Mint Theater Company
Jonathan Bank Ted Altschuler Lisa Marie Black-Meller Rochele Tilman Jim Creighton Sherri Kotimsky Aaron Lenehan
Board of Trustees M. Elisabeth Swerz, President Elsa A. Solender, Secretary Carole Chinn Geoffrey Chinn Jon Clark Eleanor Reissa Gary Schonwald Jonathan Bank
Artistic Director Associate Director Assistant to the Artistic Box Office Manager Box Office Assistant Bookkeeper Website Design Board of Advisors John A. Booth J. Ellen Gainor Charles Keating Austin Pendleton George Morfogen David Rothenberg
“When it comes to the library,” our 2001 Obie citation states, “there’s no theater more adventurous.”
In 2002 the Mint was awarded a special Drama Desk Award for “unearthing, presenting and preserving forgotten plays of merit.”
THE MINT THEATER COMPANY commits to bringing new vitality to
worthy but neglected plays. We excavate buried theatrical treasures; reclaiming them for our time through research, dramaturgy, production, publication and a variety of enrichment programs; and we advocate for their ongoing life in theaters across the world. Mint has a keen interest in timeless but timely plays that make us feel and think about the moral quality of our lives and the world in which we live. Our aim is to use the engaging power of the theater to excite, provoke, influence and inspire audiences and artists alike. Mint Theater Company 311 West 43rd St. 5th floor NY, NY 10036 website: www.minttheater.org Box Office: (212) 315-0231
MILNE AT THE MINT: Director's note
I swear I'm not obsessed with A.A. Milne. Christopher Robin and friends played no significant role in my childhood, no role at all that I can remember. But I do like good plays and Milne wrote several. In fact, he wrote over two dozen plays. Milne the playwright was rather a sensation in both London and New York in the early 1920’s. His work was compared favorably with that of Shaw, Wilde and J.M. Barrie as well as Pinero, Galsworthy and Maugham. (The Chicago Tribune called Mr. Pim Passes By “a play that is, without endangering Shaw's general reputation, at least five hundred times better than Heartbreak House.” I wonder how they measured that?) But by the time Milne passed away in 1956 none of his plays were still in print or being produced anywhere-everything had been overshadowed by those “four trifles” written for children between 1924 and 1928.
Of course, it’s hard to feel sorry for Mr. Milne--poor man, having to endure all of that fame and fortune. He may not have achieved precisely the immortality that he most wanted, but he certainly erected a lasting and much beloved monument. All the same, I do feel that there is a certain injustice in Milne’s dramatic talent being so disused and my hope in presenting these two plays in repertory is not only to introduce you to a couple of really fine plays but also to make sure that you know that Alan Alexander Milne was a playwright--and a good one. Really good.
In Autobiography, Milne wrote that “the most exciting form of writing is the writing of plays.” But he well understood the arbitrary nature of theatrical success: “a puff of foul criticism, a week of fog, a few days of crisis, a bus strike, the sudden indisposition of the leading man may be enough to sink a play forever.” Of course, the Mint is here to make sure that worthy plays are never sunk forever.
Many of you already know that I'm a big fan of dear Mr. Pim, we produced it here at the Mint seven years ago, and I'm happy to share my delight in this play with the many new friends that we’ve made in the last few years. And I think The Truth About Blayds is remarkable: witty and wise like Pim, but thrilling and quite ambitious.
