The Mountains Look Different Program

PRODUCING ARTISTIC DIRECTOR

JONATHAN BANK

MintTheater.org

“You' ll find great pe great“You'peace ll find great peace amongthe the mountains here…” among mountains h ntains here…”

Mint Production History The Price of Thomas Scott, 2019

By Elizabeth Baker

Rutherford & Son, 2012

By Githa Sowerby

The Lonely Way, 2005

By Arthur Schnitzler

Days to Come, 2018

By Lillian Hellman

Temporal Powers, 2011

By Teresa Deevy

Echoes of the War, 2004

By J.M. Barrie

Conflict, 2018

By Miles Malleson

A Little Journey, 2011

By Rachel Crothers

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

Hindle Wakes, 2018

By Stanley Houghton

What the Public Wants, 2011

By Arnold Bennett

Far and Wide, 2003

By Arthur Schnitzler

The Suitcase Under the Bed, 2017

By Teresa Deevy

Wife to James Whelan, 2010

By Teresa Deevy

The Daughter-In-Law, 2003

By D.H. Lawrence

The Lucky One, 2017

By A.A. Milne

Doctor Knock, 2010

By Jules Romains

Yours Unfaithfully, 2017

By Miles Malleson

The Charity That Began at Home, 2002

By St. John Hankin

So Help Me God!, 2009

By Maurine Dallas Watkins

A Day by the Sea, 2016

By N.C. Hunter

Is Life Worth Living?, 2009

By Lennox Robinson

Women Without Men, 2016

By Hazel Ellis

The Widow, 2009

By D.H. Lawrence

The New Morality, 2015

By Harold Chapin

The Glass Cage, 2008

By J.B. Priestley

Fashions for Men, 2015

By Ferenc Molnár

The Fifth Column, 2008

By Ernest Hemingway

The Flattering Word & A Farewell to the Theater, 2000

By George Kelly & Harley Granville-Barker

The Fatal Weakness, 2014

By George Kelly

The Power of Darkness, 2007

By Leo Tolstoy

Welcome to Our City, 2000

By Thomas Wolfe

Donogoo, 2014

By Jules Romains

The Return of the Prodigal, 2007

By St. John Hankin

Miss Lulu Bett, 2000

By Zona Gale

London Wall, 2014

By John Van Druten

The Madras House, 2007

By Harley Granville-Barker

The Voysey Inheritance, 1999

By Harley Granville-Barker

Philip Goes Forth, 2013

By George Kelly

John Ferguson, 2006

By St. John Ervine

Alison’s House, 1999

By Susan Glaspell

A Picture of Autumn, 2013

By N.C. Hunter

Susan and God, 2006

By Rachel Crothers

The House of Mirth, 1998

By Edith Wharton & Clyde Fitch

Katie Roche, 2013

By Teresa Deevy

Soldier’s Wife, 2006

By Rose Franken

Mr. Pim Passes By, 1997

By A.A. Milne

Mary Broome, 2012

By Allan Monkhouse

Walking Down Broadway, 2005

By Dawn Powell

Uncle Tom’s Cabin, 1997

By George Aiken

Love Goes to Press, 2012

By Martha Gellhorn & Virginia Cowles

The Skin Game, 2005

By John Galsworthy

Quality Street, 1995

By J.M. Barrie

No Time for Comedy, 2002

By S.N. Behrman Rutherford & Son, 2001

By Githa Sowerby Diana of Dobson’s, 2001

By Cicely Hamilton

MINT THEATER COMPANY Jonathan Bank, Producing Artistic Director presents

with CIARAN BYRNE, LIAM FORDE, MCKENNA QUIGLEY HARRINGTON, CON HORGAN, CYNTHIA MACE, DANIEL MARCONI, BRENDA MEANEY, PAUL O’BRIEN, JESSE PENNINGTON Sets VICKI R. DAVIS

Costumes ANDREA VARGA

Lights CHRISTIAN DEANGELIS

Sound M. FLORIAN STAAB

Casting STEPHANIE KLAPPER, CSA

Props CHRIS FIELDS

Music Director HEATHER MARTIN BIXLER

Dialects & Dramaturgy AMY STOLLER

Production Manager ROB REESE

Production Stage Manager JEFF MEYERS

Stage Manager CHRISTINE COLONNA

Illustration STEFANO IMBERT

Graphics HEY JUDE DESIGN, INC

Advertising & Marketing THE PEKOE GROUP

Publicity DAVID GERSTEN & ASSOCIATES

Directed by

AIDAN REDMOND

THE MOUNTAINS LOOK DIFFERENT is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

DRAMATURGICAL NOTE Bonfire Night or St. John’s Eve

By Amy Stoller Midsummer Eve, June 23, is Bonfire Night; a pre-Christian celebration in its Christian guise as St. John’s Eve. Like all of Ireland’s ancient holidays, it is a petition for fruitfulness—of land, sea, and people—and the warding off of ill luck. It is traditionally celebrated with the bonfires that give it its name—literally bonefires, with animal bones tossed into the peat used for fuel. The fires are built on a hilltop, or the gap between two fields, or at a crossroads, and lit at sundown (around 10:00 in June). The night is spent in singing and dancing, telling old tales, and praying for a bountiful harvest. Once Áine—goddess of the sun, fertility, and cattle—might have been invoked. Now maybe an old man leads the villagers in a simple prayer: In the honour of God and of St John, to the fruitfulness and profit of our planting and our work, in the name of the Father and of the Son and of the Holy Spirit, Amen.

Lady Francesca Wilde (Oscar’s mother), tells us what happens next.

“When the fire has burned down to a red glow the young men strip to the waist and leap over or through the flames…he who braves the greatest blaze is considered the victor over the powers of evil, and is greeted with tremendous applause.

When the fire burns still lower, the young girls leap the flame, and those who leap clean over three times back and forward will be certain of a speedy marriage and good luck in after life, with many children. When the fire is nearly burnt and trampled down, the yearling cattle are driven through the hot ashes, and their back is singed with a lighted hazel twig. These hazel rods are kept safely afterwards, being considered of immense power... Whoever enters his house first with the sacred fire brings the good luck of the year with him.”

“Them old piseogs!” says Tom. (A piseog, or pishogue, is a superstition.) He’s been to London, and has lived in the modern world. But now he’s back in the stony, unforgiving fields of rural Connemara—a place untouched by electricity, running water, or farm equipment powered by anything other than man and beast. Old methods, and old customs, like Tom’s father, are not easily dislodged. And so Tom is the first to enter his home with a piece of lighted turf, to bring luck to the household. You can drive old gods underground so far and no further, before they have their say.

Illustration by Micheál mac Liammóir for his story, St. John’s Eve, published in Fairy Nights (Oícheanta Sí) in 1922.

