . . . . . . . . . . . Sarah Green Wardrobe Supervisor . . . . . Amanda Stanton Wardrobe Sup/Costume Asst . . . . . . . . . Pia Kristjansen Asst Costume Designer . . . . . Anna Tringali Draper . . . . . . . . . . . . . . . . . . . . Kay Stuntz Asst Hair Designer . . Matthew Armentrout Production Asst . . . . . . . Jimmy Dragolovich Casting Asst . . Alexa Magnotto, Ari Rudess Casting Intern . . . . . . . . . Evan Moore-Coll House Manager . . . . . Christopher Armond, Amber Godfrey, Melissa Hoes, & Megan Robinson

Erika Feldman...................General Manager Shawn Murphy............Assoc. Gen. Manager Keith Adams....................Technical Director Jamianne Devlin, Keaton Grant, Andre Sguerra, Luis Payero...............Asst. Tech Dir. Azizi Bell.......................Box Office Manager Drew Overcash...........Asst. Box Office Mgr. & Mktg. & Social Media Mgr. Amanda Finch............Asst. Box Office Mgr. Whitney Andrews, Michael Dewar, Kelsey Kennedy, Bailey Reeves....... Box Office Staff Jack Donoghue....................House Manager Special Thanks Sean Tecson.................Asst. House Manager Douglas Filomena and Jay Sterkel of The Lighting Scott Pegg............................Studio Manager Syndicate, Erika Feldman and Shawn Murphy of Please turn off all cell phones and pagers before the performance begins. Thank You! The use of cameras and other recording devices in this Theatre is prohibited by law.

Theatre Row, and Playwrights Horizons, and Jon Knust.

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.

In the event of Fire, please proceed quietly to Mint Theater Company wishes to thank the TDF the nearest exit. Exits are located where you Costume Collection and the Univ. of Deleware entered the Theatre Complex and at the back Theater Dept. for their assistance in this production. of the Stage, which you can reach by walking through any opening in the scenery or drapes on stage.

Actor’s Equity Association was founded in 1913.

There is no smoking anywhere in this Theatre or in the Theatre Complex, including, lobby stairways and restrooms.

Credits

Set constructed by Carlo Adinolfi.

Production Supervision by the Lighting Syndicate.

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 Production History Yours Unfaithfully, 2017

Wife to James Whelan, 2010

A Day by the Sea, 2016

Doctor Knock, 2010

Women Without Men, 2016

So Help Me God!, 2009

The New Morality, 2015

Is Life Worth Living?, 2009

Fashions for Men, 2015

The Widowing of Mrs. Holroyd, 2009

By Miles Malleson

By N.C. Hunter

By Hazel Ellis

By Harold Chapin

By Ferenc Molnár

The Fatal Weakness, 2014

By George Kelly

Donogoo, 2014

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

A Little Journey, 2011

By Rachel Crothers

What the Public Wants, 2011

By Arnold Bennett

By Teresa Deevy

By Jules Romains

By Maurine Dallas Watkins

By Lennox Robinson

By D.H. Lawrence

The Glass Cage, 2008

By J.B. Priestley

The Fifth Column, 2008

By Ernest Hemingway

The Power of Darkness, 2007

By Leo Tolstoy

The Return of the Prodigal, 2007

Milne at the Mint, 2004 Two Plays by A.A. Milne

Far and Wide, 2003

By Arthur Schnitzler

The Daughter-In-Law, 2003

By D.H. Lawrence

The Charity That Began at Home, 2002

By St. John Hankin

No Time for Comedy, 2002

By S.N. Behrman

Rutherford & Son, 2001

By Githa Sowerby

Diana of Dobson’s, 2001

By Cicely Hamilton

The Flattering Word & A Farewell to the Theater, 2000

By St. John Hankin

By George Kelly & Harley Granville-Barker

The Madras House, 2007

Welcome to Our City, 2000

John Ferguson, 2006

Miss Lulu Bett, 2000

Susan and God, 2006

The Voysey Inheritance, 1999

By Harley Granville-Barker

By St. John Ervine

By Rachel Crothers

Soldier’s Wife, 2006

By Rose Franken

Walking Down Broadway, 2005

By Thomas Wolfe

By Zona Gale

By Harley Granville-Barker

Alison’s House, 1999

By Susan Glaspell

The House of Mirth, 1998

By Dawn Powell

By Edith Wharton & Clyde Fitch

The Skin Game, 2005

Mr. Pim Passes By, 1997

The Lonely Way, 2005

Uncle Tom’s Cabin, 1997

Echoes of the War, 2004

Quality Street, 1995

By John Galsworthy

By Arthur Schnitzler

By J.M. Barrie

By A.A. Milne

By George Aiken

By J.M. Barrie