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MINT THEATER COMPANY
Jonathan Bank, Producing Artistic Director Sherri Kotimsky, Finance & Production presents
RUTHERFORD & SON by GITHA SOWERBY with
Robert Hogan, Eli James, Allison McLemore, James Patrick Nelson, Sandra Shipley, Dale Soules, Sara Surrey, David Van Pelt Sets
Costumes
Lighting
Vicki R. Davis
Charlotte Palmer-Lane
Nicole Pearce
Composer & Sound
Sound
Props
Ellen Mandel
Dialects & Dramaturgy
Jane Shaw Wigs
Joshua Yocom Casting
Amy Stoller
Gerard Kelly
Amy Schecter
Production Stage Manager
Asst. Stage Manager
Production Manager
Allison Deutsch
Andrea Jo Martin
Press Representative
Advertising & Marketing
David Gersten & Associates
The Pekoe Group
Sherri Kotimsky Graphics
Hey Jude Graphics Inc.
Directed by
Richard Corley OPENING NIGHT FEBRUARY 27TH, 2012 Rutherford & Son is made possible 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 RUTHERFORD & SON Living Room of John Rutherford’s home. Act I An evening in December. 10 Min. Intermission ACT II Two Days Later 10 Min. Intermission ACT III One Night Later John Rutherford John his son Richard his son Janet his daughter Ann his sister Mary young John’s wife Martin Mrs. Henderson
Robert Hogan Eli James James Patrick Nelson Sara Surrey Sandra Shipley Allison McLemore David Van Pelt Dale Soules
ROBERT HOGAN
ELI JAMES
JAMES PATRICK NELSON
SARA SURREY
SANDRA SHIPLEY
ALLISON MCLEMORE
DAVID VAN PELT
DALE SOULES
RUTHERFORD & SON ABOUT THE PLAYWRIGHT
GITHA SOWERBY: FROM CHILDREN’S AUTHOR TO DRAMATIST by Patricia Riley
Very early on the morning of February 1st, 1912, Githa Sowerby crept out of the London flat she shared with two of her sisters and headed for the nearest news vendor’s stall. Was it really true that yesterday afternoon, after the premiere of her first play Rutherford & Son, that the Royal Court Theatre in Sloane Square had resounded to cheers, prolonged applause, and cries of “Author! Author!”, and tickets for her play were now the hottest theatre tickets in town? Any lingering doubts Githa may have had about the reality of the previous day’s events were quickly dispelled. The success of Rutherford & Son was headline news and the billboards were screeching: COURT THEATRE-NEW AUTHOR’S REMARKABLE TRIUMPH. Within a few minutes Githa was walking back along the Thames embankment clutching copies of all the morning newspapers, and the billboard poster which the kindly news vendor had let her keep. It was no dream. Rutherford & Son, the tale of a ruthless father who sacrifices his children for his huge glassworks in England’s industrial north, was a smash hit. Indeed, it was being hailed as the best play to be staged in the West End for a decade, and the writing was being compared to that of Ibsen. In our more enlightened twenty-first century, Githa’s success as a female playwright may not seem particularly remarkable. But in 1912 such critical
Opening night program
acclaim for a play written by a woman was unprecedented. English Victorian and Edwardian middle-class family life had been founded on the premise that women, to be considered pure and womanly, must not aspire to a role outside the home. Astonishing as it may seem to us now, it was then widely accepted (in accordance with Charles Darwin’s theory put forward in his 1871 book “The Descent of Man: Selection in Relation to Sex”) that females of all species, including humans, represented a stunted
Githa Sowerby circa 1912
and inferior example of evolution. Women were considered to have been created by God solely for the procreation of children and the sexual satisfaction of men. In that climate it is no coincidence that Rutherford & Son was billed at its premiere as having been written by “KG Sowerby”, not by “Githa Sowerby”. The manager of the Royal Court knew that Githa’s play would not get a fair hearing unless her gender was hidden. These patronising and sexist attitudes can clearly be seen in the astonished reactions of journalists who subsequently interviewed Githa once the secret was out. Keble Howard of London’s Daily Mail wrote: “This new dramatist, about whom half the play-going world is talking, is just the sort of young Englishwoman you may meet by the score on tennis lawns or up the river. Tall, fair, with a pretty face and a very pleasant voice, you might suspect her of eating chocolates or talking nonsense in the shade, but you would never dream that she could be the author of a play with the grim force of a Pinero in the story or the sureness of a Galsworthy in the characterisation.”
Nor was there less critical incredulity when the play crossed the Atlantic later that year. Rutherford & Son came to New York’s Little Theater in December 1912 and, in a piece entitled “When Lovely English Miss Turns to Playwriting- Being A Discussion of One Notable Achievement With A Hint Of What Tea Table Ambition
ABOUT THE PLAYWRIGHT CONT. RUTHERFORD & SON Sometimes Leads To”, the New York Times critic Adolph Klauber scoffed: “Even with Miss Sowerby as a shining example, we do not feel that the playwriting instinct in young ladies calls for immediate or emphatic encouragement.”
Clearly Githa Sowerby was a woman of determination and considerable courage: it was no mean feat to take on the British male theatre establishment and win through as she did. But from where did Githa get the ideas that eventually gave birth to this searing indictment of the legacy of the industrial revolution- a legacy that in the play she compares to child sacrifices to the ancient fire god Moloch? For many years this information was hidden by the smokescreen of misinformation that Githa herself created, presumably to protect her own and her family’s privacy. But through the research I did for my book “Looking For Githa,” published in England in 2009, the answer finally emerged: the ruthless industrialist John Rutherford is based on Githa’s grandfather, John Sowerby (18081879). After her marriage Githa continued to write very successful children's books. She also wrote a number of other plays, but none achieved the success of Rutherford & Son. She died in 1970 aged 93, believing that her work had been forgotten and, wrongly, that her family had no interest in her achievements. In 1980, however, an abridged version of Rutherford & Son was performed in London by women's group, Mrs. Worthington’s Daughters, and since that time there have been a number of amateur and professional productions in England and America, notably by the National Theatre in London in 1994, by the Mint Theater in New York in 2001, and by
the Shaw Festival Theater in Niagara-on-the-Lake in 2004. In 2009, Rutherford & Son came triumphantly home to Tyneside when it received its first professional production with a complete cast of Tyneside actors at Newcastle-upon-Tyne's Northern Stage.