CAST Martin Grealish, a farmer................................................................................Con Horgan Tom Grealish, his son............................................................................Jesse Pennington Bartley, a serving-man................................................................................Daniel Marconi Matthew Conroy, a miller.................................................................................Paul O’Brien Bairbre, his niece.......................................................................................Brenda Meaney Máire, an old woman......................................................................................Cynthia Mace Batty Wallace, her grandson............................................................................Liam Forde Brídín, a young girl.................................................................McKenna Quigley Harrington A Priest...........................................................................................................Ciaran Byrne The action of the play takes place on the farm of Martin Grealish in the West of Ireland, on St. John’s Eve and early the next morning, Midsummer’s Day. There will be one 10-minute intermission.

DIALECT NOTE Micheál mac Liammóir learned Irish as a second language while a teenager, in classes at the Gaelic League. He succeeded in speaking and writing Irish better than many a native speaker.

The Mountains Look Different has a few lines in Irish (Gaeilge), but is mostly in Irish English. As Irish English differs from American English in several respects, here is a brief glossary to help you understand some unfamiliar terms and usage.

After can mean has just done, just happened; conversely, it can also mean about to And can mean although, as, while, when, with Fortune means dowry Have a right to means should, ought to, have a duty to Nor can mean than Till can mean so, in order that West can mean back Whisper can mean listen Ye is plural, you may be singular or plural

ABOUT THE AUTHOR The ‘Truthful Masks’ of Micheál mac Liammóir

By Maya Cantu An artist of extravagant talents and flamboyant character, Micheál mac Liammóir (1899-1978) assumed a medley of roles at Dublin’s legendary Gate Theater, which he co-founded with partner Hilton Edwards. Described by The Irish Times as “the dominant figure in the Irish theatrical world for almost half a century,” mac Liammóir spellbound audiences in Dublin and around the world as actor, dramatist, raconteur, poet, painter, and stage designer. In 1978, Dr. Patrick Hillery, the President of Ireland, memorialized his many contributions to the nation’s arts and letters: “The death of Micheál mac Liammóir leaves a deep void in Irish cultural life… He dedicated his life to Ireland and offered her all the splendid gifts which he could give in so rich and diverse a manner.”

Irish culture and identity inspired much of mac Liammóir’s writing. Setting out to marry the “mythological world which Yeats had shrouded in twilight” with a “modern commonplace world,” mac Liammóir’s plays included the Celtic romance Diarmuid and Gráinne (1928); Where Stars Walk (1940), which critic Seamus Kelly called “a drawing room comedy as witty and brittle as Coward, but with an inimitable Dublin flavor;” and the psychological fantasy Ill Met by Moonlight (1946), in which a wicked changeling appears to take the place of a young actress, newly married to the nephew of a Connemara folklorist.

Only years after his death did an astonishing secret emerge: the “quintessential Irishman” (in the words of Simon Callow) had been the romantic invention of the Englishman Alfred Willmore, for whom the persona of Micheál mac Liammóir became the role of a lifetime. The story of Alfred Willmore’s metamorphosis, first revealed in a 1990 biography, stunned the Irish theatre world, including many who had known the artist well. Actor Bill Golding recalled to RTÉ Radio in 1998: “I had no reason, nor did anybody else who came along, not to believe absolutely that he was an Irishman.” In his 1946 memoir, All for Hecuba, mac Liammóir wove a tale of growing up by “the drowsy, flower-grown walls of Cork,” before his Irish family emigrated to London.

Yet, if mac Liammóir spent decades concealing the truth of his English origins, his lifetime of masquerade informed a varied and richly theatrical body of work. His plays artfully explore themes of performance and authenticity; the interplay between reality and illusion; and, in the words of mac Liammóir’s hero Oscar Wilde, “the truth of masks.” As Richard Pine observes: mac Liammóir “was someone pretending to be himself. He placed it at the center of all of his plays.” i Younger brother to four sisters, Alfred Willmore was born on October 25, 1899 in Kensal Green, London, where his father worked as a corn merchant. Bullied at school for his “girliness,” he later recorded (in his fictionalized memoir, Enter A Goldfish) his feelings of displacement: “It seemed to him he would always be looking out of a window at grey monotonous streets, looking out and dreaming of somewhere else, of somebody else. But of where? Of whom?” At the age of ten, the stage-struck boy was invited to audition for the actor-manager Sir Herbert Beerbohm Tree. He quickly became one of London’s most in-demand child actors, appearing onstage with the young Noël Coward in Peter Pan and in the title role of Oliver Twist. Ageing out of his child stardom, Willmore enrolled at the Willesden Polytechnic; with the help of a patron, he moved on to the prestigious Slade School of Art. At the Slade School, Willmore met fellow student Máire O’Keefe, who intensified an infatuation with Irish language, culture and folklore first awakened by the Abbey Theatre’s London visits, as

ABOUT THE AUTHOR well as by the mythic nationalism of W.B. Yeats. “Ireland and the Arts was the name of the (Yeats) essay, and I believe it changed my life,” he later wrote. Studying Irish at the Gaelic League, Willmore changed his name to Micheál mac Liammóir, and in 1917 he relocated with O’Keefe to her mother’s seaside home in Howth, outside Dublin. Here, he started to mythologize a new identity as an Irishman, while working primarily as a painter and illustrator. He also explored his sexuality, as he traveled throughout the Continent: “Really, Micheál’s affairs (with men) are so numerous I can’t keep pace with them,” O’Keefe (herself a bisexual woman) noted in one letter.ii When O’Keefe died of tuberculosis in 1927, a devastated mac Liammóir returned to the theater, touring the Irish countryside with Anew McMaster’s Company.

On tour, mac Liammóir encountered actor-director Hilton Edwards, who became his professional and romantic partner. The year 1928 marked two milestones for mac Liammóir: his role in establishing the country’s first Irishlanguage theater, Galway’s An Taibhdhearc, and, with Edwards, the founding of the Gate Theatre. The Gate opened with an ambitious season that included Ibsen’s Peer Gynt, Wilde’s Salome, and Eugene O’Neill’s The Hairy Ape. Complementing the legendary national Abbey Theatre, the Gate revolutionized the Irish stage with its cosmopolitan ethos and modernist stagecraft.

Both innovated as designers: Edwards with lighting, and Hilton Edwards and Micheál mac Liammóir mac Liammóir with sets and costumes. At the same time outside of the Gate Theater in Dublin, 1972. that they led the Gate, “the Boys” also presided as one of Dublin’s few visibly gay couples. The company introduced Dublin theatergoers to important works

by European and American dramatists, as well as new plays by Irish dramatists such as Denis Johnston, Mary Manning, Hazel Ellis, and Maura Laverty.

Described by Manning as a “magic lure for youthful talent,” the Gate also launched the careers of Orson Welles, James Mason, and, in the 1960s, playwright Brian Friel. Welles’ time at the Gate started a particularly enduring collaboration. In 1931, the sixteen-year-old Welles, on a summer trip through Ireland, showed up at the Gate, and majestically “introduced himself as Mr. Orson Welles, a celebrated actor from the Broadway stage.” Seeing through the bluff, mac Liammóir and Edwards gladly cast “the brash young greenhorn.” iii In 1958, Welles told RTÉ Radio: “They were so generously and courageously ready to give a strange newcomer that extraordinary chance.”

