Mary Broome

Producing Artistic Director

Jonathan Bank

Finance & Production

Sherri Kotimsky

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.

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.

Under the leadership of Jonathan Bank as Producing Artistic Director, Mint has secured a place in the crowded theatrical landscape of New York City. We have received Special Obie and Drama Desk Awards recognizing the importance of our mission and our success in fulfilling it. The Wall Street Journal describes Mint as “one of the most consistently interesting companies in town.”

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-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 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.

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 four volumes in our “Reclaimed” series, each featuring the work of a single author: Teresa Deevy, Harley Granville Barker, St. John Hankin and Arthur Schnitzler.

PRODUCTION HISTORY George Aiken UNCLE TOM’S CABIN

Zona Gale MISS LULU BETT

Allan Monkhouse MARY BROOME

Harley Granville Barker A FAREWELL TO THE THEATER THE MADRAS HOUSE THE VOYSEY INHERITANCE

John Galsworthy THE SKIN GAME

Dawn Powell WALKING DOWN BROADWAY

Martha Gellhorn & Virginia Cowles LOVE GOES TO PRESS

J.B. Priestley THE GLASS CAGE

J.M. Barrie ECHOES OF THE WAR QUALITY STREET S.N. Behrman NO TIME FOR COMEDY Arnold Bennett WHAT THE PUBLIC WANTS Rachel Crothers A LITTLE JOURNEY SUSAN AND GOD

Susan Glaspell ALISON’S HOUSE Cecily Hamilton DIANA OF DOBSON’S St. John Hankin THE CHARITY THAT BEGAN AT HOME THE RETURN OF THE PRODIGAL Ernest Hemingway THE FIFTH COLUMN

Teresa Deevy TEMPORAL POWERS WIFE TO JAMES WHELAN

George Kelly THE FLATTERING WORD

St. John Ervine JOHN FERGUSON

D.H. Lawrence THE DAUGHTER-IN-LAW THE WIDOWING OF MRS. HOLROYD

Rose Franken SOLDIER’S WIFE

A.A. Milne MR PIM PASSES BY THE TRUTH ABOUT BLAYDS

Lennox Robinson IS LIFE WORTH LIVING Jules Romains DR. KNOCK Arthur Schnitzler FAR AND WIDE THE LONELY WAY Githa Sowerby RUTHERFORD AND SON Leo Tolstoy THE POWER OF DARKNESS Maurine Watkins SO HELP ME GOD Edith Wharton & Clyde Fitch THE HOUSE OF MIRTH Thomas Wolfe WELCOME TO OUR CITY

MINT THEATER COMPANY

Jonathan Bank, Producing Artistic Director Sherri Kotimsky, Finance & Production presents

MARY BROOME

by Allan Monkhouse with

Rod Brogan, Janie Brookshire, Katie Fabel, Kristin Griffith, Roderick Hill, Julie Jesneck, Patricia Kilgarriff, Graeme Malcolm, Douglas Rees, Erica Swindell, Jill Tanner sets Roger Hanna

costumes Martha Hally

lights Nicole Pearce

dialects Amy Stoller

sound Jane Shaw

props Joshua Yocom

dramaturgy Amy Stoller Heather J. Violanti

production stage manager Kathy Snyder

assistant stage manager Alex Hajjar

production manager Sherri Kotimsky

illustration

casting Amy Schecter

graphics Hey Jude Graphics Inc.

advertising & marketing The Pekoe Group

press representative David Gersten & Associates

Stefano Imbert

Directed by

Jonathan Bank opening night september 10th, 2012

Mary Broome is supported in part by the New York State Council on the Arts with the support of Governor Andrew 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.

cast

IN SPEAKING ORDER

SHEILA RAY

Julie Jesneck

ADA TIMBRELL Katie Fabel EDGAR TIMBRELL Rod Brogan MARY BROOME

Janie Brookshire

LEONARD TIMBRELL

Roderick Hill

MRS. TIMBRELL

Kristin Griffith

EDWARD TIMBRELL

Graeme Malcolm

MAID

MR. PENDLETON/JOHN BROOME

Erica Swindell

Douglas Rees

MRS. PENDLETON/MRS. BROOME

Jill Tanner

MRS. GREAVES

Patricia Kilgarriff

Act One The drawing toom in the Timbrells’ home Act Two The same, nearly a year later, Christmas eve Act Three A few months later Act Four The Timbrells’ drawing room, two months later There will be one ten minute intermission between Acts II and III

ROD BROGAN

JANIE BROOKSHIRE

PATRICIA KILGARRIFF

GRAEME MALCOLM

KATIE FABEL

KRISTIN GRIFFITH

DOUGLAS REES

RODERICK HILL

ERICA SWINDELL

JILL TANNER

JULIE JESNECK

director’s note jonathan bank Allan Monkhouse wrote a novel called True Love, which was published in 1919. The novel’s protagonist, Geoffrey Arden, is a writer living in Manchester and working for the city’s main newspaper just as Monkhouse wrote for the Guardian. Like Monkhouse, Geoffrey writes a play for the local repertory company: ALICE DEAN—an obvious stand-in for MARY BROOME. The novel is a work of fiction, but the episode describing the writing and rehearsing of ALICE DEAN offers undeniable insight into MARY BROOME. For me it was like reading the author’s private journal of the process, had he kept one.

Below are excerpts from the novel, the first describing a rehearsal. Upjohn is the producer (the director), Miss Drew plays the title role, Geoffrey Arden, is the playwright.

Upjohn came to Arden, scrip in hand, and consulted him about one or two points in the action. The scrip was scored with many pencil markings and memoranda, and Geoffrey said apologetically that he was afraid his stage directions didn’t help much. They were extremely meager, and he thought that perhaps the producer would rejoice in a comparatively free hand. He put this point to Upjohn, who said: “Somebody’s got to do it,” with the air of an overworked man. And Geoffrey’s heart sank at the idea that he was not very thorough. Perhaps he should have carefully scored every action and movement like those modern dramatists who knew the color of their heroines’ eyes, and how many steps down the stage they take before they say “Good-morning.” Perhaps he ought to have insisted on being his own producer, and on molding all the performances to his own full and perfect conception. It is depressing to think that you aren’t thorough, but, after all, there are different kinds of vision. You may be satisfied with the heart of the thing. You may toss your work to the actors, knowing that a little more or a little less of their control doesn’t matter.