Rutherford & Son has been hailed by the National Theatre in London as one of the top 100 plays of the twentieth century, and I feel very privileged to have been entrusted in 2007 by Githa's family with the job of telling her story.
RUTHERFORD & SON ABOUT THE PLAYWRIGHT TIMELINE 1851
John, Githa's grandfather, opens the huge Ellison Glass Works on the banks of the River Tyne in the north of England. He raises his two sons to take over the glassworks, and arranges marriages for his four daughters that will benefit the business financially and socially. The Ellison Glass Works becomes market leader, dominating the European and American markets for mass-produced glassware.
1871
John's eldest son John George (Githa's father) takes over the glassworks.
1872-82
In 1872 John George Sowerby marries Amy Hewison and they have six children, including Githa, born 1876.
1883-90
Record sales are achieved, but the board forces Githa's father to resign. He returns as a salaried worker.
1890
Githa's brother, Lawrence enters the glassworks as a manager but leaves and refuses to return, emigrating to Canada in 1912.
1896
Githa's father severs his connection with the glassworks. Building on his previous hobbies of landscape painting and illustrating children's books, he becomes a full-time artist.
1905-11
Githa moves to London with her sister Millicent, earns her living writing children's books which Millicent illustrates. They take on the care of their disabled sister, Marjory. In 1905, Githa becomes a socialist and joins the Fabian Society.
1912
Rutherford & Son is a smash hit at London's Royal Court Theatre. She becomes engaged to poet and dramatist John Kaye Kendall after knowing him only three weeks, and marries him two months later.
1918
Githa gives birth to a daughter, Joan, whose memoirs account for much of the material in the book Looking For Githa.
Photos on previous page:Top:Githa, far left with umbrella, and the Sowerby Family Bottom: Newspaper ad for Sowerby’s Elllison Glassworks
John Sowerby, Githa’s Grandfather
John George Sowerby, Githa’s Father
Captain John Kendall, Githa’s Husband
ABOUT THE DIALECT RUTHERFORD & SON Geordie: A’m gannin’ hyem to wor lass.
“Standard” English: I’m going home to my wife. - Scott Dobson’s LarnYersel’ Geordie
A Geordie is a native of Newcastle-upon-Tyne (and Gateshead); more broadly, of Tyneside and Wearside, used sometimes also of Durham and southern Northumberland. The Geordie dialect, with its close relationship to Anglo-Saxon roots, has more in common with other northeastern dialects, and even Danish, than it does with the Norman-Frenchinfluenced “Standard” English of London and the rest of England’s southeast. The Geordie accent shares some attributes with Yorkshire and others with the Scottish Lowlands, but is ultimately unique. Our job has been to fulfill the class distinctions drawn by the playwright within this speech system, and to honor the speech of real Geordies—which challenges most English actors and audiences!—without sacrificing all intelligibility. Some editing of accent features has been necessary, but we have kept it to a minimum. by Amy Stoller
GLOSSARY Bairn: Child. Feckless: Feeble, ineffective, careless, irresponsible. Fell: Upland stretch of open country; moor; barren or stony hill. Fell racing is a popular sport in the area. Girdle Cake: A girdle is a flat circular iron plate with handle, used on an open fire. Americans might call it a griddle. Girdle cakes are similar to pancakes. The cake in Act I seems to be a large one. Usually there would be several small ones. Grantley: Githa Sowerby’s fictional name for Gateshead, the Tyneside town that sits across the river from Newcastle, in roughly the same relationship as Brooklyn to Manhattan. Haad yer whist: Literally, keep your silence; generally, shut up. Hided: Flogged. Hame (pronounced hyem): Home. Lad: Boy or man. Lass: Girl or woman; but also, a sweetheart. My lass means my sweetheart.
Lear man: A lear (usually spelled leer or lehr) is an annealing oven or annealing furnace. (To anneal is to temper glassware by controlled, gradual cooling promptly after manufacture). Linty: Willow wren or linnet. No stronger nor a linty: No stronger than a wren. Metal: Glassmaking term for the basic glass mixture, particularly when molten. Ordinary white metal: ordinary clear glass. Muffle: Small oven for bringing enameled or gilded glass to the heat needed for melting the decoration, thus permanently attaching it to the glass body. The Rutherford factory, like the Sowerby factory on which it is based, produces molded and pressed glass, such as vases and elegant tableware: “art glass for the millions.” Pot: Fireclay crucible used for founding or melting of glass. Tarn: Small mountain lake. The Tarn Cottage is a small lakeside house. Wor: Our, ours, my (sometimes we). He was Wor John: He was Our John. Worrit: To worry; by extension, a worrier.