Reuniting with Welles, mac Liammóir later played Iago in the director’s 1952 film adaptation of Othello. He also toured through Germany with Welles, Edwards, and Eartha Kitt (as Helen of Troy) in Time Runs, Welles’ 1950 adaptation of Doctor Faustus.

The Mountains Look Different (1948) was a peak of Mac Liammoir’s ten produced plays and eight adaptations. Drawing from Greek drama as well as O’Neill’s Anna Christie (which the Gate had produced in 1929 and 1943), mac Liammóir provoked heated controversy with his drama, in which the playwright appeared as Tom Grealish. The play riled the mores of President Éamon de Valera’s conservative Catholic Ireland. Audience protests flared at the theater, and the Legion of Mary accused the play of “immorality,” asserting: “(a) ‘there were no Irish prostitutes in London; (b) that no Irish Catholic would have anything to do with a prostitute.” iv Despite the protests, the play

ABOUT THE AUTHOR proved popular with Dublin theatergoers; Gabriel Fallon, in The Standard, called it a play of “great beauty…spare, swiftly moving, and theatrically efficient.” In 1970, mac Liammóir translated The Mountains Look Different into Irish, when it was revived at the Abbey Theatre.

Blending his talents as an actor and playwright, mac Liammóir enjoyed international success in 1960, with his one-man show about Wilde, The Importance of Being Oscar. Here, the Londonborn Irishman created a nuanced theatrical portrait of the Irish-born, London-bound legend. As Terence de Vere White noted: Oscar Wilde was a “mold into which he could pour his own personality, a mirror in which he saw his own reflection.” v Mac Liammóir’s later plays included the autobiographical Prelude in Kazbek Street (1973), which explored the masquerades of Dublin-born Serge Kovalevsky (né John Cassidy), a premier danseur in Paris struggling to express his sexual identity as freely Sheila Burrell as Bairbre and Micheál mac Liammóir as Tom in the as his art.

Gate Theatre production of The Mountains Look Different, 1948.

Receiving such honors as Dublin’s Seal of the Freedom of the City, Micheál mac Liammóir died in Dublin on March 6, 1978, his English roots still a well-kept secret. As Mícheál Ó hAodha explained: “Those who knew did not talk; those who talked did not know.” At his funeral, the artist was mourned by hundreds of friends and admirers, including President Hillery. De Vere White commented, “No Irish actor, no political figure of our time, was so loved.”

Only in 1990, with the publication of Ó hAodha’s biography The Importance of Being Micheál, was the story of Alfred Willmore’s transformation revealed. Since the late 20th century, an increasing number of biographers, including Christopher Fitz-Simon and Tom Madden, have explored the complex layers of mac Liammóir’s identity. Richard Pine speculates, that, living in a society in which “homosexual behavior was a criminal offense,” mac Liammóir’s Irish persona evoked “a donning of motley to persuade the world that he was ‘other,’ to win acceptance as all actors, of whatever persuasion, strove to do. He had something to hide and something to discover.” vi For all that he concealed his past as Alfred Willmore, Micheál mac Liammóir devoted his “remarkably fertile and diverse range of talents” vii passionately and with complete sincerity to the Irish theatre. He remains a national institution and icon. In All for Hecuba, mac Liammóir wrote of giving his all for Ireland, even at the expense of pursuing greater fame in England or America: “And I wondered was I right to choose the narrow Irish road…. For good or for evil, the Irish way was a part of myself; there really had been no choice at all.”

Pine, Richard. “Micheál mac Liammóir: The Erotic-Exotic and the Dublin Gate Theatre,” The Gate Theatre, Dublin: Inspiration and Craft, eds. David Clare, Des Lally and Patrick Lonergan. Dublin: Carysfort Press Ltd., 2018, pg. 68. ii Madden, Tom. The Making of an Artist: Creating the Irishman Micheál mac Liammóir. Dublin: The Liffey Press, 2015, pg. 191. iii Welles, Orson. RTE Radio 1, “Documentary on One: Hilton and Micheál,” Feb. 23, 1958. iv Fallon, Gabriel. Program note for The Mountains Look Different, Abbey Theatre revival, 1970. Courtesy of Mairéad Delaney, Abbey Theatre. v De Vere White, Terence. Enter Certain Players, ed.

Peter Luke. Dublin: the Dolmen Press, 1978, pg. 29. vi “Micheál mac Liammóir: The Erotic-Exotic and the Dublin Gate Theatre,” pg. 68. vii Desmond Rushe, Enter Certain Players, pg. 66. i

WHO’S WHO: CAST CIARAN BYRNE

(Priest) Ciaran is a Company Member of The Irish Repertory Theatre and a Resident Artist at Nancy Manocherian’s The Cell.

Select Theatre: The Dead 1904, Irish Rep & Dot Dot Productions (Adapted by Paul Muldoon & Jean Hanff Korelitz, Ciaran O’Reilly Dir.), Juno And The Paycock, Irish Rep (Charlotte Moore Dir.), The Freedom Of The City, Irish Rep (Ciaran O’Reilly Dir.), Blood, The Cell (Kira Simring Dir.), Moment, Studio Theatre (Ethan McSweeny Dir.), The Night Alive, City Theatre (Tracy Brigden Dir.), Observe The Sons Of Ulster Marching Towards The Somme, PICT Classic Theatre (Matt Torney Dir.) Film & Television: The Second Sun, Haymarket Annex II & Michael Mailer Films (Festival de Cannes, Hollywood Film Festival Official Selection), John Buffalo Mailer’s DIERY (Haymarket Annex II, Executive Producer Martin Tuchman, Produced and Directed by Jennifer Gelfer), “Public Morals’” TNT (written and directed

by Edward Burns, produced by Steven Spielberg). Representation, Harden Curtis Kirsten Riley (HCKR Agency). Special Thanks to Lee Brock.

LIAM FORDE

(Batty Wallace) Liam is delighted to be making his Mint Theater debut.

Off-Broadway: Much Ado About Nothing (TFANA), Big, Six Wives (York).

Regional: Hand to God (Studio Theatre, Helen Hayes Award),

Jumpers for Goalposts (Studio Theatre, Helen Hayes nomination), The Secret Garden (Denver Center), Peter and the Starcatcher (Pioneer Theatre Co.), Amazing Grace (Goodspeed). London: Eugenius (The Other Palace). Cabaret: Jazz at Lincoln Center, Town Hall (NYC), Venetian Room (Dallas), Gaslight Theater (St. Louis), L’Auguste Théâtre, Café Universel (Paris).

Recipient of Nightlife, Bistro, and Julie Wilson Awards. Graduate of the Boston Conservatory.

McKENNA QUIGLEY HARRINGTON

(Brídín) McKenna is a senior performance major in the theatre program at Fordham University Lincoln Center. Previous Fordham credits include Icarus’s Mother, Blasted, The Way West, Macbeth, and Dark Play or Stories for Boys, the last of which she looks forward to taking to the Edinburgh Fringe Festival in August!