Most of the actors scattered about had the appearance of slackness and leisure; they were ready to play a little at life when they were not wanted on the stage. But there was a cry of “ALICE DEAN, Act I,” and everything became more businesslike. The idle actors left the scene, those who were “on” got into position; Geoffrey and Upjohn seated themselves at the table by the footlights and a stage-manager hovered about at Upjohn’s disposal. The producer should be an absolute dictator, and if an actor is a bigger man than he, it is bad form to presume upon it. To Arden it seemed that much of what Upjohn did and said was open to question, but it wasn’t questioned. It was an early rehearsal and so the actors were permitted to carry their parts in their hands. Some simply read them, some refreshed their memories continually, Miss Drew seemed to know her words. She did not act much, but her recital had some promising modulations. She begins, Geoffrey thought, by being perfectly intelligent. He was uneasy. To be intelligent is a good deal, but it is not to act and she kept on this plane of understanding astonishingly.

He was assured of her sympathy, then? Not quite. He was only sure that she understood a great deal; perhaps she was even capable of finding him out. He was missing details and he answered stupidly when Upjohn appealed to him about CONTINUED

director’s note cont. some small point; Upjohn was punctilious in appealing to the author over what did not matter. With something between impatience and humility Arden intimated that he hadn’t mastered the technique of furniture, and Upjohn responded with some platitude about the need for the material even in the intellectual drama. It was intended rather to appease than to provoke, but Arden was impelled to say: “Do you realize that this play is crammed with emotion?”

**** Monkhouse aims the most critical and amusing passages in his novel at Elleray, the actor playing Leonard (the character is never named in the book): the “body and bones” of the play. Before rehearsals begin Elleray writes to Geoffrey, asking for changes.

The letter was a request to be permitted to ‘alter a few lines’ with the object of ‘making the part more sympathetic.’ It was not so much that Elleray wanted to put things in, but that he did very positively wish to take things out. He could not give details in the letter, but Geoffrey might ‘rest assured that the greatest discretion would be observed,’ and the character would emerge much more to the taste of the audience than in its original condition…

Elleray, craving affectionate sympathy, didn’t like at all that he should have to betray ugly, sinister qualities in his parts. It was nothing to him that they should contribute to a beautiful whole, and in this he was supported by his customers in the pit who care very little about these wholes. A straightforward villain to be knocked on the head is intelligible, but how dangerous are these half-sympathies! How insidious is the art that would confuse a moral issue!

Geoffrey declines to give into any of Elleray’s requests, confident in his “beautiful whole.” The actor has no choice but to give in, although he does manage to “to convey presage of disaster to the play.” As it turns out, the University of Manchester Library had a trove of letters written to Monkhouse, including seven from Milton Rosmer, the actor cast as Leonard Timbrell in the play’s first production, confirming the truth of at least this part of the novel. ****

TOP: Actor, Milton Rosmer who originated the role of Leonard ABOVE: Irene Rooke, Rosmer’s wife who played opposite him in the title role.

cont. director’s note True Love goes on to describe a threat to the production of ALICE DEAN. The head and front of the trouble was Elleray, who maintained an air of profound dissatisfaction, emitting at times slight interjections of distress. Having given way he now played the role of victim with politeness, resignation, and a subdued anguish. It was amusing, but it was not very comfortable. Upjohn grew portentous, and there was a good deal of gossiping in corners, which Geoffrey sometimes broke in upon jocosely.

He heard a whisper of withdrawal, and asked Upjohn what it meant. Upjohn was in genuine distress…He hinted that Elleray was still sulking over his part, and lamenting the absence of those sympathetic touches that make the whole pit kin. Resisting an inclination to consign Elleray to blazes, Geoffrey sought him out and warmly congratulated him on his insight, his execution, and his effectiveness generally. ‘It’s going to be one of the triumphs of your career,’ he said. He laid it on thick, but not too thick.

Elleray responded, and, fine actor as he was, there was no difficulty in finding things to praise.

Geoffrey talked himself into a good humor with Elleray. He wasn’t going to play the part quite as it should be, perhaps; he was broader, bolder, more impudent in his audacities than Geoffrey’s conception warranted. Subtlety of decadence was hardly in his line, nor did he quite perceive the fineness of spirit that penetrates through failure and foulness to the essential understanding. But Elleray, like all fine actors, was an instinctive opportunist, and Geoffrey could see with half an eye how he would make the thing go. Indeed, Elleray had begun to perceive this himself, and lamentations pointing to abandonment of the part changed insensibly to an heroic intention to endure the burden to the end. **** ALICE DEAN is a modest success for its author, but not a life-altering one. Monkhouse concludes the episode in True Love by describing Geoffrey Arden’s thoughts on the production after its premiere.

Authors have a way of sneaking in to see how their plays are getting on, and Geoffrey saw his, or parts of it, several times in the course of the week. There was a good deal of underlining, and Geoffrey made some effort to curb the exuberance of his actors.

It could only be done by definite excisions, and he had the satisfaction to eliminate the biggest laugh the play afforded. This came from what seemed to him an innocent line, but the audience strained it to the point of lewdness. Geoffrey felt that he was in danger of becoming scornful of his audience. His problem, he knew, was to keep touch with the vulgar humor and yet be as fine as God and the theater would let him be. To accept the conventions and to put your life into them is the formula.

So ALICE DEAN ran its week and disappeared. Even while it was on, Sibyl Drew was rehearsing a fresh part and conning another. Elleray confided to Geoffrey that if he could play the part in London the future was theirs. And, remembering what Elleray used to think of the part, Geoffrey felt that he had accomplished something.

If you are interested in reading True Love, you may download in a variety of formats, free of charge, here: http://archive.org/details/truelove00monkuoft

allan monkhouse about the playwright Allan Monkhouse (1858-1936) was a dramatist, novelist, and critic known for his piquant portrayal of middle class life in northern England. He startled audiences with complex characters, who pierced societal niceties as they grappled with the contradictions of a rapidly changing world.

Monkhouse was born to a middle class Quaker family in the northern English town of Barnard Castle. He began his professional life in the cotton trade, one of the region's main industries.

Monkhouse’s business experience led to a stint writing freelance market reports for local papers, which led, at age 44, to a job at The Manchester Guardian. Once at The Guardian full-time, Monkhouse took to writing book and theatre reviews—even though he doubted, at first, that he would succeed. Monkhouse recalled the dread of filing his first review, telling his editor “You’ll never get another from me because it is so bad”—but seeing his words in print the next day changed his mind. Monkhouse became one of The Guardian’s most prominent critics, known especially for his weekly column “Bookman’s Notes,” offering lively literary commentary.

Monkhouse began writing plays at the encouragement of director and philanthropist Annie Horniman, who had moved to Manchester to rejuvenate the Gaiety. (Mint audiences may recall Horniman supported Dublin’s Abbey Theatre during its early years). Horniman transformed the Gaiety into England’s first regional repertory and the home of the Manchester School, a vigorous new style of writing. “Manchester School” plays portrayed modern life in northern England with unprecedented frankness, exploring the tumult of social change with both wit and humor. In 1908, the year Horniman began her management of the Gaiety, Monkhouse penned the very first “Manchester School” play, Reaping The

A drawing of Allan Monkhouse by his sister Florence Monkhouse (circa 1924)

Whirlwind, a terse one-act about a marriage on the verge of collapse, portrayed in disquieting detail. James Agate, a fellow Guardian critic, praised it as "sane and real and full of irrepressible helplessness in the face of terrible happenings.”