RUTHERFORD & SON BIOGRAPHIES ROBERT HOGAN (John Rutherford) Broadway: A Few Good Men, Hamlet. OffBroadway: Blood & Gifts (Lincoln Center), Mourning Becomes Electra, Abe Lincoln’s Big Gay Dance Party, Accomplices (New Group), What Didn’t Happen, On the Bum (Playwrights Horizons), Further Than the Furthest Thing (Manhattan Theatre Club), Never the Sinner (Outer Critics Circle Award for Best Featured Actor), Hope is the Thing With Feathers (Drama Dept.), Waiting for Lefty (Dir: Joanne Woodward), Boy (Primary Stages), Romania Kiss Me, Rainbow Kiss (59 E. 59), Baby Dance (Lucille Lortel), In the Western Garden (EST), Major Crimes, Lighting Up the Two-Year-Old, (Actors Studio Theatre). Regional: Ibsen’s The Master Builder (Yale Rep), William Kennedy’s Grand View (Capitol Rep, Albany), Eugene O’Neill’s Moon for the Misbegotten (Arena Stage, Washington DC, Helen Hayes Award nom. for Best Actor). FILM: “Too Big to Fail”, “Welcome to Academia”, “Species II”, “Lady in Red”, “Sweetland”, “Universal Signs”, “Borough of Kings”, Michael Crighton’s “Westworld”, “Hamburger, the Motion Picture”. TV: “The Wire”, “Law and Order”, “L&O Criminal Intent”, “L & O: SVU” “Deadline”, “Now and Again”, “Cosby”, “Cupid & Cate” (Hallmark Hall of Fame), “M*A*S*H” and many other shows. Robert was in the original cast of Rutherford & Son and is happy to be back at the Mint. ELI JAMES (John) last appeared at the Mint as Moses Barron in Temporal Powers. His solo play William and the Tradesmen has been performed at numerous venues around the city, including Ars Nova and La Mama. Other stage credits include the Broadway production of Bloody Bloody Andrew Jackson, The Four of Us at Manhattan Theatre Club, Becky Shaw at Boston’s Huntington Theater, and the world premiere of Jason Grote’s Maria/ Stuart. Further regional credits include the East Coast premiere of Tom Stoppard’s The Invention of Love at The Wilma Theater, and Gross Indecency with Philadelphia Theater Company. TV credits include “Lights Out” on FX and “Mercy” on NBC. His essay “Finding the Beat” was published in the Random House anthology Twentysomething Essays by Twentysomething Writers, a Boston Globe bestseller. He co-founded, wrote and performed
with the comedy group Quiet Library at New York’s Upright Citizens Brigade Theater and People’s Improv Theater. www.eli-james.com. ALLISON MCLEMORE (Mary) Mint: The Madras House. New York: Nora and The Dybbuk at Marvell Repertory Theatre. Regional: Dracula at The Pioneer Theatre Company. A Christmas Carol at Cincinnati Playhouse in the Park. The Nibroc Trilogy and Turn of the Screw at Chester Theatre Company; Last Train to Nibroc at Peterborough Players; The Underpants at The Olney Theatre; Cyrano at Pennsylvania Shakespeare Festival; Othello and Jane Eyre at Pittsburgh Irish and Classical Theatre; Pygmalion (Denver Post Ovation Award) and Enchanted April at Creede Repertory Theatre. JAMES PATRICK NELSON (Richard) made his Off-Broadway debut in Austin Pendleton’s production of The Three Sisters at Classic Stage Company with Maggie Gyllenhaal and Peter Sarsgaard. Regional Theatre: The Norman Conquests (dir. John Christopher Jones), Galileo (dir. David Wheeler), The Duchess of Malfi (Actors Shakespeare Project), Much Ado About Nothing, The Tempest (Olney Theatre Center) and The Group (at the Actors Theatre of Louisville). National Tour: Romeo and Juliet, All’s Well That Ends Well, and Knight of the Burning Pestle with the American Shakespeare Center. NYC: Primary Stages, Page 73, 47th Street Theatre (dir. Estelle Parsons), the Actors Studio (dir. Diane Ladd), Theatre for the New City, Hudson Guild, HERE, etc. He is the voice of Tom Daniels in “The Adventurecast” (Episode 1: Shark Bait!). James is a Young Arts Scholar with the National Foundation for Advancement in the Arts. Education: BFA Boston University School of Theatre, London Academy of Music and Dramatic Art. SANDRA SHIPLEY (Ann) BROADWAY: The Importance of Being Earnest, Blithe Spirit, Equus, Pygmalion, Retreat from Moscow, Vincent in Brixton, Indiscretions. OFFBROADWAY: Suddenly Last Summer, Arms and the Man, Deep Blue Sea (Roundabout) Stuff Happens, Venus (Public), Kindertransport (MTC), Once Around the City (Second Stage), Phaedra In Delirium (CSC), The Clearing (Blue Light), Hannah and Martin (Epic),
BIOGRAPHIES CONT. RUTHERFORD & SON REGIONAL: Guthrie, Huntington, Yale Rep, Long Wharf, Hartford, Dallas Theater Center, La Jolla Playhouse, Old Globe, Williamstown, ATL Humana Festival, Boston Shakespeare Company, American Repertory Theater. UNITED KINGDOM: Royal Shakespeare Company, Royal Court, West End. FILM: “Monument Ave”, “John Lennon Story”. TV: “Law & Order”, “Law & Order SVU”, “Third Watch”, “Lipstick Jungle”, “All My Children”. AWARDS: Elliot Norton Medal for Sustained Theatre Excellence, LA Robbie Award for Best Actress in a Drama. DALE SOULES (Mrs. Henderson) has been performing On-Broadway, Off-Broadway, regionally, and internationally for over forty years. Making her Broadway debut in the landmark musical Hair (Jeanie); co-starring with magician, Doug Henning in The Magic Show (Cal) introducing Stephen Schwartz’s songs “Lion Tamer” and “West End Avenue”; The Crucible (Sarah Good) Richard Eyre dir., and most recently Grey Gardens (covering and playing Edith Bouvier Beale) Michael Greif dir. Off-B’way includes: Marsha Norman’s Getting Out (Arlene), Builders Association’s Obie winning Jet Lag; with Atlantic Theatre Co: The Joy of Going Somewhere