She spent the fall of 2018 studying in Mexico City, where she performed in the musical Hoy No Me Puedo Levantar and was a recurring role on the telenovela “La Promesa.” She grew up in Mexico and Nashville, but, like so many, the Harringtons came over from County Cork and the Quigleys from Mayo.

She would like to thank Aidan, Jonathan, Jeff, and the whole Mint team for giving her this incredible opportunity. Love to Mom, Dad, Griffin, and Catherine, and to her best friends Ella, Austin, Elizabeth, Joe, and Miles!

WHO’S WHO: CAST CON HORGAN

(Martin Grealish) Theater: Under Milk Wood by Dylan Thomas, Riders to the Sea by JM Synge, Arrah Na Pogue, Shaughraun by Dion Boucicault, The Plough and The Stars by Sean O’Casey, Translations by Brian Friel, Moon of the Caribbees, The Personal Equation, Anna Christie by Eugene O’Neil, Rocking the Bronx by Larry Kirwin, In the Boom Boom Room by David Rabe, Portia Coughlin by Marina Carr, The Passion Play by Daniel P. Quinn, The Beauty Queen of Leenane

by Martin McDonagh, Temporal Powers

by Teresa Deevy, The Last Days of Judas Iscariot by Stephen Adly Guirgis. Film: Gettysburg; God’s and General, Dir. Ron Maxwell; Crimson Tide, Dir. Tony Scott; Batman Begins Dir. Christopher Nolan; Beyond the Pale, Dir. George Bazala; Selfie 69’, Dir. Cristina Jacob.

CYNTHIA MACE

(Máire) Off-Broadway: Skintight, Roundabout; Women on Fire, Royal Family; Nightingale, MTC (cover for Lynn Redgrave). Regional: Sideways, La Jolla Playhouse directed by Des McAnuff; Romeo and Juliet, Yale Rep; The Autumn Garden, Williamstown; The Goat, Or Who Is Sylvia?, Mark Taper Forum (Garland Award: Best Actress); World Premier of Angels in America: Millennium Approaches and Perestroika, Mark Taper Forum. TV: “The OA,” “The OA2,” “Mindhunter,” “The

Blacklist,” “Blue Bloods,” “Kevin Can Wait,” “Younger,” and more. Upcoming: What the Jews Believe, Berkshire Theatre Group: Liberté! A Call to Spy, feature film.

DANIEL MARCONI

(Bartley) Daniel is beyond excited to be making his debut with The Mint Theater Company. A recent graduate of Wagner College, he has appeared at the Paper Mill Playhouse, the Shakespeare Theater of New Jersey, the Irish Repertory Theater, and Broadway’s New Amsterdam Theater, amongst others.

TV/Film credits include: “Boardwalk Empire’” and Daniel Isn’t Real. Many thanks to the extraordinary teams at HCKR and Stephanie Klapper Casting, as well as the brilliant creative team, crew, and cast working on this production.

BRENDA MEANEY

(Bairbre) Tom Stoppard’s Indian Ink (Roundabout), Incognito (Manhattan Theatre Club), Party Face (New York City Center), The Neil Labute Short Play Festival (The Davenport), The New Morality (The Mint). Regional: The Hard Problem, Indian Ink, Venus in Fur (American Conservatory Theatre), Pulitzer Prize winner Martyna Mayok’s Queens (La Jolla Playhouse), Caucasian Chalk Circle and Caryl Churchill’s Owners (Yale Repertory Theatre), And a Nightingale Sang… (Westport Country Playhouse), Lewis Black’s One Slight Hitch

WHO’S WHO: CAST (Wellfleet Harbor Actors Theatre). Foreign credits include Basin (Abbey Theatre Studio/Anu Productions), The Way of the Language: Voices from the War on Terror (Project Arts Centre, Dublin), and Biography of Bernie Ward (Samuel Beckett Theatre, Dublin). Television/Film: “Hell on Wheels” (AMC), “Love/Hate” (Radio Teilifís Éireann), Under the Waves. Education: MFA, Yale School of Drama.

PAUL O’BRIEN

(Matthew Conroy) Mint: Is Life Worth Living? (with Brenda Meaney’s mother, Bairbre Dowling) Broadway: Six Degrees of Separation, On a Clear Day, The Importance of Being Ernest (with Brian Bedford), Cymbeline, Equus, Democracy, The Crucible (with Liam Neeson), King Lear (with Christopher Plummer), Twelfth Night. Off-Broadway: The Weir, Da, Burial At Thebes (Irish Rep), Hamlet (The Public), Death Defying Acts (Variety Arts), Three Birds Alighting on a Field (MTC), The Seagull (Second Stage), A Moon for the Misbegotten (Pearl), Widow’s Blind Date (Circle in the Square). Regional: Guthrie, Williamstown Theater Festival, Playmakers Rep, Geffen, South Coast Rep, Actors Theater of Louisville, Long Wharf, Trinity Rep, Huntington, Gloucester Stage. Film: Shirley, Hail Caesar, The Boy Downstairs, Manhattan Romance, Fairhaven, Henry’s Crime, Redacted, Devil’s Own.TV: “Search Party,” ‘“Dangerous Book for Boys,” “Elementary,” “Forever,” “House of Cards,” “Person of Interest,” “Sopranos,”

“Providence,” “The Practice,” “ER,” “Star Trek Voyager,” “A Case of Deadly Force,” “Angel.”

JESSE PENNINGTON

(Tom Grealish) Mr. Pennington was seen this fall Off-Broadway as Astrov in Uncle Vanya directed by Richard Nelson at the Hunter Theater Project. Other Off-Broadway: Bootycandy (Obie Award, Lucille Lortel Award nomination), Franny’s Way and Rodney’s Wife (Playwrights Horizons), The False Servant (Classic Stage Company), The General from America (Theatre for a New Audience), A Place at the Table (MCC Theater), and The Winter’s Tale (The Public Theater). Regional: Uncle Vanya (Old Globe), Macbeth (Denver Theater Center), Major Barbara (Guthrie Theater), Maple and Vine (Humana Festival), Goodnight Children Everywhere (American Conservatory Theater), James Joyce’s “The Dead” (Huntington Theatre Company), as well as work at the Geffen Playhouse, Alley Theatre, Williamstown Theatre Festival, New York Stage and Film, and others.

Europe: American tour of Richard Nelson’s The Apple Family Plays in Berlin, Brighton, and Vienna. Film: American Gun, When Zachary Beaver Came to Town. M.F.A. from NYU.