I can't say for certain that these are even Milne’s best-there are five or six plays that I haven't read-yet. These two happen to go so beautifully together because they could share one set and be played with one cast, but there are others that I’d like to do too (don't be surprised if The Lucky One shows up at the Mint before long.) I hope that you’ll make plans to see both and to join us for some of the readings and discussion that we have scheduled in April and May. And I hope you’ll tell your friends about these two plays, but please-don’t tell them the truth about Blayds! Thanks for being here, I hope you enjoy yourself--I’m pretty sure that you will. Jonathan Bank
Audrey S. Katz Robert Kaye Joan Kedziora, M.D. John Kellogg Regina Kelly Mildred Kener George Kern Younghee Kim-Wait Ken Kliban Phyllis Kriegel Jane & Eliot Liebowitz Steven & Suzanna Lorch Renee F. Lord Mary Ellen & Jerome Low Janet Lumiansky Mary Rose Main Teresa Stoughton Marafino George Wm. Mayer, Jr. Deborah McManus Georgia Middlebrook Luisa & Bernard Milch Martin Meisel Ruth Mileski Elaine P. Montgomery Doreen & Larry Morales Joseph Morello Muriel Morris Celeste Myers Cherrie Nanninga Egon & Florence Neuberger Andrew & Barry Newburger Alex & Luisa Pagel Francis & Brinton Taylor Parson Toni Aronsohn Perlberg Bernard & Margaret Pobiak Sidney & Phyllis Polsky Deborah Pope & Peter Brooks Constance H. Poster Dr. & Mrs. Guy D. Potter Maria M. Proctor David Y. Quickel Ira Quint Judith & Sheldon Raab Ruth Rauch Cheryl Reich Mimi Renchner James Reynolds Arleigh Richards & Bill Wise Sheila Roher Claire Rosenstein Barbara Rosenthal Beth Ross Phillip & Marcia Rothblum Martha Rozett R.J. & Yvonne Ruben Brian W. Saber David & Helen Samuels Anita Sanford Irwin Schwartz Murray Schisgal William Seaver Martin E. Segal Tom & Rosemarie Seippel Camille & Richard Sheely Rebecca & Philip Siekevitz Leonard & Marion Simon Rob Sinacore Nedda Sindin
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Mint Theater Company Jonathan Bank, Artistic Director presents
Milne at the Mint featuring
The Truth About Blayds &
Mr. Pim Passes By by A. A. Milne with
Lisa Bostnar, Jack Davidson, Kristin Griffith, James Knight Katie Lowes, Victoria Mack, Stephen Schnetzer, Jack Ryland Sets Sarah Lambert
Lighting Mark T. Simpson
Hair and Wigs Broadway Wig Company
Props Judi Guralnick
Sound Jared Coseglia
Costumes Theresa Squire
Production Manager Helena Webb
Stage Manager Samone B. Weissman
Casting Sharron Bower
Press Representative David Gersten & Associates
Assistant Stage Manager Ele Boockmeier
Flyer Jude Dvorak
Dialects Amy Stoller
Directed by
Jonathan Bank
Show Logos Aaron Lenehan
The Truth About Blayds by A.A. Milne
OLIVER BLAYDS............................................................................................Jack Ryland ISOBEL, his younger daughter.......................................................................Lisa Bostnar MARION BLAYDS-CONWAY, his elder daughter....................................Kristin Griffith WILLIAM BLAYDS-CONWAY, his son-in-law.........................................Jack Davidson OLIVER BLAYDS-CONWAY, his grandson...............................................James Knight SEPTIMA BLAYDS-CONWAY, his granddaughter...................................Victoria Mack
A.L. ROYCE...................................................................................Stephen Schnetzer PARSONS................................................................................................Katie Lowes Setting - The well-known residence of Oliver Blayds in Portman Square, London.
Mr. Pim Passes By by A.A. Milne
GEORGE MARDEN, J.P.................................................................Stephen Schnetzer OLIVIA, his wife..............................................................................................Lisa Bostnar DINAH, his niece..........................................................................................Victoria Mack LADY MARDEN, his aunt................................... .....................................Kristin Griffith BRIAN STRANGE........................................................................................James Knight CARRAWAY PIM........................................................................................Jack Davidson
ANNE.......................................................................................................Katie Lowes Setting - The morning-room at Marden House (Buckinghamshire); one fine spring day.