Definite, Blithe Spirit, and The Water Engine; many productions with: The Public Theatre, MTC, Mabou Mines, Lincoln Center; also Red Bull’s Pericles. Regional: Guthrie, Seattle Rep. Center Stage. ATL Humana Festival, Yale Rep., La Jolla Playhouse, & most recently Vermont Stage (Well) and Gulfshore Playhouse (Doubt). TV & FILM include: “American Playhouse,” “Sesame Street,” Maurice Sendak’s “Really Rosie”, “Law & Order”, and “The Messenger.” Dale is a Usual Suspect with NYTW. Awards include: New Dramatists Charles Boden Award for dedication to new work and Richard Porter Leach Fellowship SUNY. SARA SURREY (Janet) NYC: Secret Agenda of Trees (Cherry Lane Mentor Project) Five Flights (Rattlestick Theatre) Where We’re Born (Rattlestick Theatre) Where’s My Money? (Manhattan Theater Club) REGIONAL: Elemeno Pea (ATL Human Festival) Lost in Yonkers (Papermill Playhouse) The Dining Room (Dorset Theater Festival) Antony &
Cleopatra (The Old Globe) Anna Christie (Arena Stage) The Black Dahlia (Yale Rep) Hayfever (Baltimore Center Stage) The Archbishops Ceiling (Westport Country Playhouse) Three Days of Rain (Studio Arena Theatre) Arcadia (Portland Stage Company) FILM/TELEVISION: “Staten Island”, “Law & Order C.I.”, “Law & Order”, “Tough Crowd” w/ Colin Quinn, “The Job”, “Guiding Light”. TRAINING: NYU’s Tisch School of the Arts Graduate Acting Program. DAVID VAN PELT (Martin) NY Theatre: Mint (Rutherford and Son; understudy for The Daughter In Law) Abingdon (Many readings, staged readings, workshops and main stage productions including Jan Buttram’s Zona, and Texas Homos, Melvin Bernhardt, dir), Understudy for the Peach in The Melting Pot/ Kevin Spacey produced Cobb at the Lucille Lortel, TNC (Gint), Currican (The Borderland w/ Larry Lau), Actor’s Playhouse (Girl’s Town). Former member of Circle Rep Lab. Regional: Aspen Music Festival (Claudius and the Ghost in Hamlet, Quinton Gordon, dir.; John Mauceri, conductor), New Jersey Rep (Angels and Ministers of Grace Defend Us, w/ Linda Hamilton), Pittsburgh Public (Cobb, The School for Wives), Stamford Theater Works (Red Barber in National Pastime), Actor’s Theatre of Louisville (Humana Festival’s Mystery of Attraction, Richard Corley, dir.; Dracula in Dracula; A Christmas Carol), Romulus Linney’s Heathen Valley for Baylor University’s Horton Foote Festival and Appalachian Summer Festival (Jim Houghton, dir.), Pete Gint in Romulus Linney’s Gint, Romulus Linney, dir., (International Ibsen Festival, Oslo, Norway), Old Globe, Denver Center, Long Wharf (Tony Kushner, dir.), Huntington (Eric Simonson, dir.), Wisconsin Shakespeare. National Broadway Tour: A Few Good Men (Don Scardino, dir. W/ Michael O’Keefe, Paul Winfield, and Scott Sowers). TELEVISION: “Law and Order”. University of North Carolina School of the Arts. RICHARD CORLEY (Director) is pleased to return to the Mint and to Rutherford and Son. He is a Chicago based director, playwright, producer and educator whose work has been seen across America and internationally.
Most recently Richard served for six years as the Artistic Director of Madison Repertory Theatre in Wisconsin, where he created the city’s first new play development program and commissioned, produced and directed numerous world premieres and classics, including the world premieres of Sarah Ruhl’s Eurydice and Eric Simonson’s Lombardi/The Only Thing, the mid-west premieres of Jeffrey Hatcher’s Mercy Of A Storm and Tina Howe’s Rembrandt’s Gift, and Our Town with Andre De Shields. Prior to that, he was Associate Producing Director of The Acting Company, founded by John Houseman and Margot Harley, where he directed, O Pioneers! and As You Like It, and developed a number of new plays. Richard is an Associate Artist of the Berkshire Theatre Festival in Massachusetts, where he has directed for eight seasons. He has directed new plays and productions of Shakespeare, Chekhov, Turgenev, Marivaux, Corneille, O’Neill, Miller, Williams, and many others at numerous theatres nationally, including Hartford Stage Company, Dallas Theatre Center, Arena Stage, Magic Theatre (San Francisco) American Conservatory Theatre, City Theatre (Pittsburgh), Philadelphia Theatre Company (five seasons), Delaware Theatre Company, Jean Cocteau Repertory (New York), Shakespeare Theatre of New Jersey, Southwest Shakespeare (Arizona), and Chicago’s Shattered Globe. His New York premiere of Tom Dulack’s play Incommunicado, with Tom Aldredge, received a Drama Desk nomination, and he directed the Russian premiere of Tennessee Williams’ Small Craft Warnings at Moscow’s Sovremennik Theatre. Richard is the author of the play Tierra Del Fuego, based on the life of Charles Darwin, and original translations of Marivaux’s The Game Of Love And Chance, Chekhov’s Seagull (with Nina Familliant) and Three Sisters (with Nadia Vinogradova). Richard is the recipient of numerous awards, including the TCG/NEA Director Fellowship, and he has served on the panel for the National Endowment Career Development Program. He is a member of SDC. JESSE MARCHESE (Assistant to the Director) is both excited and honored to be working with the Mint Theater Company. This past August, 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 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 last represented Off-Broadway at New World Stages with Moses Mogilee’s original production of Ghosts of Provincetown: two one-act plays. A proud member of AEA, Jesse would like to thank Jonathan Bank and Richard Corley for