WHO’S WHO: ARTISTIC STAFF REDMOND (Director) Most recent: Lovers - Winners and The Yalta Game by Brian Friel, directed by Conor Bagley (Irish Rep). Also at the Rep, Woman And Scarecrow (Marina Carr) and Sive (John B. Keane) both directed by Ciarán O’Reilly. The Mai (Marina Carr) directed

by Andrew Flynn (National Tour/Dublin Theatre Festival). Broadway: The Cripple of Inishmaan (Martin McDonagh), directed

by Michael Grandage. Off-Broadway: A Particle of Dread/Oedipus Variations (Sam Shepard) directed by Nancy Meckler (Signature). Wife To James Whelan, Temporal Powers and The Suitcase Under The Bed (Teresa Deevy) directed by Jonathan Bank (Mint). Additional favourites: Henry in Tom Stoppard’s The Real Thing, (Cailín Heffernan, Boomerang); Jerry in Harold Pinter’s Betrayal (Chris O’Connor, Mile Square Theatre, NJ); and Mr. Gilmer in To Kill A Mockingbird (Sabra Jones, Mirror, VT). Film/TV: Son Of The South, Delta Girl, ’79 Parts, Daylight, I Sell The Dead / Daredevil.

AIDAN

HEATHER MARTIN BIXLER (Music

Director) is a classical violinist and Irish fiddler whose playing has been described by critics as “emotionally riveting” and “astonishingly musical and sweet.” A graduate of Indiana University, The Juilliard School, and the University of Memphis where she received a doctorate in music degree, she has performed in many major concert halls, such as Carnegie Hall and Avery Fisher Hall in New York City, and Musikverein in Vienna. As an Irish musician, Bixler performs regularly with musicians such as Jimmy Crowley, Brendan Dolan, Donie Carroll, Ciaran Sheehan, and

Gabriel Donohue as well as being the guest on several prominent Irish musicians’ solo recordings. Pursuing her interest in studying the effect that music has on the brain, Bixler is currently a degree candidate in neuroscience at Columbia University.

She lives in New York with her husband, jazz saxophonist David Bixler, where she continues to perform and teach.

VICKI R. DAVIS (Sets) Previously for the Mint: The Price of Thomas Scott, The Suitcase Under the Bed, The Lucky One, Women Without Men, The Fatal Weakness, Katie Roche, Rutherford and Son, Temporal Powers, Wife to James Whelan, The Fifth Column, The Skin Game, The Lonely Way, Echoes of the War, Far and Wide, The Voysey Inheritance, Miss Lulu Bett, Welcome to our City, August Snow & Night Dance, and The House of 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.

WHO’S WHO: ARTISTIC STAFF ANDREA VARGA (Costumes) Andrea is a freelance Costume Designer and Associate Professor of Theatre Design at SUNY New Paltz. She is a proud graduate of the MFA program at FSU. Andrea is very happy to be back at The Mint where she previously designed Teresa Deevy’s The Suitcase Under the Bed and Temporal Powers, as well as Martha Gellhorn’s Love Goes to Press, Lillian Hellman’s Days to Come, and was a Drama Desk costume design nominee in 2015 for George Kelly’s The Fatal Weakness. Andrea and her scenic designer husband, Nathan Heverin have a wonderful 6 year-old son, Finnian.

DEANGELIS (Lights) is very excited to be designing with Mint and director Aidan Redmond. Selected design credits: Insurrection, All My Sons (Arthur Miller Theatre, Ann Arbor, MI.); Mary Poppins (Village Theatre); Preludes (Firehouse Theatre, Richmond Critics Circle Nomination); Spamalot (5th Avenue Theatre); The Price of Thomas Scott, Days to Come, Hindle Wakes, The Fatal Weakness (Henry Hewes Design Award Nomination), The Lucky One, Philip Goes Forth, Love Goes To Press, The New Morality (Mint Theatre); Through the Night (City Theatre, PA. and Cincinnati 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); Into the Woods, Boy Gets Girl, Trip to Bountiful, Pride and Prejudice, Arabian Nights, Junta High (VCU-Hodges Theatre). Christian currently teaches at Virginia Commonwealth University in Richmond, Virginia.

CHRISTIAN

M. FLORIAN STAAB (Original Music and Sound Design) is a sound designer and composer based in Brooklyn, NY. Credits include: The Library (Public Theater); Uncle Vanya (Pearl Theatre Company); Nomad Motel (Pittsburgh City Theatre); Into the Breeches! (Trinity Rep); On Beckett with Bill Irwin (Irish Rep); Minor Character (New Saloon); A Hunger Artist (Tank/Sinking Ship); Mad Libs Live! (New World Stages); Bright New Boise (Partial Comfort) and The Suitcase Opera (Chicago Opera Vanguard). Staab was born and raised in Germany and received his BA from Oberlin College and MFA from Krannert Center.

He is an associate artist with Sinking Ship Productions and the resident sound designer at the O’Neill National Playwrights Conference. www.florianstaab.com CHRIS FIELDS (Props) is so excited and proud to be joining the Mint Theater for a third time (Conflict, The Price of Thomas Scott) at Theatre Row. Recently he created props for Bedlam’s Uncle Romeo Vanya Juliet. He was previously Props Master at Shakespeare And Co., Barrington Stage Company, Flat Rock Playhouse, Contemporary American Theater Festival, several Off-Broadway shows, and the musical Anna Karenina at Circle in the Square. He was the Associate Props Master at the Public Theater for several years. As a craftsperson he helped create the original costumes for The Lion King and Beauty and the Beast, as well as the goat for the original production of Edward Albee’s The Goat, or who is Sylvia?. Among his proudest accomplishments is six arrests and an Obie Award as a member of ACTUP. (If you haven’t heard of them, Google it.) So much thanks to my family and friends who make this crazy life in the theater possible.

WHO’S WHO: ARTISTIC STAFF STOLLER (Dialect Design & Dramaturgy) has helped Mint casts suit words to actions for more 30 plays, most recently The Price of Thomas Scott, Days to Come, Conflict, and Hindle Wakes. Other recent stage productions are Little Rock (Sheen Center), and Tennessee Williams’s A Lovely Sunday for Creve Coeur, directed

by Austin Pendleton. Recent screen work includes Dietland (AMC) and the film version of Anna Deavere Smith’s Notes from the Field (HBO). She also worked on the audiobook of Notes from the Field, read

by Ms. Smith, now available via Random House and other fine booksellers. Amy’s work on this production is dedicated to the memories of Bairbre Dowling and George Morfogen. www.stollersystem.com.

AMY

MAYA CANTU (Dramaturgical Advisor)

Maya has worked on fourteen productions at the Mint. Maya is on the Drama faculty at Bennington College, and received her D.F.A. in Dramaturgy and Dramatic Criticism at Yale School of Drama. As a dramaturg, Maya has also worked on productions at Yale Repertory Theatre and Yale Summer Cabaret, and with Dorset Theatre Festival. Her academic writing has appeared in publications including Studies in Musical Theatre, New England Theatre Journal, The Palgrave Handbook of Musical Theatre Producers, and most recently, Reframing the Musical: Race, Culture and Identity (which includes her essay on Ada “Bricktop” Smith). Maya is the author of the book, American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy (Palgrave Macmillan, 2015).