_______________________________________ STAFF
Scenic Artist.................................................................................................Asaki Oda Costume Associate ..........................................................................Naama Greenfield Technical Director................................................................................Jerry Browning Master Electrician................................................................................Andrew Dickey House Managers........................................................Jim Creighton, Kiko DeLorenzo Production Assistant ............................................................................Donielle J. Lee Carpenters........................................................Samuel Jacob Oakley, Alexander Platt Electricians............................Stephen Sakowski, Edith Blackman, Catherine Dickey SPECIAL THANKS
Long Wharf Theatre Company, Materials for the Arts, Purchase College Props Department, Patrick Lee-Actor’s Equity Association, Patricia Denison, Cary M. Mazer, Dr. Gerhard Joseph, Dr. Anne Humpherys, The Donnell Library, and Food for Thought.
Mint Theater Company has been producing plays at its West 43rd St. location since 1992, specializing in “bringing new vitality to worthy, but neglected plays.” Mint was awarded both an Obie Grant in 2001 and a Drama Desk Award in 2002 . Lost theatrical treasures found at the Mint include the New York premieres of Arthur Schnitzler’s Far and Wide (Das weite Land) and Harley Granville-Barker's brilliant comedy The Voysey Inheritance, the New York premiere of Welcome to Our City by Thomas Wolfe, the first New York performance in over fifty years of Uncle Tom's Cabin, and the first N.Y. revival's of the Pulitzer-Prize winning plays Alison's House by Susan Glaspell & Miss Lulu Bett by Zona Gale. Mint recently completed a run of 144 performances of its acclaimed production of D. H. Lawrence’s The Daughter-in-Law. Please visit our website: www.minttheater.org
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 the pro visions of its various agreements with theatrical employers across the country. Its current president is Patrick Quinn.
The Director is a member of the Society of Stage Directors and Choreographers, an independent national labor union.
Mint Theater Company is grateful for the generous support of the following organizations
Foundations & Government Support
American Theatre Wing Axe-Houghton Foundation Edith C. Blum Foundation Gilbert & Ildiko Butler Foundation Robert Sterling Clark Foundation The John Vincent Peter Copani Foundation Gladys Kriebel Delmas Foundation Jean & Louis Dreyfus Foundation Phyllis and George Sternlieb Fox Fund Lucille Lortel Foundation Grand Marnier Foundation Hickrill Foundation JP Morgan/Chase Foundation Michael Tuch Foundation Ted Snowdon Foundation The Atlantic Philanthropies The Barbara Bell Cumming Foundation The Dorothy Strelsin Foundation New York City Department of Cultural Affairs The New York State Council on the Arts The Shubert Foundation
Corporations & Matching Gifts
Aegon Transamerica AOL Time Warner AT&T Foundation Matching Gifts American International Group, Inc. Bank Of America I.B.M Foundation JPMorgan Chase Foundation Matching Gifts McGraw Hill The James B. Oswald Company The New York Times Foundation The list of individual contributors can be found the last page.
This event is made possible with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a State agency.
Ted Altschuler (Associate Director) has directed opera productions at The New York City Opera, Santa Fe Opera, the Rode Hoode in Amsterdam and at Juilliard Opera Theater, where he is Dramatic Advisor and faculty member. Theater directing includes On the Verge, The Road to the Graveyard, and The Glass Menagerie, at Clavis Theater Ensemble in Milwaukee, where he was Artistic Director and many other productions regionally including the long-running, award winning Chicago production of Virginia at Cloud 42. He is working on The Cornell Project - on the life and work of Joseph Cornell with Ursa Major.
David Gersten & Associates (Press Representatives) In addition to continuing our relationship with the Mint, Gersten & Associates currently represents Tony N' Tina's Wedding (now in its 16th year!), Ensemble Studio Theatre, Jean Cocteau Repertory, Storm Theatre, Edge Theatre Company, Resonance Ensemble, NY Classical Theatre, The Lucille Lortel Foundation, The Drama League, and The League of Off-Broadway Theatres & Producers’ annual Lortel Awards (7th year!), which David also writes and co-produces, as well as Tony Award-winners Ann Hould-Ward and Christine Ebersole, playwright Adam Rapp, Don Stephenson, Mary Cleere Haran and Maureen McGovern, among others. David serves on the Board of Governors of ATPAM, the Association of Theatrical Press Agents & Managers. David is currently producing Tea At Five starring Kate Mulgrew as Katherine Hepburn, now on tour following its successful Off-Broadway run. He previously produced Eleanor & Hick at the John Houseman Theatre as well as numerous galas and fund-raisers for such organizations as The Actors’ Fund, the Althiemer’s Foundation Broadway Cares /Equity Fights AIDS, God’s Love We Deliver, and Bailey House, among others.