this experience. VICKI R. DAVIS (Sets) Previous productions at the Mint: Temporal Powers, Wife to James Whelan, The Fifth Column, The Skin Game, The Lonely Way, Echoes of the War, Far and Wide, Rutherford & Son, The Voysey Inheritance, Miss Lulu Bett, Welcome to our City, August Snow & Night Dance, The House of Mirth, and The Time of Your Life. Off Broadway: Shpiel, Shpiel, Shpiel, Pirates of Penzance, A Novel Romance, Songs of Paradise, An American Family, Yoshke Muzicant (Folksbiene), Meanwhile, On...Mount Vesuvius (Adobe), Caucasian Chalk Circle (LaMaMa), ‘Til The Rapture Comes (WPA), The Occupation, Slasher, Out To Lunch and Relative Values. Regional: Arena Stage, The Alliance, Milwaukee Repertory Theater, Dallas Theater Center, Laguna Playhouse, Starlight Kansas City, Madison Rep., The Barter, Capital Rep., Passages, Georgia Shakespeare, Utah Shakespearean Festival, Utah Opera, Kansas City Opera, Omaha Opera, Theater of the Stars, Boston Lyric Opera, Lake George Opera Festival, Chester Theatre, and Music Theater North. Ms. Davis received a TCG/NEA Design Fellowship and is a member of United Scenic Artists Local 829. CHARLOTTE PALMER-LANE (Costumes) Charlotte is originally from the UK. While in London she worked for the BBC as a Costume designer and assistant on many productions such as, “The Chronicles of Narnia”, “Miss Marple”, “Dr Who”, “The Men’s Room”, “The Buddha of Suburbia”, and “She’s Been Away”, directed by Sir Peter Hall. Since moving to the USA she has worked on features such as
BIOGRAPHIES CONT. RUTHERFORD & SON “Guarding Tess” directed by Hugh Wilson and “Quiz Show” directed by Robert Redford. She has been designing for the last four seasons at Hudson Valley Shakespeare Festival, creating costumes for Pericles, Twelfth Night, Troilus and Cressida and last summer’s production of Hamlet. Other recent design credits include, Cross that River for NYMF festival, Sirens for Penguin Rep, Rounding Third for Penguin Rep. Is He Dead? for Half Moon Theatre, Three Penny Opera and The Seagull for the Depot Theatre. NICOLE PEARCE (Lighting) Mint: Wife to James Whelan. Selected NY Theatre: The American Dream & The Sandbox directed by Edward Albee; Edgewise and US Drag directed by Trip Cullman; Beebo Brinker Chronicles directed by Leigh Silverman (37Arts); Savage in Love directed by Pam MacKinnon (Juilliard); The Lady with All the Answers (The Cherry Lane); A Raisin in the Sun (Juilliard); Penalties & Interests (LAByrinth Theatre Company); Lady and Underneathmybed (Rattlestick); Expats and Strangers Knocking (The New Group); Betrothed (Ripetime); Sakhram Binder (The Play Company); Trial by Water (Ma-Yi Theatre Company). Regional: Sugar Syndrome, A Nervous Smile and Blithe Spirit directed by Maria Mileaf (Williamstown Theatre Festival). Selected Dance: The Joffrey Ballet, Ballet Memphis, Philadanco, Boston Ballet, Mark Morris Dance Group, Introdans, Hubbard Street Dance Company, and Netherlands Dance Theater, with choreographers including Mark Morris, Aszure Barton, Robert Battle, Larry Keigwin, Jessica Lang, Andrea Miller and David Parker. www.nicolepearcedesign.com. JANE SHAW (Sound) At the Mint: Temporal Powers, A Little Journey, Wife to James Whelan, Dr. Knock, Return of the Prodigal, Susan and God, Fifth Column, Walking Down Broadway, Widowing of Mrs. Holroyd (Lortel Nomination). New York City projects include: The Coward (Lincoln Center 3), Richard II (The Pearl), Hamlet, Merchant of Venice (TFANA/ RSC/National Tour/Eliot Norton Nomination), En el tiempo de las Mariposas (Repertorio Español/Premios ACE nomination), Hay Fever (Juilliard Drama), Septimus and Clarissa (Ripe
Time), Supernatural Wife (Big Dance Theater - BAM). Upcoming shows include RED (Maltz Jupiter and Asolo, director Lou Jacob), Food and Fadwa (NYTW, Shana Gold), The Egg Layers (New Georges & Barnard, Alice Reagan). Regional theater includes: 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. Recipient: NEA-TCG Career Development Grant, Meet the Composer. Graduate of Harvard and the Yale School of Drama. ELLEN MANDEL (Composer & Sound) has created music for over fifty plays, including, for the Mint, The Voysey Inheritance, A Farewell to the Theatre, The Flattering Word, Welcome to our City, Madras House, and The Power of Darkness. Other theatres: Jean Cocteau Repertory (Resident Composer), Arkansas Rep, Riverside Shakespeare (NYC), Boarshead, Asolo, Tennessee Rep, Peterborough Players (NH), Riverside (FL), and Phoenix Theatre Ensemble (NYC). Ellen has written four film scores and music and lyrics for six children’s shows including The Three Pigs, The Toymaker’s Apprentice, and Puss in Boots. She has released three CDs: A Wind Has Blown the Rain Away: Fifteen e.e. cummings Songs, The First of All My Dreams, songs to poems by Cummings, Heaney, W.B. Yeats, and others, and Every Play’s an Opera, theatre music. Her songs have been performed in concerts from New York to California, and at Ireland’s Kilkenny Arts Festival. ellenmandel. com JOSHUA YOCOM (Props) collaborates with the Mint for the third time on Rutherford and Son. He also propped their productions of A Little Journey and Temporal Powers. Joshua has worked as a properties master and freelance artisan with a number of New York companies, including Keen Company, Epic Theatre Ensemble, Red Bull Theatre, Pearl Theatre Company, Second Stage, Theatre for a New Audience, Gotham Chamber Opera, NYC Ballet, Lincoln Center, Dreamlight Theatre Co, Mannes Opera, Queens Theatre, Across the Aisle Productions, Snug Harbor, and the