ROB REESE (Production Manager), is a production manager at large working for such theater companies as the Mint Theater Company, Classic Stage Company, and Bay Street Theater. Rob is also a director and writer of plays, operas, and musicals including Miranda (HERE, Winner of the Innovative Theater Award for Outstanding Musical), Yahweh’s Follies (ARS NOVA “Godspell for a new millennium”) and Keanu Reeves Saves the Universe (The Sci-Fi Parody Adventure EVER!) and most recently the “one man show” genre piece: 101 Reasons to Thank Your G-d for Vladimir J Putin, Donald J Trump, and My Dad who’s a Dick! at The Brick Theater. Rob is a member of the Indie Theater Hall of Fame.

MEYERS (Production Stage Manager) was in a play once. He played the “Captain” in the Grand Junction, Colorado, high school production of Carousel. He then turned to stage management. He is very pleased to be continuing his collaboration with Mr. Bank having previously worked on ten Mint productions including The Price Of Thomas Scott, Conflict, Hindle Wakes, Fashions For Men and Earnest Hemingway’s The Fifth Column. His New York highlights also include Beyond Therapy and Happy Birthday (TACT), Painting Churches and Marry Me A Little (Keen Company), Amazons And Their Men (Clubbed Thumb), Orange Flower Water and Adam Rapp’s Stone Cold Dead Serious (Edge Theater Company), Hamlet (CSC), Critical Darling (The New Group) and Greg Kotis’ Eat The Taste (Barrow St. Theatre).

Regional highlights include, ten summer seasons with The Theater at Monmouth and The Underpants (Two River Theater

JEFF

WHO’S WHO: ARTISTIC STAFF Company). His union of choice is AEA, and he dedicates this and every performance to his mom and dad.

(Philadelphia Orchestra); Epiphany V (film).

Member: Casting Society of America.

COLONNA (Stage

Representatives) has served as press representatives and marketing consultants on Broadway and off for over 25 years. In addition to Mint Theater (24 years!), current clients include several not-for profit theatres including Ensemble for the Romantic Century, Gingold Theatrical Group/Project Shaw, Godlight Theatre Company, INTAR, Keen Company, NAATCO and Red Bull Theater, among others. David serves on the Board of Governors of ATPAM, the Association of Theatrical Press Agents & Managers. More? Visit DavidGersten.com.

CHRISTINE

J.

Manager) is a stage manager whose credits include Broadway: Tootsie. PreBroadway: Tootsie. Off-Broadway: Blue Ridge; The Great Leap (Atlantic Theater Company), The Resistible Rise of Arturo Ui, Pacific Overtures (Classic Stage Company), Ordinary Days; Lonely Planet (Keen Company), The Metromaniacs (The Red Bull Theater), The Dread Pirate Project (world premiere, Baryshnikov Arts Center), Three Wise Guys (TACT), Stupid F*cking Bird (AADA). Regional: Hurricane Diane (world premiere, Two River Theater Company), Evita; Mamma Mia; Fiddler on the Roof (Maine State Music Theatre).

MFA: Mason Gross School of the Arts, Rutgers University.

STEPHANIE KLAPPER (Casting) Stephanie’s work is often seen on Broadway, Off-Broadway, regionally, internationally, on television and film. Theatre companies include Mint Theater Company, Primary Stages, New York Classical Theatre, Hudson Valley Shakespeare Company, american vicarious, Masterworks, and Resonance Ensemble. Recent projects include: The Importance of Being Earnest; Maverick; Actually We’re F…ed; You’re A Good Man Charlie Brown (new version); Hamlet; Daniel’s Husband; Final Follies; Days to Come; A Lovely Sunday for Creve Coeur; The Saintliness of Margery Kemp; Romeo and Juliet; A Letter to Harvey Milk; Red Roses, Green Gold; Pride and Prejudice (Kate Hamill); Hindle Wakes;The Mecca Tales; Candide and West Side Story

DAVID GERSTEN & ASSOC. (Press

JONATHAN BANK (Producing Artistic

Director) has been the Artistic Director of Mint Theater Company since 1995, where he has become, in the words of The New York Times’ Jason Zinoman, “the leading New York entrepreneur” of the neglected play business. Terry Teachout of the Wall Street Journal described Jonathan Bank as “one of a handful of theater artists in America whose name is an absolute guarantee of quality.” 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”; directing The Suitcase Under the Bed, Katie Roche, Temporal Powers and Wife to James Whelan. Some favorite Mint productions include Yours Unfaithfully by Miles Malleson, The New Morality by Harold Chapin, Mary Broome by Allan Monkhouse, Far and Wide by Arthur Schnitzler, Susan and God by Rachel Crothers, and Maurine Dallas Watkins’ So Help Me God!

MINT DONORS The following generous Individuals, Foundations, & Corporations support the Mint Theater, and we honor their contributions: CRÈME DE LA CRÈME $25,000+ Anonymous The Andrew W. Mellon Foundation Howard Gilman Foundation New York City Department of Cultural Affairs Royal Little Family Foundation The Shubert Foundation, Inc. CRÈME DE MINT $10,000 - $24,999

Barbara Bell Cumming Foundation Virginia Brody Mary & Bruce Crawford Cory & Bob Donnalley Charitable Foundation Dorothy Strelsin Foundation Fan Fox & Leslie R. Samuels Foundation Gail P. Gamboni The Harold & Mimi Steinberg Charitable Trust Brian and Darlene Heidtke Rebecca Kaplan Lucille Lortel Foundation Marta Heflin Foundation Michael Tuch Foundation New York State Council on the Arts The Ted Snowdon Foundation John Yarmick Jean and Louis Dreyfus Foundation

Gemzel Hernandez Martinez M.D. Jerome Robbins Foundation Lorna Power Wallace Schroeder Sukenik Family Foundation Kathryn Swintek and Audré Dorra CHOCOLATEMINT $2,500 - $4,999

Anonymous John H. & Penelope P. Biggs Kenneth & Carole Boudreaux Building for the Arts NY, Inc. Dorothy Louden Foundation William Downey Jennifer & Greg Ezring Agnes & Emilio Gautier Douglas Liebhafsky & Wendy Gimbel Christopher Joy & Cathy Velenchik J.A. Kedziora Ms. Kaori Kitao Elaine & Richard Montag Mr. Pancks’ Fund Dorinda J. Oliver Petros K & Marina T Sabatacakis Foundation Zachary & Susan Shimer Charles Sperling David Stenn Dennis & Katharine Swanson J. Michael Thomas Mary Ellen & Karl Von Der Heyden

SILVERMINT $5,000 to $9,999

SPEARMINT

Anonymous (2) Gretchen Adkins Axe-Houghton Foundation Blanche & Irving Laurie Foundation Robert Brenner David L. Klein Foundation Nicholas & Edmée Firth Johanna & Leslie Garfield Geraldine Stutz Trust Gladys Krieble Delmas Foundation John & Janet Harrington

$1,500 - $2,499

Joseph Bell / Peter Longo Sarah Billinghurst Solomon Lois A. Burke Catherine Dugan Suzan & Fred Ehrman Barbara Farrar & Tom Evans Ruth Friendly Lanie Hadden Paul & Karen Isaac Robin Jones