Jonathan Bank (Artistic Director and Director) With Bank as Artistic Director, Mint has been awarded an Obie and Drama Desk Award in the last three years and established a place for itself in New York's theatrical land scape. Bank has unearthed and produced more than twenty worthy but neglected plays including The Daughter-in-Law by D.H. Lawrence,
and Arthur Schnitzler's Far and Wide (Das weite Land) which he adapted and directed. He is the editor of Worthy but Neglected: Plays of the Mint Theater Company (2002, Granville Press) which includes his adaptations of Thomas Wolfe's Welcome to Our City and Edith Wharton's The House of Mirth, both of which he directed at the Mint, along with five other Mint rediscoveries. Bank directed Othello for the National Asian American Theater Company, John Brown's Body, The Double Bass and Three Days of Rain for the Miniature Theater of Chester and Candida and Mr. Pim Passes By for the Peterborough Players. He earned his M.F.A. from Case Western Reserve University in his hometown of Cleveland, OH.
A.A. Milne (Playwright 1882-1956) published his first verses in Punch in 1904 at the age of 22. Before long he was a regular contributor to the famous English humor magazine and in 1906 he became the assistant editor, a position he held until 1918. During World War I Milne served in the Royal Warwickshire Regiment as a signals officer. He was posted to France briefly in 1916 and wrote propaganda for the Intelligence service. During his training period, he wrote his first play, Wurzel-Flummery, which was produced in London in 1917. With the encouragement of his friend James Barrie, Milne then applied himself to playwriting. His first real hit was Mr. Pim Passes By which premiered in London in 1920, around the same time of the birth of his son, Christopher Robin. All of the Winnie-the-Pooh verses were written during a four-year stretch that began in 1924. After that, to Milne's great dismay, he would never again achieve any lasting success as either playwright or novelist. He once wrote of the lovable menagerie that gave him his lasting fame, "I wanted to escape from them as I once wanted to escape from Punch as I have always wanted to escape. In vain..." Milne wrote numerous essays, novels, and even a successful detective story: The Red House Mystery. But for Milne, writing plays was, "the most exciting form of writing…." The Dover Road, The Truth about Blayds, The Great Broxopp, Success, The Fourth Wall -- or The Perfect Alibi, Michael and Mary, Portrait of a Gentleman in Slippers and Other People's Lives are among the more than 25 plays he penned.
Lisa Bostnar (Isobel / Olivia) is thrilled to be back at the Mint under the direction of Jonathan Bank. Mint regulars may have seen Lisa in such roles as Genia in Far & Wide, Lily Bart in The House of Mirth, Beatrice in The Voysey Inheritance, Genevieve in Night Dance. Other favorite New York roles include Beth in A Lie of the Mind, Kate in The Taming of the Shrew, Liz in Our Country's Good, Desdemona in Othello, and Olivia in Twelfth Night. Lisa has guest starred several times on “Law & Order”, “All My Children”, and “Another World”. Regionally some favorites have been Cora in Going to St. Ives, Candida in Candida, Dutchess Olga in You Can't Take it With You (starring James Whitmore), and Titania in A Midsummer Night's Dream.
Jack Davidson (William Blayds-Conway / Carraway Pim) Broadway: Ma Rainey's Black Bottom, Judgment at Nuremberg, A Moon for the Misbegotten, The Price, Anna Christie, Captain Brassbound's Conversion. LCT: Morning's at Seven, Twelfth Night, Ah, Wilderness, The Little Foxes, A Fair Country. Off-Broadway: The Unexpected Man, Passion Play, After the Dancing in Jericho, Hot L Baltimore. Circle Rep Co.: Three Hotels, The Diviners, Hamlet, Love's Labor's Lost, Richard II. Regional: Yale Rep, McCarter Theatre, Berkeley Rep, Hartford Stage, Pittsburg Public, St. Louis Rep. Film: “The Autumn Heart”, “The Secret of My Success”, “Trading Places”. TV: “Oz”, “Ed”, “Law & Order”, “100 Centre Street”, “The Wright Verdict”, “Spenser For Hire”, “Cagney and Lacey”. BFA Boston University.