Monkhouse’s first major theatrical success was MARY BROOME, a biting comedy about a household turned upside down by an upstairs/downstairs liaison. The play opened at the Gaiety in 1911 to strong reviews (C.E. Montague praised it as a “remarkable piece of work” in The Guardian) and transferred to London in 1912. While some were offended by the play, it enjoyed a healthy run in London and became a staple of regional repertoire. The fuss over MARY BROOME paled in comparison to the uproar over Monkhouse’s THE CONQUERING HERO, (first performed in 1924) a bracing examination of objection to World War I and the war’s psychological aftermath.

In the play, a young artist stuns his family by objecting to the war—then, on a whim, he joins the army anyway. When he returns home from the front, he is so shell-shocked he cannot bear to be celebrated as “the conquering hero”—something his family and community cannot comprehend. The Observer deemed it “nothing less than a great

about the playwright allan monkhouse play,” but some audience members were not yet able to accept a critical view of the war.

Newspapers were flooded with letters protesting the play, but it became one of Monkhouse’s most popular.

In all, Monkhouse wrote 20 plays and 10 novels while continuing to work at The Guardian, where he added a golf column to his book and theatre duties. In 1929, Monkhouse received an honorary doctorate from the University of Manchester, with the citation that his work proved “how empty may be the antithesis that is commonly drawn between journalism and literature.”

A private man, Monkhouse revealed little of his personal life, though his novels—partic-

ularly True Love (1920), about a journalistturned-playwright who writes a play very much like MARY BROOME—offer veiled hints. His family life was tinged with tragedy. His first wife, Lucy Dowie, died in 1894 after only a year of marriage. Monkhouse did not remarry until 1902—the same year he began working full-time at The Guardian—when he wed Elizabeth Dorothy Pearson, with whom he would have four children.

Monkhouse died on January 11, 1936 after a lingering illness. In his obituary, The Guardian praised Monkhouse’s “sincerity in all things and the untiring independence of his mind.”

enrichmint events mary broome All events take place immediately after the performance and usually last about 50 minutes and are free and open to the public. Speakers and dates subject to change without notice.

Sunday, August 19 Dr. Carol W. Berman: “On the Couch with Leonard:” An Analysis of Leonard Timbrell Saturday, August 25 Dr. John P. Harrington, author of The Life of the Neighborhood Playhouse on Grand Street Saturday, September 8 Patricia Denison, Barnard University: The Edwardian Angry Young Man Saturday September 15 Joshua Glenn and Mark Kingwell, co-authors of The Idler’s Glossary

Wednesday, September 19 Vlasta Vranjes, Fordham University: MARY BROOME & Marriage in Edwardian England Monday, October 15* Special Dinner & Reading event

THE CONQUERING HERO

by Allan Monkhouse Featuring historian George Robb, author of British Culture and the First World War

Dinner: $85 per person (Includes Dinner & Reading)

Reading Only: $25 See insert or check out our website for more details www.minttheater.org

DID YOU KNOW? Video recordings of some of our EnrichMint Events are now available for viewing on our website at www.minttheater.org.

biographies mary broome ROD BROGAN (Edgar Timbrell) has appeared on Broadway in Mauritius and in the National Tour of Doubt. Off Broadway credits include Beyond The Horizon (Irish Rep) and Treasure Island (Irondale Center).

Regional credits include Engaging Shaw (Old Globe Theatre), Doubt (Syracuse Stage), Judgment Day (Bard SummerScape) and King Lear (Baltimore CenterStage).

TV/Film appearances include “The Winning Season” opposite Sam Rockwell, “Major Dad” (series regular), “One Life to Live,” “Law & Order,” “Third Watch,” “Oz” and “Girl Talk.” M.F.A. from The Old Globe/ University of San Diego Graduate Theatre Program.

JANIE BROOKSHIRE (Mary Broome) Previously at the Mint: Wife to James Whelan. Broadway: The Philanthropist.

Off-Broadway: Man & Superman (Irish Repertory Co), The Misanthrope (Pearl Theatre Co-Lucille Lortel Nomination), Gilgamesh’s Game (New Georges Workshop) Regional: Othello (Folger Shakespeare Theatre) Amadeus, Romeo and Juliet, Crimes of the Heart, Doubt, Tony Kushner’s The Illusion, The Front Page (PlayMakers Rep) Dial M for Murder (Dorset Theatre Festival) Television: “The Good Wife,” “Ringer,” “Law & Order,” “Dawson’s Creek.” MFA from the Professional Actor Training Program at UNC-Chapel Hill/PlayMakers Rep. KATIE FABEL (Ada Timbrell) Off Broadway: The Shaughraun and Ernest in Love (Irish Repertory Theatre), Belle Of Belfast (Cherry Lane Theatre). Regional: Noises Off!, The Liar, Taming of The Shrew, and Amadeus (Shakespeare Theatre of New Jersey), Sight Unseen (San Diego Old Globe), Sense & Sensibility (TheatreWorks Palo Alto), Emma (Pioneer Theatre), Sirens (Penguin Rep), Dr Jekyll & Mr Hyde (Cincinnati Playhouse/St Louis Repertory Theatre). UK: The Sound of Music (West

End), Arsenic & Old Lace (National Tour), Wind in the Willows (Royal National Theatre, Nick Hytner, dir.), Some Gorgeous Accident (Edinburgh Fringe), Carmen, La Boheme, and Khovanschina (English National Opera), She Loves me, Nine , and Orpheus Descending (Royal Academy of Music-MFA). Film/TV: “Tunnel Of Love”, “Becoming Tina”, “Blow up”, “Crimewatch UK”, “Last Night on Earth”. Writes/ directs webseries, “School for Ingénues” on Funnyordie.com. A stand up comic & member of Pirate Sugar Sketch Comedy group. www.katiefabel.com KRISTIN GRIFFITH (Mrs. Timbrell) Mint: The Charity That Began at Home, Mr Pim Passes By & The Truth about Blayds. Broadway: A Texas Trilogy, The Oldest Living Graduate, LuAnne Hampton Laverty Oberlander. Off Broadway: Bottom of the World, Jody’s Mother (Atlantic), Ernest in Love, The Master Builder (Irish Rep), Stretch (a fantasia) (Ohio, The Living Theatre), The Countess (Greenwich Street, Beckett, Lambs), The Holy Terror (Promeade), many Marathons at Ensemble Studio Theatre, where she is a member. Regional: The Wild Duck (BARD Summerscape) Snow Falling on Cedars, Three by Thornton Wilder, An Enemy of the People (Baltimore Center Stage), Widower’s Houses, Great Catherine, Thark (Shaw Festival, Ontario). Film: “Interiors”, “The Europeans” “King of the Hill”, “Rose Hill”, “The Long Way Home” upcoming in 2012: “Drawing Home”. TV: Guest star “Blue Bloods”, “New Amsterdam”, “Third Watch”, “Wonderland” & all franchises of “Law & Order”.