Lambs Foundation Sandra & Jonathan Landers John David Metcalfe Frederick Meyer George Robb Stagedoor Manor John Smith, in honor of my wonderful friend Mal Bank Helen S. Tucker, Gramercy Park Fdn Mary & John Wight Jivan Wolf Burton & Sue Zwick PEPPERMINT $750 - $1,499

Anonymous Actors’ Equity Foundation David & Kim Adler Judith Aisen & Kenneth Vittor Barbara Berliner & Sol Rymer Jon Clark & Ryan Franco Peggy Correa Ann DeInnocentiis Thomas A. Dieterich Douglas & Diana Dooley Joan Drelich Judith Eschweiler Quince Evans Angela Fiore Charles A. Forma Gary Giardina Charles & Jane Goldman Barbara Gottlieb Hickrill Foundation Linda Irenegreene & Martin Kesselman Roselle Kaltner Sally & Wynn Kramarsky George Laforest Claire Lieberwitz & Arthur Grayzel, MD Gary & Charlene MacDougal Vivian Majeski Martin & Maude Meisel Doreen S. Morales Frank Morra Richard Robilotti

MINT DONORS Donna & Ben Rosen Mark Rossier Kathy Salem Drs. Carole M. Shaffer-Koros & Robert M. Koros Robert & Nancy Shivers Bob & Sherry Steinberg Stella Strazdas & Henry Forrest Charitable Fund Evelyn Mack Truitt Joan & Bob Volin Hilda Wenig & Lisa Renz Steven Williford DOUBLEMINT $250 - $749

Anonymous (10) Joan Adams Jade Albert Louis Alexander Dean Alfange Steven Allen & Caroline Thompson Linda & Lloyd Alterman Laura Altschuler Carmen Anthony Jordan Baker & Kevin Kilner Randy & Ruth Bank Judith E. Barlow Mary L. Baskett Anna Kramarsky & Jeanne Bergman Muriel Bermar Alvin Berr Clint Best Peter & Helena Bienstock Judith Bihaly Gene & Joann Bissell Steven Blier & James Russell Zelda & Julian Block Dr. & Mrs. Jeffrey Borer Nathan Brandt Steven Brauser Michael Brecher & Karen Shatzkin Charles & Rosemary Brennan Bebe & Doug Broadwater Melinda Bush Ann M. Butera Linda Calandra Peter Cameron Alice B. Cannon-Perkins

The Carol Tambor Theatrical Foundation Aurelie Cavallaro Carolyn Chave & Robert Hand Mervyn Clay Steven Coe Toni Coffee Ira Cohen Julie Cushing Connelly Dennis Consumano & Cynthia Appelblatt Penelope & Peter Costigan Audrey & Fergus Coughlan Marina Couloucoundis William Rumancik & Paul Cowan Michael Crowley John & Ellen Curtis Stuart & Sue Davidson Carolyn E. Demarest Katherine & Bernard Dick Ruth & Robert E. Diefenbach Nancy M. Donahue Caroline Donhauser Suzanne Dowling Jeffrey Dubiner James Duffy Malcolm Duffy Emily Dunlap Marjorie Ellenbogen Sara & Fred Epstein Ellen & Frank Estes H. Read Evans Linda Feinstone Howard Feldman Richard Ferrone & Cynthia Darlow Lisa & William Finkelstein Dena & John Fisher James Fleckenstein & Lori Hiatt Eva & Norman Fleischer Rose Forman Carol & Burke Fossee Jeffrey & Diana Frank Edward & Joan Franklin Audrey Friedland J. Roger & Patricia Friedman Richard Fursland & MJ Territo A. Jean & Frank Gallinelli Nicholas Garaufis & Betsy Seidman Peter Gates Mary Geissman

Marion & Whitney Gerard Susan & David Gerstein David & Suellen Globus Betty & Joshua Goldberg Gloria Goldenberg Margaret L. Goodman Minette Gorelik Stanley Gotlin & Barry Waldorf James Gould Anna Grabarits Bruce Gregory & Diane Gregory Dr. Arnold Grossman Marty & Ellie Gruber George & Antonia Grumbach Stephanie W. Guest Sharon Gurwitz Carol & Steve Gutman Helen Hadjiyannakis Bender Robert Hall Shirley & Bernard Handel Stephen Hauge Henry Hecht & Sally Wasserman Carol Hekimian Reily Hendrickson Michael Herko Sigrid Hess Barbara Hill Alan Hirsh Carol Hoffman Bruce & Heather Horner Harriet & Elihu Inselbuch Jocelyn Jacknis James Jackson Wendy & David Johnston Gerhard Joseph Joseph Family Charitable Trust Virginia Josephian Bill & Margaret Kable Gus Kaikkonen & Kraig Swartz Elizabeth & Joseph Kaming Judith Kaplan Greg & Karin Kayne R.S. Kayne & C.M. Pyle Frances & Carter Keithley Lisa Henricksson & James Kelly Louise Kerz Hirschfeld David & Kathleen Kinne Frederick Koch James J. Kolb Gerald & Marlene Kolbert

MINT DONORS Harold Kooden & John Hunter Phil Koopman Carmel Kuperman Saul Kupferberg Dennis Lalli David & Mary Lambert Gene Laughorne Laura & Rodney Leinberger Jay Lesenger Mary Linda Levine Eva Lichtenberg & Arnold Tobin Joe Lombardi & David Koch Lois Long and William Long Daniel & Sharon Lowenstein Mary & Boyd Lowry Paul Lubetkin & Joyce Gordon Joan M. Lufrano Bette Lyons Gina MacArthur Mary & Edward Maguire Mary Rose Main Barbara Manning Florence Mannion Christina & Robert Mantz Robert & Jean Markley Lorraine Matys Margaret P. Mautner Cheryl & Harris May Doris & David May Patricia A. McCormack Carolyn McGuire Robert McLaughlin & Sally Parry Richard Mellor Jr. Joan & John Mendenhall Lusia & Bernard Milch Stephanie Miller Susan & Joel Mindel Ann Miner Joseph Morello Ronald & Elaine Morris Monica Mullin Mark & Georgia Munsell Saleem & Jane Muqaddam Martin & Lucy Murray Virg & Bob Nahas Daniel Napolitano Louise Neville

William Nolan Greenway O’Dea Stephanie & Robert Olmsted Linda & Modest Oprysko Colleen Orsatti Frances Pandolfi Jeanine Parisier Plottel Kathryn & Richard Pershan Peter Haring Judd Fund Steven Phillips & Isabel Swift Tom Phillips Sheila & Irwin Polishook Mary & Larry Pollack Gary Portadin & Marie Dinolan Georgette & David Preston Carlo & Bob Prinsky Judith Quillard Susan & Peter Ralston Richard & Dana Reimer Cordelia & David Reimers Tom Repasch David Richter Peter Robbins & Page Sargisson Brian Rohman & Peggy Herzog Robert & Rhoda Roper Gary & Karen Rose Linda Rose Charles & Meryl Rubin Michael & Marcia Rubin Thomas & Lynn Russo Winthrop & Mary Rutherfurd Richard G. Safran Rosemarie & Lou Salvatore Jacqueline Sandler Catherine Scaillier Caroline Schimmel Daphne Schwab Marilyn & Joseph Schwartz Robert Secor David Seifman & Kathy Legg Jim & Ann Settel Dimitri Sevastopoulo Ronald Shaw George & Marjorie Shea Richard & Camille Sheely Janet & Joseph Sherman Helen Shufro