York Theatre Company. Joshua also props and styles bedding and rooms for Nautica, Martha Stewart, and Bed Bath and Beyond through the Mayo photography studios. AMY STOLLER (Dialect & Dramaturgy) celebrates 15 happy years as the Mint’s resident dialect designer/coach (and occasional dramaturge), most recently with Teresa Deevy’s Temporal Powers. Other highlights include Wife to James Whelan, The Widowing of Mrs Holroyd, The Daughter-in-Law, Echoes of the War, The Voysey Inheritance, and Rutherford and Son (2001). In New York this season she is represented by Dedalus Lounge (Royal Family Productions, current), The Bald Soprano (Pearl, recent) and A Moon for the Misbegotten (Pearl, upcoming). Other NYC credits include Let Me Down Easy at Second Stage (and national tour), plus shows at Keen, Origin, Boomerang, and many others. Regional includes world premieres by Athol Fugard, Paula Vogel, Anna Deavere Smith, and Aditi Brennan Kapil at the Long Wharf, and productions at Arena Stage, A.R.T., People’s Light & Theatre, and Peterborough Players. Television includes: Anna Deavere Smith’s, “Let Me Down Easy” on Great Performances (PBS), animated series, commercials, and a documentary. Learn more at www.stollersystem.com and Stoller System on Facebook. GERARD KELLY (Wigs) Broadway production of Hair (Tony Award for Best Revival). New York: What the Public Wants, Dr. Knock, and The Madras House at the Mint Theater, The Public, Playwrights Horizons, The York, Classic Stage Company, and The Pearl Theater. Regionally: Westchester Broadway Theater, North Shore Music Theater, Walnut Street Theater, Maltz Jupiter Theater, Dallas Theater Center, for Maine State Music Theater, Carousel Dinner Theater, Sierra Repertory Theatre, San Francisco Theater Works, Cape Playhouse, The Ahmanson Theater, Sacramento Music Theater, Downtown Cabaret, Westport Country Playhouse, and George Street Playhouse. Shakespeare Festivals include New York, Lake Tahoe, New Jersey, Idaho, and San Francisco. Premieres include: Tom Jones, Memphis, Fanny Hill, The Three Musketeers, The Internationalist, Tale Of Two Cities, Slug Bearers Of Kayrol Island. FILM: “Transamerica,” “Girls Will Be Girls,”
“The Ten,” “The Savages,” “King Bolden and Notorious.” AMY SCHECTER (Casting) - happily casting for the Mint since 2005. ALLISON DEUTSCH (Production Stage Manager) Off-Broadway credits include: New World Stages – White’s Lies with Betty Buckley and Peter Scolari; Mint Theater - The Widowing of Mrs. Holroyd, The Fifth Column, Power of Darkness, The Madras House, Far & Wide, The Voysey Inheritance, No Time For Comedy; Perry Street Theatricals - A Dangerous Personality; Rattlestick - Down South; Om Productions - WASPs In Bed. Regional credits include: Ford’s Theatre – Trying starring James Whitmore; Geva Theatre Center - Gem of the Ocean; Peterborough Players - ten seasons including the World Premiere of This Verse Business starring Gordon Clapp, Measure for Measure, Dr. Knock, 2 Pianos 4 Hands, Tartuffe, Little Shop of Horrors, Heartbreak House, Doubt, Our Town, Last 5 Years, The Heiress, Cookin’ at the Cookery, Inherit the Wind, Candida, and Mr. Pim Passes By. Proud member of Actors’ Equity Association. ANDREA JO MARTIN (Assistant Stage Manager) is happy to be back at the Mint. Credits include Broadway: RENT (sub); [Broadway Cares/Equity Fights AIDS] BC/ EFA fundraiser Broadway Backwards 3, 4, 5 and 6. Off-Broadway: Mint - Temporal Powers, A Little Journey, The Widowing of Mrs. Holroyd, The Glass Cage, and The Madras House; The York Theatre - Busker Alley, Fanny Hill, A Fine and Private Place, and 10 Musicals in Mufti including The Baker’s Wife and Enter Laughing; at New World Stages - La Barberia, White’s Lies, Love Child, and Naked Boys Singing! (sub), at Theatre Row - Beauty on the Vine, WASPs In Bed, Amas Musical Theatre - Signs of Life; Perry Street Theatricals - A Dangerous Personality; Houses on the Moon - De Novo. Festivals: at NYMF: Date of a Lifetime, Judas & Me; at Fringe: Dancing With Abandon and Trouble in Shameland. Andrea is also a sub at NEWSical the Musical. DAVID GERSTEN & ASSOCIATES (Press Representatives) currently represents the long running Off-Broadway hits Black Angels Over Tuskegee, The Devil’s Music: The Life & Blues
BIOGRAPHIES CONT. RUTHERFORD & SON of Bessie Smith, and Naked Boys Singing, as well as INTAR, Keen Company, Woodie King’s New Federal Theatre, New Georges, National Asian American Theatre Company, New World Stages, Red Bull Theater, Stage Entertainment US and Summer Shorts, the Annual Festival of New Plays at 59E59. David serves on the Board of Governors of ATPAM, The Association of Theatrical Press Agents & Managers. He is a member of the Off-Broadway League and a founder of the Off-Broadway Alliance. www.davidgersten. com THE PEKOE GROUP is a full service advertising and marketing company for events and attractions, specializing in niche marketing and tailor-made strategic campaigns based on each event’s target demographic. Clients include Ripley’s Believe It Or Not! Times Square, Freud’s Last Session, Mint Theater Company, Chekhovek, Psycho Therapy, Second Stage Theatre, and more. www.thepekoegroup.com 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 2005 productions, amongst many others. Currently working with several theater companies as business consultant, including Theater Breaking through Barriers and Premieres. next at the mint...