Kristin Griffith (Marion Blayds-Conway/ Lady Marden) Last seen at the Mint as Lady Dennison in The Charity That Began At Home, Ms. Griffith has worked on Broadway in Park Your Car In Harvard Yard and A Texas Trilogy (Schubert). Off- Broadway: The Countess (Lambs), Holy Terror (Promenade). She has worked with the WPA Theatre, UBU, HB Studio, Manhattan Theatre Club, Roundabout Theatre, Ensemble Studio Theatre, and The Women's Project. Regionally Ms. Griffith has performed at Baltimore Center Stage, Playmakers Rep, Buffalo Studio Arena, Birmingham Theatre, St. Louis Rep., The Old
Globe Theatre, HartfordStage, Georgestreet Playhouse, Philadelphia Drama Guild, Berkshire Theatre Festival and The Shaw Festival in Ontario. TV: “Law & Order”, “ED”, “Third Watch”, “Law & Order SVU”, “Wonderland”, MOW's “Rose Hill”, “The Long Way Home”, “Flesh and Blood”, “Gregory K”, and “In the Line of Duty”. Feature Films: Woody Allen’s “Interiors”, Merchant-Ivory’s "The Europeans" and Steven Soderbergh's “King of the Hill”. Member of Ensemble Studio Theatre.
James Knight (Oliver Blayds-Conway / Brian Strange) James is happy to be back at the Mint Theater after playing the role of Otto Von Aigner in the Mint’s original production of Far & Wide. He wishes to thank all of his friends and family for their help and support along the way. James received an MFA in acting and directing from the University of Missouri - Kansas City.
Katie Lowes (Parsons / Anne). Katie is a native of New York who will be receiving her BFA from Tisch School of the Arts this spring. Past credits include Madame de Tourvel in Les Liaisons Dangereuses (Blue Heron Arts Center), Blanche in A Streetcar Named Desire (Linhart Theater), Abigail in Finding the Sun (Steppenwolf - Garage Theater), Roberto Zucco (Ohio Theater - Koltes Festival), and Macbeth (RADA). Love and thanks to my family, V, and Ryan.
Victoria Mack (Septima Blayds-Conway/ Dinah) is thrilled to be back at the Mint, where she originated the role of Erna in Schnitzler’s Far & Wide last year. Most recently, Victoria played Eliza Doolittle in Shaw's Pygmalion at the NJ Shakespeare Festival. Before that she performed the role of Margaret in Much Ado About Nothing at the Festival, as well as Lady Macbeth and Titania in A Midsummer Night's Dream for the Festival's touring company. Other roles include the title role in the world premiere of The Tillie Project at the Centenary Stage Company, and Lucy in You're a Good Man, Charlie Brown! Victoria is a graduate of both Columbia University's Barnard College, where she received her B.A. in English Literature, and of Dame Judi Dench’s London Academy of Theatre.
Jack Ryland (Oliver Blayds) Broadway: Flavius in Timon of Athens (Drama League Award). Off-Broadway: Undershaft in Major Barbara, Quartermaine's Terms, Enrico IV. NY Shakespeare Festival: Duke of Milan in Two Gentleman of Verona and Theseus in A Mid Summer Night's Dream. Regional: Antony and Cleopatra (Antony/Enobarbus), The Merchant of Venice (Antonio), Hamlet (Claudius), King Lear (Kent/Gloucester), Saint Joan (Warwick), Uncle Vanya (Vanya/Astrov), The School for Scandal (Sir Oliver), Nixon's Nixon (Nixon). TV: “Law & Order”, “Deadline”, “Kate & Allie”.