Shelley & Joel Siegel Marion Simon James & Daisy Sinclair Adrianne & David Singer Frank Skillern Anthony Smith & Patricia Bettin Smith Barbara & Stanley Solomon Sandra & Graham Spanier Shondell & Ed Spiegel Martha Sproule Alec Stais & Elissa Burke Mary K. & Gary Stern Kipp & Lauren Stevens Susan Stockton Amy Stoller Melissa & Gabriel Struck Eve Stuart Pamela Stubing Joseph Sturkey Dr. Larry Sullivan Douglas G. Tarr Madeline Taylor Anne Teshima Denny Denniston & Christine Thomas Joan & Jack Thorne Janet & Udi Toledano Lee Toole Stan & Madelene Towne Ken & Linda Treitel Charles & Susan Tribbitt Jean-Francois Vilain & Roger Wieck Anthony & Elaine Viola Lise Vogel Robert & Janet Wagner Daniel & Judith Walkowitz John Michael Walsh Kim Ruska & Steven Warshawsky Kevin & D.G. Weber-Duffy Joan Weingarten Patricia & Richard White Anita & Byron Wien Robert & Lillian Williams Constance Wingate Stephen Abel & Frank Wolf Daniel Marshall Wood Trudy Wood & Jacob Goldberg Mary Zulack & Peter Belmont

This list represents donations made from May 1, 2018 to May 10, 2019. Every effort is made to ensure its accuracy; please notify us if we have made a mistake.

Nonprofit Building for the Arts presents vibrant arts initiatives to communities and neighborhoods in New York and other U.S. cities, making it possible for people and places to achieve their greatest potential.

Theatre Row serves as an affordable home in the heart of the Theater District for performing arts organizations and a lively, accessible venue for diverse audiences.

Over 165,000 patrons come to Theatre Row each year.

Building for the Arts’ other signature project—Music and the Brain—brings music literacy curriculum and classroom keyboard instruction to schools with underserved students.

Learn more about Building for the Arts and our initiatives at www.bfany.org.

BUILDING FOR THE ARTS BOARD OF DIRECTORS

THEATRE ROW STAFF

Jeffrey A. Horwitz, Chair Carmen Bowser, Vice Chair Daniel Biederman, Treasurer Zachary Smith, Secretary Kevin Alger Andy Hamingson Miriam Harris William J. Maloney Melissa Pianko Wendy Rowden Joyce Storm

Erika Feldman

BUILDING FOR THE ARTS EXECUTIVE TEAM President

Wendy Rowden Chief finanCial OffiCer

Bruce Levine

General ManaGer assOCiate General ManaGer

Emma Montoya Hills

direCtOr Of artistiC PrOGraMMinG

Sarah Hughes

teChniCal direCtOr

Keith Adams

assistant teChniCal direCtOrs

Colin Colford, Sean Jones, Chris Phan, Matthew Sells

BOx OffiCe ManaGer

Kelsey Kennedy

BOx OffiCe staff

Taurice Artis, Sara Christopher, Amanda Finch, Kristin Heckler, Kiley McDonald, Kelly Webb hOuse ManaGer

Jack Donoghue

studiO ManaGer

Scott Pegg

In the event of fire, please proceed quietly to the nearest exit. Exits are located where you entered the theater complex.

The use of cameras and other recording devices in this theater is prohibited by law.

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

This presentation is not a Theatre Row or Building for the Arts NY, Inc. production, nor does its presentation in this theater imply approval or sanction by either Theatre Row or Building for the Arts.

MINT THEATER COMPANY BOARD OF TRUSTEES GRETCHEN ADKINS

JOHN P. HARRINGTON

JONATHAN BANK

BRIAN HEIDTKE

MARY CRAWFORD

KATHRYN SWINTEK

BOB DONNALLEY

JOHN YARMICK

In Memoriam CIRO A. GAMBONI

MINT STAFF Producing Artistic Director......Jonathan Bank Electricians.............Paul Bourne, Nick Carlson, Shannon Clarke, Michael Fudge, Associate Producer.....Rebecca Nell Robertson Corey Hatch, Hannah Reilly, Evan Roby, Patrick Tennent Managing Associate…............Lindsay Warnick Exploring the Arts Intern............Jada Jackson

Casting Asst.…....Lacey Davies, Leah Shapiro

Financial Services…..........Nellis Mgt. Services Andrea Nellis & Lucy Mallett

Asst. to SKC…...........................Caitelin McCoy

Dramaturgical Advisor…...............Maya Cantu

House Manager.......Bree Bursey, Rachel Davis

Advertising & Website Design.........................

The Pekoe Group Amanda Pekoe & Jason K. Murray

Videographer….................................Dan Shein

SPECIAL THANKS

Publicity….............David Gersten & Associates David J. Gersten, Daniel DeMello

Erika Feldman and Theatre Row.

Asst. to the Light Designer….....Gabrielle Cruz

Mint Theater wishes to thank Clodagh Smith; Kate Dale, Jessica Nelson, and Josh Hackett at Juilliard; Marjorie Kellogg; Don Hebbard; John McDermott; Matt at M & Friends Antiques, Anna and Wayne at Full Circle Antiques in Walton, NY; Peggy at Crow & Sparrow Consignment and Boutique, Green Giraffe Antiques, House of Consignment, and The Meeting Place in Unadilla, NY; Old Hickory Antiques in Bainbridge, NY; Mary Beth & Jersey Shore GAA; Liz Kenny at Celtic Irish Gifts & Treasures; Amber Dutton and Stella Katz for Costume Fabrication; Kenny Bell and West Bank Cafe.

Program Lighting Equipment provided in part by Auditor…......................Lutz & Carr, CPA’s, LLP 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 PRODUCTION STAFF City of New York Department of Cultural Affairs.

Master Carpenter…...................Carlo Adinolfi Subsidized studio space provided by the A.R.T./ Asst. Costume Designer…....Alexandra Lakis New York Creative Space Grant, supported by Asst. Light Designer…............Emma Sheehan the Andrew W. Mellon Foundation.

Master Electrician…...................John Anselmo Audio Supervisor…........................Jorge Olivo Board Operator….......................Jim Armstrong Wardrobe Supervisor….Meghan Jane Condran Properties Asst….......................Nick Campano Set Installation...........Hillbolic Arts & Carpentry Sound Techs..................................Roy Curiale, Nicholas Cocks, Hugo Fowler