JONATHAN BANK (Producing Artistic Director) has been the artistic director of Mint since 1996 where he has unearthed and produced dozens of lost or neglected plays, many of which he has also directed. Most recently for the Mint, Bank directed Temporal Powers by Teresa Deevy. Other Mint credits include: Maurine Dallas Watkins’ So Help Me God! at the Lucille Lortel, which received four Drama Desk nominations, including Outstanding Revival and Outstanding Director; Lennox Robinson’s Is Life Worth Living?, the American Professional Premiere of The Fifth Column by Ernest Hemingway, The Return of the Prodigal by St. John Hankin (Drama Desk nomination for Outstanding Revival) and Susan and God by Rachel Crothers. Bank both adapted and directed Arthur Schnitzler’s Far and Wide and The Lonely Way which he also co-translated (with Margaret Schaefer). These two plays were published in a volume entitled Arthur Schnitzler Reclaimed which Bank edited. He is also the editor of three additional volumes in the “Reclaimed” series (Teresa Deevy, Harley Granville Barker, and St. John Hankin) as well as Worthy But Neglected: Plays of the Mint Theater Company.
mint theater company
Spring Benefit 2012
The Importance of Being a Woman by Rachel Crothers directed by Eleanor Reissa save the date:
April 23, 2012 The Cosmopolitan Club
Love Goes To Press
by
Martha Gellhorn & Virginia Cowles directed by Jerry Ruiz
performances begin
May 26, 2012
ABOUT THE MINT THEATER COMPANY 2011-2012 TEMPORAL POWERS By Teresa Deevy RUTHERFORD & SON By Githa Sowerby LOVE GOES TO PRESS By Martha Gellhorn & Virgina Cowles 2010-2011 WIFE TO JAMES WHELAN By Teresa Deevy WHAT THE PUBLIC WANTS By Arnold Bennett A LITTLE JOURNEY By Rachel Crothers 2009-2010 IS LIFE WORTH LIVING? By Lennox Robinson SO HELP ME GOD! By Maurine Dallas Watkins DOCTOR KNOCK By Jules Romains 2008-2009 THE GLASS CAGE By J.B. Priestley THE WIDOWING OF MRS. HOLROYD By D.H. Lawrence 2007-2008 THE POWER OF DARKNESS By Leo Tolstoy THE FIFTH COLUMN By Ernest Hemingway 2006-2007 JOHN FERGUSON By St. John Ervine THE MADRAS HOUSE By Harley Granville Barker RETURN OF THE PRODIGAL By St. John Hankin 2005-2006 WALKING DOWN BROADWAY By Dawn Powell SOLDIER’S WIFE By Rose Franken SUSAN AND GOD By Rachel Crothers 2004-2005 THE LONELY WAY By Arthur Schnitzler THE SKIN GAME By John Galsworthy 2003-2004 MILNE AT THE MINT Two Plays by A.A. Milne ECHOES OF THE WAR By J.M. Barrie 2002-2003 THE CHARITY THAT BEGAN AT HOME By St. John Hankin FAR AND WIDE By Arthur Schnitzler THE DAUGHTER-IN-LAW By D.H. Lawrence 2001-2002 RUTHERFORD AND SON By Githa Sowerby NO TIME FOR COMEDY By S.N. Behrman 2000-2001 WELCOME TO OUR CITY By Thomas Wolfe THE FLATTERING WORD & A FAREWELL TO THE THEATRE By George Kelly & Harley Granville Barker DIANA OF DOBSON’S By Cecily Hamilton 1999-2000 THE VOYSEY INHERITANCE By Harley Granville Barker ALISON’S HOUSE By Susan Glaspell MISS LULU BETT By Zona Gale 1995-1998 QUALITY STREET By J.M. Barrie MR. PIM PASSES BY By A.A. Milne UNCLE TOM’S CABIN By George Aiken THE HOUSE OF MIRTH By Edith Wharton & Clyde Fitch
Mint Theater Company produces worthwhile plays from the past that have been lost or forgotten. These neglected plays offer special and specific rewards; it is our mission to bring new vitality to these plays and to foster new life for them. Under the leadership of Jonathan Bank as 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.” Our process of excavation, reclamation and preservation makes an important contribution to the art form and its enthusiasts. Scholars have the chance to come into contact with historically significant work that they’ve studied on the page but never experienced on the stage. Local theatergoers have the opportunity to see plays that would otherwise be unavailable to them, while theatergoers elsewhere may also have that opportunity in productions inspired by our success. Important plays with valuable lessons to teach—plays that have been discarded or ignored—are now read, studied, performed, discussed, written about and enjoyed as a result of our work. Educating our audience about the context in which a play was originally created and how it was first received is an essential part of what we do. Our “EnrichMINT Events” enhance the experience of our audience and help to foster an ongoing dialogue around a play-post-performance discussions feature world class scholars discussing complex topics in an accessible way and are always free and open to the general public. We not only produce lost plays, but we are also their advocates. We publish our work and distribute our books, free of charge to libraries, theaters and universities. Our catalog of books now includes an anthology of seven plays entitled Worthy but Neglected: Plays of the Mint Theater plus 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.