RODERICK HILL (Leonard Timbrell) Roderick is proud to be returning to the Mint after playing Eustace Jackson in The Return Of The Prodigal. Other credits include: Broadway: Butley, with Nathan Lane, Elton John’s Lestat. Off-Broadway:

mary broome biographies cont.

Unnatural Acts (Classic Stage Company), Trans Euro Express (Irish Arts Center), The Irish Curse (Soho Playhouse), Cymbeline (The Royal Shakespeare Company/Theatre For A New Audience). Regional: Singing Forest (Long Wharf Theatre), What The Butler Saw (Huntington Theater Company), The Picture Of Dorian Gray (Roundhouse), Diosa (Hartford Stage), Much Ado About Nothing (Great Lakes Theater Festival), A Midsummer Night’s Dream, Romeo and Juliet (The Shakespeare Festival of St. Louis), “Master Harold”… and the boys (Playmakers Rep.), Twelfth Night (Shakespeare & Co.) Film/Television: “King Kelly”, “Louie”, “Law & Order”, “Person of Interest”, “Kinsey”, “Playdate”, “I Just Want My Pants Back”, “Life Is What Happens”, “Cosa Bella”, “Chappelle’s Show”, “Stranger’s With Candy”. Roderick is a graduate of The Juilliard School and The Interlochen Arts Academy.

JULIE JESNECK (Sheila Ray) Mint: Love Goes to Press. Broadway: Rock ‘N Roll. Off-Broadway: Tricks The Devil Taught Me (Minetta Lane), Walls (Cherry Lane), Green Girl, The Nightshade Family (SPF), The Runner Stumbles (TACT), Romania. Kiss Me! (The Play Co), Mr. Marmalade (Roundabout), Abu Ghraib Triptych (EST), Snow Day, Mistral (Drama League) Phenomenon (HERE). Regional: The Gaming Table (Folger Theatre), IN (world premiere-Pioneer Theatre Co.), 33 Variations (Capital Rep), A Thousand Clowns, (Intiman), The Trip to Bountiful (Denver Center, Henry Award), Thinking Of You (Alabama Shakespeare Festival), Othello, A Midsummer Night’s Dream (The Old Globe), The Heart Is a Lonely Hunter (Alliance/The Acting Co. Tour), The Ruby Sunrise (Trinity Rep and ATL, Humana), Mary’s Wedding (San Jose Rep.). TV/FILM: “Law & Order”, “Empire Falls” (HBO), “Feeling Tall”. Webseries: Fishy Business. www.juliejesneck.com

PATRICIA KILGARRIFF (Mrs. Greaves) Broadway credits are Steel Magnolias, Tartuffe, Night Must Fall, A Delicate Balance, A Small Family Business, La Bete, Lettice and Lovage, Shirley Valentine, Noises Off! and The Man Who Had Three Arms. At Manhattan Theater Club, Kilgarriff was featured in Time And Again, Kindertransport and The Art of Success.

Other off-Broadway work includes Beckett/ Albee, Spread Eagle, London Suite, All’s Well That Ends Well, Counting the Ways and Footfalls. Selected regional theatre credits are The Game’s Afoot (Cleveland Playhouse), A Woman of No Importance as Lady Hunstanton (Yale Repertory TheatreConnecticut Critics award, Outstanding Actress), Glorious! (Arkansas Repertory Theatre), Talking Heads (City Theatre Pittsburgh), My Fair Lady, (McCarter Theatre Center and Hartford Stage), and Shirley Valentine (Portland Repertory Theatre- Drammy Award). Film and television includes “The Muppets Take Manhattan”, “The Real Blonde”, and “Law & Order”, “Law & Order SVU”, “All My Children”, “Second Honeymoon”, “Loving” and “Ryan’s Hope”.

GRAEME MALCOLM (Edward Timbrell) Broadway: Equus, Translations, Aida, The King and I, M. Butterfly (1st National).

Off Broadway: Oroonoko (TFNA), Macbeth (Public Theatre), Hapgood (LCT), Aristocrats and Prin (MTC). Regional: Absurd Person Singular (Barrington Stage), Moises Kaufman’s 33 Variations (Arena), Romeo and Juliet, Safe in Hell, and Pentecost (Yale Rep), Translations and Betrayal (McCarter), Under Milk Wood (Hartford), Travesties (Long Wharf), Y2K (ATL).

TV/Film: “Boardwalk Empire”, “Law & Order: CI”, “Law & Order”, “Whoopi”, “Mr. Halpern & Mr. Johnson”, “The Extra Man”, “National Treasure”, “Everything’s Jake”, “Rosencrantz and Guildenstern are CONTINUED

biographies cont. mary broome Undead”, “The Eden Myth”. Narrator of of over 300 Audio Books. Returning to McCarter Theatre this Christmas to play Scrooge for the third time.

DOUGLAS REES (Mr. Pendleton, Mr. Broome) is delighted to be returning to the Mint, where he appeared in What The Public Wants and A Little Journey. He has appeared at many theatres around the country, among them The Arden and Wilma Theatres in Philadelphia, Pittsburgh’s City Theatre and Pittsburgh Public Theater, The Alabama Shakespeare Festival, The Shakespeare Theatre Company of DC, Madison Rep, Capital Rep and Actors’ Theatre of Louisville. Doug created roles in the world premieres of two Michael Hollinger plays at the Arden Theatre of Philadelphia; Ghost Writer and Opus. He subsequently appeared in the New York City premiere of Opus at Primary Stages.

Recent television includes an appearance with Alec Baldwin and Elizabeth Banks on “30 ROCK”.

Tour: Lettice and Lovage. Off Broadway: The Golden Bowl with Pilobolus Dance Company. Regional: Enchanted April (Hartford Stage Company), Richard III (Guthrie Theatre), The Rivals (ACT), Coriolanus, You Never Can Tell (Denver Theatre Center), The Importance of Being Earnest, Enemy of the People (McCarter Theatre), Premiere of Horton Foote’s Vernon Early, Last Night of Ballyhoo, Ghosts, The Cherry Orchard (Alabama Shakespeare Festival). Over a hundred books on tape for the Library of Congress and Recorded Books. Training: Royal Academy of Dramatic Art. KATHY SNYDER (Production Stage Manager) is very excited to be working at the Mint for a second time having Stage Managed What the Public Wants in 2011.