Stephen Schnetzer (A.L. Royce / George Marden) Broadway: The Goat, Filumena, A Talent for Murder. Off-Broadway: Romeo and Juliet (Theatre 91), Miss Julie and Fallen Angels (Roundabout), Timon of Athens and Cymbeline (NY Shakespeare Festival). Regional: As You Like It and St. Joan (McCarter), Anthony and Cleopatra and Julius Caesar (The American Shakespeare Theatre), The Tempest (Mark Taper Forum), and four seasons with ACT including The Taming of the Shrew - “Theatre in America Series”. Recent Television: “Law & Order” and “Law & Order: SVU”.
Sarah Lambert (Sets) Previous designs at the Mint include: Diana of Dobson’s and The Flattering Word/Farewell to the Theater. Other collaborations with Jonathan Bank include Tales of Unrest and Othello (NAATCO) and Three Days of Rain (The Miniature Theater of Chester). Other designs include: Gross Indecency: The Three Trials of Oscar Wilde (NYC, London, Toronto, San Francisco and LA), Spectators at an Event, a dance piece, for Susan Marshall & Company (BAM Next Wave Festival and tour), Syncopation and The Unexpected Man (Penguin Rep), Last of the Suns (Ma-Yi), as well as regional credits, college productions and quirky downtown projects. She is an Artistic Associate with Theater of Necessity (Mephisto) and resident designer for NAATCO (also including Air Raid, Fuenteovejuna, The House of Bernarda Alba, Falsettoland, Long Day's Journey into Night, and The Cherry Orchard). She also worked as a dramaturg on The Laramie Project (NYC, regional, and HBO productions). Shehas a BA
from Cornell and a MFA from Yale. Current projects include an adaptation of Othello for Theater of Necessity and continuing with a rep theater design for the Pearl including Marivaux's Double Infidelity and Ibsen's When We Dead Awaken.
Theresa Squire (Costumes) has been designing for theatre and dance in and around New York for the past eight years. Theresa designed Mary Shelley's Frankenstein (Flying Machine), Signals of Distress (Soho Rep) and Utopians (Ohio Theater). Other credits include The Journals of Mihail Sebastion, Can't Let Go, Three-Cornered Moon, Museum, The Voice of the Turtle, The Good Thief and The Second Man (Keen Company); Mr.Pim and Far and Wide (The Mint); The Cuchulain Cycle, Awakening and Woman Killer directed by Sonoko Kawahara. Pirates of Penzance directed by Worth Gardner (Virginia Opera), Tony Kushner's Hydriotaphia directed by Michael Wilson and The Golden Bird directed by Andre Serban at La Mama Etc. Theresa holds an MFA from NYU.
Mark T. Simpson (Lights) Broadway and London: Associate Lighting Designer for The Full Monty, The Look of Love, Sinatra. OffBroadway: Lighting and Set for Lypsinka, As I Lay Lip-synching at Minetta Lane, David Drake's Son of Drakula at DTW; Lighting for Lypsinka the Boxed Set, Human Resources, Lee Negrin's The Valley of Iao; Associate for NYTW's Up Against the Wind, Susan Lori Parks' In the Blood, Tamicanfly, Kafka’s The Castle. Regional: Kennedy Center, Studio Theatre - DC, Old Globe - San Deigo, Zach Scott Theatre Center - Austin, Tiffany Theatre LA, Alcazar Theatre - SF, La Jolla Playhouse. Mint Theater: Alison’s House, New Music, The House of Mirth, Human Resources, Uncle Tom's Cabin, Pericles, Mr. Pim Passes By, Oroonoko, Murphy, Excuse My Dust, Working Class, Kind Eyes, The Grabelski Concertos, Quality Street.
Jared Coseglia (Sound) has designed over 50 plays regionally and in New York including The Who's Tommy (BTF), Mahogany (Joe's Pub), Roman Nights (DR2), Reflections (Cherry Lane), Embers (Chelsea Playhouse), Uncle Bob
SoHo Playhouse, Precious and Erostratus (BANNERY), Edward II (ETW/NYU).Jared is a graduate of NYU's Tisch School of the Arts and can be seen in the upcoming film “Sex Farce”. This summer Jared will be directing/sound designing Floyd Collins at the Berkshire Theatre Festival.