She most recently began her eighth season at the Shakespeare Theatre of New Jersey having done such shows as Othello, The Misanthrope, The Lion in Winter, No Man’s Land, Hamlet, The Bald Soprano, and most of Shakespeare’s Henrys (Henry IV, Part One, Henry V, and Blood and Roses: Shakespeare’s Henry VI). Other credits: The Complete Works of William Shakespeare (abridged), Glyn Maxwell’s Wolfpit and The Lifeblood with the Phoenix Theatre Ensemble; The Man Who Came to Dinner, Art and The Drawer Boy with New Century Theatre; Belize and Delicious Rivers with The Talking Band at La MaMa, E.T.C.; Party Time at the Napoli Scena Internationale Festival in Naples, Italy; and All My Sons, Proof, The Piano Lessons, Fully Committed and the national tour of Romeo and Juliet with Arkansas Repertory Theatre.

ERICA SWINDELL (Maid) is thrilled to make her Mint Theater debut with this production! New York Theatre: Juliet in Romeo and Juliet, Margaret in Much Ado About Nothing (American Globe Theatre); Galactic Girl in Galactic Girl in Attack of the Starbarians (Brick Theatre); Miz in The Lady Drug Dealer and the Heist (Fringe NYC). Regional: Ring of Fire (West Virginia Public Theatre); Nashville City Limits (American Music Theatre); Much Ado About Nothing (Pennsylvania Shakespeare Festival). Erica received her BFA in Acting from Marymount Manhattan College. Thanks to her loving family, Jon, and Tyson. www.ericaswindell.com ALEX HAJJAR (Assistant Stage Manager) is pleased to be making his Mint JILL TANNER (Mrs. Pendelton, Mrs. debut with Mary Broome. Favorite credits Broome) Broadway: Dividing the Estate, include: Melancholy Play (13P); The Train Enchanted April, Rose, My Fat Friend, Driver, February House, Italian American No Sex Please, We’re British. National Reconciliation (Long Wharf Theatre); Dr.

mary broome biographies cont.

Knock, Little Shop of Horrors, Oh Coward!, and Tartuffe (Peterborough Players). Many thanks to all friends, family and assorted other loved ones who have made this entire experience, and life style so possible.

Center For Contemporary Opera (NYC).

Upcoming: Katie Roche (Mint), Fever (Theresa Rebeck World Premiere, REP), Neville’s Island (Olney). www.marthahally. com

NICOLE PEARCE (Lights) Previously with the Mint Theater Wife to James Whelan and Rutherford and Son. Selected NY credits include: The American Dream & The Sandbox directed by Edward Albee, The Lady with All the Answers, The Amish Project, and Housebreaking (The Cherry Lane); Beebo Brinker Chronicles directed

by Leigh Silverman (37Arts); US Drag & Edgewise directed by Trip Cullman; Carmina Burana (Carnegie Hall); Savage in Limbo directed by Pam MacKinnon (The Juilliard School); Penalties & Interests (LABrynth Theatre Company); Expats, Strangers Knocking (The New Group); Betrothed (Ripetime Productions); Sakhram Binder (The Play Company); Trial by Water (Ma-Yi Theatre Company); Little Willy (Rude Mechanicals). Regionally: Sugar Syndrome; A Nervous Smile and Blithe Spirit directed by Maria Mileaf (Williamstown Theatre Festival). Dance with choreographers Mark Morris, Aszure Barton, Robert Battle, Jessica Lang, and Andrea Miller; Netherlands Dance Theater; Introdans; Birmingham Royal Ballet; Ballet MARTHA HALLY (Costumes) Mint: A Memphis, and The Joffrey Ballet.

Little Journey, Wife to James Whelan, Is Life Worth Living?, The Widowing Of Mrs. JANE SHAW (Sound) At the Mint: Love Holroyd. NEW YORK: Three Men on a Goes To Press, Temporal Powers, A Little Horse, The Late Christopher Bean, Bedroom Journey, Wife to James Whelan, Dr. Knock, Farce (TACT); Secret Order (59E59); Return of the Prodigal, Susan and God, Banished Children of Eve, Gaslight, The Fifth Column, Walking Down Broadway, Field (Irish Repertory Theatre); Treason Widowing of Mrs. Holroyd (Lortel (Perry Street) Regional: Milwaukee Nomination). New York: Food and Fadwa Repertory Theater, Center Stage , Resident (New York Theater Workshop), The Coward Ensemble Players (Rep ,University of (Lincoln Center 3), Hamlet, Merchant of Delaware), Cincinnati Playhouse In the Venice (TFANA/RSC/National Tour/Eliot Park, Repertory Theater Of St. Louis, Norton Nomination), En el tiempo de las Pittsburgh Public Theater, Virginia Opera, Mariposas (Repertorio Español/Premios Little Orchestra Society Of Lincoln Center, ROGER HANNA (Sets) is pleased to design his fifth Mint production (check out the photos in the lobby at intermission!).

Recent work includes Don Giovanni (Mannes Opera), Glass Menagerie and Tempest (Tennessee Shakespeare), and Fyvush Finkel Live! (National Yiddish Theatre). This year Roger served as a visiting professor at University of Miami, where productions he designed included the world premiere of a new musical, FIFTY*FOUR*FOREVER, directed by Tommy Tune, and a revival of Night Train to Bolina, directed by Nilo Cruz. Other designs of note include repeated collaborations with Laura Alley, Jack Allison, Tracy Bersley, Joseph Colaneri, Robin Guarino, Ron Jenkins, Susan Marshall, and Jody Sperling, at venues including Jacob’s Pillow, the Kaye, Pittsburgh, and Provincetown Playhouses, and Sarasota Opera. Awards include Drama Desk and Henry Hewes nominations (two each) and a Lucille Lortel Award. To see some of his work (beyond the lobby photos) visit www.rogerhanna.com.

CONTINUED

biographies cont. mary broome ACE award), Supernatural Wife (Big Dance Theater - BAM). Regional: RED (Maltz Jupiter and Asolo, director Lou Jacob), In the Next Room, or the vibrator play (Cleveland Playhouse), and productions at the Denver Center Theatre Company (Henry Award for The Catch), City Theater (Pittsburgh), Williamstown Theater Festival, Capital Rep (Albany), Yale Repertory, Dorset Theater Festival, Merrimack Repertory Theatre.

Upcoming shows include Red Dog Howls (New York Theatre Workshop) and Figaro (The Pearl). Recipient: NEA-TCG Career Development Grant, Meet the Composer.

Graduate of Harvard and the Yale School of Drama.

ZHANNA GURVICH (Scenic Artist) is a set designer and painter. She has designed and painted shows including Ladies in Retirement & Chaos Theory for Pulse Ensemble Theatre, The Most Dangerous Room in the House for Susan Marshall Dance Company at BAM, Tears for Violetta” for Ballet Hispanico, The Seagull, Man and Superman and Three Sisters at Juilliard, and In the Air and La Llorona (winner, HOLA Award for Outstanding Set Design) for Stageplays Theatre. Zhanna has painted at Goodspeed Opera House, Virginia Opera and Dallas Theatre Center.

She has painted several specialty set pieces for Roger Hanna, including a critically acclaimed mural for Black Snow. Zhanna also paints murals in private homes and businesses.

AMY STOLLER (Dialects and Dramaturgy) celebrates 16 happy years as the Mint’s resident dialect designer/ coach (and occasional dramaturge), most recently with Love Goes to Press and Rutherford and Son. Other Mint highlights include Temporal Powers, Wife to James Whelan, The Daughter-in-Law, Milne at the Mint, Echoes of the War, and The Voysey Inheritance. Other New York this

season: Dedalus Lounge (Royal Family), A Moon for the Misbegotten and The Bald Soprano (Pearl), and coaching Lea de Laria in an Icelandic accent; also Anna Deavere Smith’s Let Me Down Easy on PBS “Great Performances.” Past NYC credits include Let Me Down Easy at Second Stage (also national tour), plus shows at Pearl, Keen, Origin, Boomerang, many others. Regional work includes the premiere of Anna Deavere Smith’s On Grace at Grace Cathedral, San Francisco; four world premieres at the Long Wharf; and Arena Stage, ART, People’s Light, and Peterborough Players. Television includes animated series, commercials, and a documentary. Learn more at www. stollersystem.com.

HEATHER J. VIOLANTI (Additional Dramaturgy) also worked on Love Goes to Press, Temporal Powers, A Little Journey and Susan and God at the Mint. Other dramaturgy: The Flower Thief by Pia Wilson (Horse Trade Theatre), Pearl’s Gone Blue

by Leslie Kramer (NY Fringe Festival), The Odyssey Project: Which Direction Home?

(The Internationalists), and Valiant adapted

by Lanna Joffrey (Unofficial New York Yale Cabaret). She is a reader for Woolly Mammoth Theatre, New Georges, and a member of the readers’ Artistic Council for the National Playwrights Conference at the Eugene O’Neill Theater Center. MFA, Dramaturgy and Dramatic Criticism, Yale School of Drama.

JESSE MARCHESE (Assistant to the Director) most recently he has directed 50 Things I Love About Frank at Theater for a New City as well as assisted the Mint’s Rutherford & Son. Last year, he assisted Adam Blanshay in directing The Apartment for the New York International Fringe Festival, where he also played the role of company manager for RadioTheatreNYC’s production of The Mole People in 2008.

He is a recent graduate of Marymount

mary broome biographies cont.

SHERRI KOTIMSKY (Finance & Production) 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 AMY SCHECTER (Casting) happily 2005 productions, amongst many others. casting for the Mint since 2005 Currently working with several theater companies as business consultant, including DAVID GERSTEN & ASSOCIATES Theater Breaking through Barriers and (Press Representatives) also represents Premieres.

Aquila Theatre, INTAR, Keen Company, New Federal Theater, New Georges, Red JONATHAN BANK (Producing Artistic Bull Theater, and the annual Summer Shorts Director) has been the artistic director of Festival, as well as the Off-Broadway hits Mint since 1996. Most recently for the Potted Potter: The Unauthorized Harry Mint, Bank directed Temporal Powers and Experience, Black Angels Over Tuskegee, Wife to James Whelan by Teresa Deevy.

The Devil’s Music – The Life & Blues of Other Mint credits include: Maurine Bessie Smith and the entertainment complex Dallas Watkins’ So Help Me God! at the New World Stages and its parent company, Lucille Lortel, which received four Drama Stage Entertainment. David serves on Desk nominations, including Outstanding the Board of Governors of ATPAM, the Revival and Outstanding Director; Lennox Association of Theatrical Press Agents & Robinson’s Is Life Worth Living?, the Managers (where he is chair of the Press American Professional Premiere of The Agent Chapter) and is a member of the Off- Fifth Column by Ernest Hemingway, The Broadway League and a founder of the Off- Return of the Prodigal by St. John Hankin Broadway Alliance. www.davidgersten.com (Drama Desk nomination for Outstanding Revival) and Susan and God by Rachel THE PEKOE GROUP is a full-service Crothers. Bank both adapted and directed advertising and marketing company for Arthur Schnitzler’s Far and Wide and The theatrical events and attractions, specializing Lonely Way which he also co-translated in niche marketing and tailor-made strategic (with Margaret Schaefer). These two plays campaigns based on each event’s target were published in a volume entitled Arthur demographic. Clients include Ripley’s Schnitzler Reclaimed which Bank edited. He Believe It Or Not! Times Square, Bullet is also the editor of three additional volumes For Adolf, Forbidden Broadway, Emotional in the “Reclaimed” series (Teresa Deevy, Creature, Falling, Mint Theater Company, Harley Granville Barker, and St. John Second Stage Theatre, I Love Lucy Live on Hankin) as well as Worthy But Neglected: Stage, and more. www.thepekoegroup.com Plays of the Mint Theater Company.

Manhattan College where he directed both Falsettoland and You’re a Good Man, Charlie Brown. Through the college, Jesse was also able to assist Barbara Siman, Charles Repole, and Patricia Birch on numerous workshops at the York Theatre.

Jesse’s work as a director was represented Off-Broadway at New World Stages with Moses Mogilee’s original production of Ghosts of Provincetown: two one-act plays.

Jesse would like to thank Jonathan Bank for this experience.

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

SpearMint: $1000 - $2,499

Barbara F. Austin Bloomberg Philanthropies The Gladys Krieble Delmas Foundation The Jean & Louis Dreyfus Foundation The Fan Fox & Leslie R Samuels Foundation Mr. & Mrs. Ciro Gamboni The Little Family Foundation /

Jann Leeming The Andrew W. Mellon Foundation New York Theater Program New York City Department of

Cultural Affairs New York State Council on the Arts

Harry Abrams Linda Alster Louise Arias Jonathan Bank & Katie Firth Joann & Gene Bissell Robert Brenner Jon Clark & Ryan Franco Cory & Bob Donnalley Charitable

Foundation Julie Durkin Jennifer Ezring Edmee & Nicholas Firth Judith & Charles Freyer The Friars Foundation Ruth Friendly Julia B. Hall Agnes & Emilio Gautier Lila Teich Gold The Gordon Foundation Carol & Patrick Hemingway Hickrill Foundation Christopher Joy & Cathy Velenchik William Karatz Joan Kedziora, MD. Sarah-Ann Kramarsky Jonathan Landers &