Judi Guralnick (Props) is the Prop Shop Supervisor for the Conservatory of Theater Arts and Film at Purchase College, and freelances in the New York and Connecticut areas. She spent five years as Prop Specialist at the Walnut Street Theatre in Philadelphia, and many summers at Maine State Music Theater. Her favorite props that she's created, are the fruit for a Fruit of the Loom commercial, carousel animals for a production of “Joseph…”, and a macramé ass’s head for Midsummer’s Night Dream. Judi has also designed sets for small theaters from Maine to Washington, DC and in Israel. She has enjoyed being the resident Prop Specialist at the Mint Theater for the past several years.
Amy Stoller (Dialects) happily returns to A. A. Milne and Jonathan Bank, with whom she first collaborated on Mr. Pim Passes By. Other Mint credits: The Daughter-in-Law, The Charity That Began at Home, Rutherford & Son, Diana of Dobson's, and The Voysey Inheritance. She is the sole proprietor of Stoller System (Dialect Coaching & Design). Clients include Jean Cocteau Rep, the Drama League DirectorFest, Hypothetical Theatre Co., Theater Ten-Ten, the Ellis Island Foundation, and Distilled Spirits, in whose production of Northanger Abbey Amy won a 2000 Off-Off-Broadway Review Award for Excellence as dialect coach and actor.
Samone B. Weissman (Stage Manager) last worked with the Mint Theater on The Daughterin-Law. Other New York credits include: Happy Days, On The Razzle, The Servant of Two Masters, Medea (Jean Cocteau Repertory Theatre), Hamlet (American Globe Theatre), Bold Girls (Women's Expressive Theatre/UrbanStages), Metal (HERE/American Living Room Series) The Shoebox of Ebbets Field, Out of Sterno (Cherry Lane Alternative), The Last Nickel (2002 NY Int¹l Fringe Fest ival), He Ate the Sun (Manhattan Theatre Source), Self Torture & Strenuous Exercise, The
Dadshuttle (Drama League DirectorFest), The Gifted Program (OVO/Center Stage), 3 Miracles and a Giant (HERE/Pg. 73 Productions) and Our Sinatra (The Reprise Room). Regional credits include: High Dive, Last Train to Nibroc (Miniature Theatre of Chester), Flights of Angels, National Anthems (Emelin Theatre). Special thanks to David.
Ele Boockmeier (Assistant Stage Manager) is pleased to return to the Mint after serving as the production assistant in the 2003 production of The Daughter-In-Law. She also worked as production assistant on the 2003 Director Fest for the Drama League. Ele is a recent graduate of the University of Illinois Theater Studies Program. Regional credits include: It Girl (The Armory Free Theater) and The Threepenny Opera (The Krannert Center for the Performing Arts). She would like to thank her family and John for all their love and support.
Helena Webb (Production Manager) was the General Manager and Company Manager for Roman Nights (DR2); Producing Director for The Ibsen Series (Century Center) 2000-2002; Artistic Director of THEATRIX 1995-2000; Director for Embers (Edinburgh and OffB'way), The Richardson Exhibit (Kraine) and The Virtual Adventures of Riff-Cat Polito (CB’s Gallery); PM for the Drama League Directorfest 2002 & 2003; and is currently in post-production of her first film, “Screwed”.
Sharron Bower (Casting Director) continues her second year of casting here with passion for the Mint’s mission. Additional casting work includes Vermont Stage, Mill Mountain Theatre, Princeton Rep, The Miniature Theatre of Chester, animation voiceovers and independent films. Bower co-founded Lysistrata Project, a day of 1,029 political play readings in 59 countries in March 2003. Recently, she spoke on effective structuring of political art at a symposium at Berkeley Rep and consulted for The Brown Foundation. Bower taught Acting and Speech at the college level, and has worked with corporate clients and politicians to diminish stage fright and increase public speaking chutzpah. Training: MFA, University of Texas at Austin.