Sandra Reimers Charlene & Gary MacDougal Edith Meiser Foundation John Meyer- TeenInk Leonard & Ellen Milberg Doreen & Larry Morales Pfizer Foundation Lorna Power Susan & Peter Ralston George Robb Judy & Sirgay Sanger Rob Sinacore Karen & John Q Smith David Stenn Milton & Barbara Strom Katherine & Dennis Swanson M. Elisabeth Swerz Bertram Teich Helen S. Tucker, The Gramercy

Park Foundation Wein Family Fund Anonymous

The National Endowment for the Arts

Anne Sheffield The Shubert Foundation, Inc. The Ted Snowdon Foundation The Dorothy Strelsin Foundation The Geraldine Stutz Trust Inc. Litsa Tsitsera anonymous SilverMint: $5,000 to $9,999 Axe-Houghton Foundation Virginia Brody Barbara Bell Cumming Foundation Lori & Edward Forstein Lucille Lortel Foundation The South Wind Foundation The Harold & Mimi Steinberg

Charitable Trust Michael Tuch Foundation ChocolateMint: $2,500 - $4,999 Lea & Malvin Bank Linda Calandra William Downey Janet & John Harrington The Heidtke Foundation Dorothy Loudon Foundation

Executive Director,

Lionel Larner New York Council for the Humanities New York Foundation for the Arts Dorinda J. Oliver Eleanor Reissa & Roman Dworecki Wallace Schroeder Sukenik Family Foundation Kathryn Swintek & Andre Dorra anonymous

DoubleMint: $150- 999 (First Priority Club) ACE Charitable Foundation Actors Equity Foundation Gretchen Adkins Judith Aisen & Kenneth Vittor Shihong & Peter Alden

Linda & Lloyd Alterman Louis Alexander Laura Altschuler Marc Anello Carmen Anthony Salvador Ayala Jr.* Henry Badillo* Jordan Baker & Kevin Killner Judith Barlow Richard Barnes & Marta Gross Hugh Baron & Carla Lord Frances Bauer Julia Beardwood &

Jonathan Willens Barbara Berliner & Sol Rymer Al Berr Nidia Besso Evelyn Bishop Steven Blier & James Russell Allison M. Blinken Zelda & Julian Block Dorothy & Stuart Blumner Rose-Marie Boller & Webb Turner Jeffrey S. Borer In honor of Sharron Bower Bristol- Myers Squibb Co. Debra & Clinton Brockway Edgar Brown Stephen Brown Ann Butera E. R. Buultjens Jason J. Buzas Maureen & James Callanan Peter Cameron Larry Carlson* James Carroll Richard Carroll Chris Catoggio* Aurelie Cavallaro Sharon M. Chantilles-Wertz &

Kevin Wertz Andrew H. Chapman Lynne Charnay Robin Chase Joseph Cimmet Abraham Clott Steven R. Coe Toni Coffee John Comisky Jeffrey Compton &

Norma Ellen Foote Jane Condon Julie Cushing Connelly Margaret Cooper Charles Cordray JoAnn Corkran Penny & Peter Costigan Audrey & Fergus Coughlan Ronald Covar

Wilbur Cowett, The Longhill Charitable Foundation Tandy Cronyn Susan & George Crow Michael Crowley Louise Hirschfeld Cullman Sue & Stuart Davidson David Day Ruth & Anthony DeMarco GH Denniston &

Christine Thomas Pat DeRousie-Webb &

Robb Webb Claudia & Frank Deutschmann Katherine & Bernard Dick Ruth & Robert Diefenbach Thomas Dieterich Nancy M. Donahue Pegyg Dooley Constance Duhamel Bonnie Edwards Herzl Eisenstadt Mina & Martin Ellenberg Marjorie Ellenbogen Monte Engler & Joan Mannion Sara & Fred Epstein Grace & Donald Eremin Eugene Ernst Sharon Esakoff Judith Eschweiler H. Read Evans Quince Evans Barbara Farrar Colleen Fay Eric Fedel Orinda & Thomas Filipi Irving & Gloria Fine Foundation Angela T. Fiore Jean & Raymond Firestone Eva & Norman Fleischer Barbara Fleischman Martha Fleischman Jerry Floersch & Jeffrey Longhofer Charles Flowers Janey & Jerry Fodor Helene Foley Donald W. Fowle Victor Franco* Charlotte Frank Diana & Jeffrey Frank Glenda Frank Joan & Edward Franklin Phyllis Freed Barbara & Robert Gaims-Speigel Dr. H. Paul & Delores Gabriel Eugene Gantzhorn Michael Garber Mary Ann & John Garland Phyllis Gelfman James C. Giblin

Ardian Gill & Anna L. Hannon Suellen & David Globus Ruth Golbin Joyce Golden Gloria Goldenberg Jane & Charles Goldman Samuel Gonzalez Margaret Goodman Mary Ellen Goodman Joyce Gordon & Paul Lubetkin Stanley Gotlin & Barry Waldorf Mary & Gordon Gould Anna Grabarits Virginia Gray Arthur Grayzel, MD &

Claire Lieberwitz Anita Greenbaum Harry Greenwald &

Babette Krolik Tosia Gringer Antonia & George Grumbach Victoria Guthrie Gunilla Haac Lanie Hadden Joseph Hardy Frederica Harlow Carol Hekimian Reily Hendrickson Michael Herko Gemzel Hernandez David Herskovitzs Karin & Henry Herzberg Sigrid Hess Barbara Hill Lee Ho Dorothy & Edward Hoffner Mary & Robert Hogan Heather & Bruce Horner Stuart Howard Cathy Hull & Neil Janovic Anne Humpherys Elizabeth Ellis Hurwitt Anna Iacucci Harriet Inselbuch Linda Irenegreene &

Martin Kesselman Daisy Irizarry* Dana Ivey Jocelyn Jacknis James Jackson Ellie Jacob Gale & James Jacobsohn Ellen & Peter Jakobson Alan Jeffrey Susan & Stephen Jeffries Jacqueline & James Johnson Roberta A. Jones Joseph Family Charitable Trust Gerhard Joseph Sandra Joys Peter Haring Judd Fund Margaret & William Kable

Gus Kaikkonen & Kraig Swartz Thomas Kane Anne Kaufman Jules Kaufman &

Ann MacDougal Frances Keithley Laurie Kennedy & Keith Mano Roberta & Gerald Kiel Gerard Kiernan Kaori Kitao Caral G. Klein Elizabeth & William Kloner Paul Knierieman Susanna Kochan-Lorch &

Steven Lorch Allegra Kochman Carol Kochman Marlene & Gerald Kolbert Drs. Robert M. Koros & Carole

M. Shaffer-Koros Anna Kramarsky &

Jeanne Bergman Jean Kroeber Maria Kronfeld Charles Kuhlman &

Margery Reifler Mildred G. Kuner Carmel Kuperman George LaBalme Paul LaFerriere & Dorrie Parini Mary & David Lambert Thomas Langston Judith & John LaRosa Christopher Lawrence Kent Lawson &

Carol Tambor Pearl & Karl Lazar Margaret & Gordon Leavitt Gloria & Ira Leeds Jane & Eliot Leibowitz Laura & Rodney Leinberger* Dr. Albert Leizman & Ann Hartz Moira & Joseph Le May Gloria & Mitchell Levitas Carol & Stanley Levy Audrey & Joseph Lombardi Ruth Lord Mary & Boyd Lowry Jon Lukomnik Estelle Lynch Bette Lyons Mary Rose Main Jane Anne Majeski Vivian Majeski Miriam Malach Sophie & David Mann Barry Margolius Jean & Robert Markley Erica Marks & Dan George Jacqueline Maskey Jill Matichak Margaret Mautner

CONTINUED

DONORS CONT. THANK YOU! Roberta Maxwell A. Cushman May Cheryl & Harris May George Mayer Pamela Mazur Francis McGrath Carolyn McGuire Betsy McKenny Martin Meisel Richard Mellor, Jr. Joan & John Mendenhall Merck Partnership for Giving John David Metcalfe Leila & Ivan Metzger Lusia & Bernard Milch Susan & Joel Mindel Ellen Mittenthal Judith & Allan Mohl Elaine & Richard Montag Charlotte Moore George Morfogen Frank Morra Joseph Morello Elaine & Ronald Morris Carole & Theodore Mucha Karol Murov Maureen Murphy Amanda Nelson Mary Martin Nelson Nancy Newcomb &

John Hargraves Oanh Nguyen Jean & B.W. Nimkin Jeanne Olivier* Stephanie & Robert Olmsted Linda Oprysko Trisha Ostergaard Dottie & Richard Oswald Judith Page Frances Pandolfi Jeanine Parisier Plottel Jonathan Parker Francis C. Parson & Brinton Taylor Gwen & Bruce Pasquale Cheryl & Mitchell Patt Peggy & William Pennell Alice & Frederick G. Perkins Pitney Bowes Sheila & Irwin Polishook Mary & Larry Pollack Georgette & David Preston Carlo & Robert Prinsky Rose Marie Proietti Judith Quillard Joan Rahav Linda Ray Betty Reardon Joe Regan, Jr.

Edith Rehbein Laurence Reich Irvin Rinard Peter Robbins & Paige Sargisson Phyllis & Earl S. Roberts Ona Robinson &

Edward Stephens The Rodgers Family Foundation/

Mary R. Guettel James Roe Theodore Rogers Renee & Seymour Rogoff Sylvia Rosen Mark Rossier Joan & Herb Saltzman Karen Kelly Sandke J. B. Sandler Catherine Scaillier Judith & Richard Schachter Herbert Schlesinger Barbara Schoetzau Daphne & Pete Schwab Jay M. Schwamm Marilyn & Joseph Schwartz Phyllis Schwartz Veronica Scutaro The Martin E. Segal

Revocable Trust Norma Segal Harriet Seiler Eleanor Selling John Settel Barbara & Donald Shack Marjorie & George Shea Camille & Richard Sheely Janet & Joseph Sherman Virginia C. Shields Susan & Zachary Shimer Michael Siegal Kayla J. & Martin Y. Silberberg Joyce Silver Mel Silverman Adrianne Singer Susana & Americo Sitner Rayna & Martin Skolnik Janet & Mike Slosberg Barbara Smith Douglas Smith Lily N. Smith Roger Smith Barbara & Stanley Solomon Dr. Norman Solomon Caroline Sorokoff & Peter Stearn Sandra & Graham Spanier Stagedoor Trudy Steibl Sherry & Bob Steinberg Gary Stern

Frances Sternhagen Faith Stewart-Gordon Doina & Mihail Stoiana Amy Stoller Ilene Stone Elaine & Ulrich Strauss Pamela Stubing Joseph Sturkey Carol & Will Sullivan Larry E. Sullivan Myra & Leonard Tanzer Douglas Tarr Vivien C. Tartter Sheila & Arthur Taub Annie Thomas &

David H. Kirkwood Joan Vail Thorne Jill Tran Linda & Ken Treitel Susan & Charles Tribbitt Helen & William van Syckle Joan & Bob Volin Gerald Wachs Jacob Waldman John Michael Walsh Robert Walsh Kate & Seymour Weingarten Richard Weisman Patricia & Richard White Lillian & Robert Williams Marsha & Vincent Williams Kurt Wissbrun Mary C. Wolf John Yarmick Sue & Burton Zwick anonymous *In honor of the marriage of Jon Clark & Ryan Franco

This list represents donations made from January 2011– August 2012. Every effort is made to ensure its accuracy.

Please contact us regarding any mistakes.

MARY BROOME STAFF Assistant Production Manager Wayne Yeager Assistant Lighting Designer Ben T. Demarest Assistant Costume Designer Leah Alice Mitchell Board Operator Ebony Burton Deck Crew/Wardrobe Assistant Sophie Frankl Rehearsal Assistants Eva Bond, Lauren Hoffman Interns Malik Hutchinson, Savannah Wilson Box Office Manager Adrienne Scott House Manager Valena David Videographer Joshua Paul Johnson Marketing & Advertising The Pekoe Group / Amanda Pekoe,

Jessica Ferreira, Hannah Alter,

Katlyn Campbell, Jason Murray,

Gregory Fullum, Erin Wilson Press Representation David Gersten Associates /

David Gersten, Daniel DeMello

Lighting installed by the Lighting Syndicate Set Constructed by Carlo Adinolfi Mary Broome rehearsed at Manhattan Theater Club’s Creative Center The producers would like to thank Barb E Hughes, the University of Delaware; Sam Walters, Orange Tree Theater (U.K.); the Milwaukee Repertory Theater; Jan Whalen and Suzanne Fagan at the John Rylands Library at the University of Manchester.

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.

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.

Want to learn more about the Mint’s playwrights and shows?

Check out our bookstore in the lobby!

MINT THEATER COMPANY STAFF Jonathan Bank Sherri Kotimsky Heather J. Violanti Adrienne Scott Jesse Marchese Ellen Mittenthal Joshua Paul Johnson Amy Schecter Kristin Krauskopf, CPA David Gersten & Associates The Pekoe Group

Producing Artistic Director Finance & Production Development & Dramaturg Audience Relations & Marketing Assistant to the Artistic Director Development Consultant Videographer Casting Auditor Press Representative Marketing & Advertising

BOARD OF TRUSTEES Jann Leeming - Chair Jonathan Bank John P. Harrington

Kathryn Swintek - Treasurer Ciro A. Gamboni Eleanor Reissa

“When it comes to the library,” our Obie citation states, “there’s no theater more adventurous.”

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: (866) 811-4111