The following generous Individuals, Foundations, and Corporation support the Mint Theater, and we honor their contributions: Crème de Mint: $10,000 and above Bloomberg Philanthropies The Gladys Krieble Delmas Fnd. The Jean & Louis Dreyfus Fnd. The Fan Fox & Leslie R. Samuels Fndtn Mr. & Mrs. Ciro Gamboni The Little Family Fnd. The Andrew W. Mellon Fnd. New York Theater Program New York City Department of Cultural Affairs New York Foundation for the Arts New York State Council on the Arts The National Endowments for the Arts The Shubert Foundation, Inc. The Ted Snowdon Foundation The Dorothy Strelsin Foundation The Geraldine Stutz Trust Inc. Anonymous SilverMint: $5,000- $9,999 Axe-Houghton Foundation Virginia Brody Barbara Bell Cumming Fnd. Lori & Edward Forstein Lucille Lortel Foundation The South Wind Foundation The Harold & Mimi Steinberg Charitable Trust Litsa Tsitsera Michael Tuch Foundation ChocolateMint: $1,500$4,999 Jonathan Bank Lea & Malvin Bank Robert Brenner Linda Calandra Jon Clark Jeffrey Compton & Norma Ellen Foote Cory & Bob Donnalley Charitable Fdn. William Downey The Friars Foundation Ruth Friendly Janet & John Harrington The Heidtke Foundation Blanche & Irving Laurie Fnd. Dorothy Loudon Foundation Lionel Larner New York City Council for the Humanities
Dorinda J. Oliver Pfizer Foundation Eleanor Reissa & Roman Dworecki Judy & Sirgay Sanger Wallace Schroeder Anne Sheffield Karen & John Q Smith David Stenn Sukenik Family Foundation Katherine & Dennis Swanson Kathryn Swintek Bertram Teich SpearMint: $600 - $1,499 Harry Abrams Linda & Lloyd Alterman Richard Barnes & Marta Gross Frances Bauer Julia Beardwood & Jonathan Willens Evelyn Bishop Joann & Gene Bissell Leslie (Hoban) Blake Steven Blier Allison M. Blinken Rose-Marie Boller & Webb Turner Ann Butera Robin Chase Claudia & Frank Deutschmann Julie Durkin H. Read Evans Edmee & Nicholas Firth Eva & Norman Fleischer Joan & Edward Franklin Phyllis Freed Judith & Charles Freyer Dr. H. Paul & Delores Gabriel The Gordon Foundation Arthur Grayzel, MD & Claire Lieberwitz Julia B. & James C. Hall Carol & Patrick Hemingway Hickrill Foundation Dana Ivey Jacqueline & James Johnson Roberta A. Jones Joseph Family Charitable Trust Christopher Joy & Cathy Velenchik Peter Haring Judd Fund Brian Kaltner William Karatz Joan Kedziora, MD. Linda Irenegreene & Martin Kesselman Sarah-Ann Kramarsky
Mary & David Lambert Jonathan Landers & Sandra Reimers Judith & John LaRosa Audrey & Joseph Lombardi Charlene & Gary MacDougal James Marlas Edith Meiser Foundation Leonard & Ellen Milberg Doreen & Larry Morales Joseph Morello Jeanine Parisier Plottel Susan & Peter Ralston George Robb Herbert Schlesinger Susan Scott Drs. Robert M. Koros & Carole M. Shaffer-Koros Rob Sinacore State of New York: Office of Parks, Recreation & Historic Preservation Milton & Barbara Strom M. Elisabeth Swerz Lila Teich Gold Helen S. Tucker, The Gramercy Park Foundation Wein Family Fund Anonymous DoubleMint $150- 599 (First Priority Club) Actors Equity Foundation Gretchen Adkins Judith Aisen & Kenneth Vittor Shihong & Peter Alden Louis Alexander Linda Alster Laura Altschuler Marc Anello Carmen Anthony Louise Arias Barbara Austin Judith Barlow Hugh Baron & Carla Lord William Barth Frances Bauer Barbara Berliner & Sol Rymer Al Berr Nidia Besso Helena & Peter Bienstock Evelyn Bishop Zelda & Julian Block Dorothy & Stuart Blumner Ronald H. Blumer Dorothy Borg In honor of Sharron Bower
Bristol- Myers Squibb Co. Debra & Clinton Brockway Edgar Brown Ambassador & Mrs. W. L. Lyons Brown E. R. Buultjens Jason J. Buzas Maureen & James Callanan Peter Cameron James Carroll Richard Carroll Aurelie Cavallaro Sharon M. Chantilles-Wertz & Kevin Wertz Andrew H. Chapman Lynne Charnay Joseph Cimmet Abraham Clott Steven R. Coe Toni Coffee John Comisky Jane Condon Julie Cushing Connelly Margaret Cooper Charles Cordray JoAnn Corkran Penny & Peter Costigan Audrey & Fergus Coughlan Ronald Covar Wilbur Cowett, The Longhill Charitable Fnd. Tandy Cronyn Susan & George Crow Michael Crowley Stuart Davidson David Day Ruth & Anthony DeMarco GH Denniston & Christine Thomas Pat DeRousie-Webb & Robb Webb Katherine & Bernard Dick Ruth & Robert Diefenbach Thomas Dieterich Nancy M. Donahue Bonnie Edwards Herzl Eisenstadt Mina & Martin Ellenberg Marjorie Ellenbogen Monte Engler & Joan Mannion Sara & Fred Epstein Grace & Donald Eremin Eugene Ernst Judith Eschweiler Quince Evans Colleen Fay Eric Fedel Orinda & Thomas Filipi Irving and Gloria Fine Fnd. Angela T. Fiore
Jean & Raymond Firestone Barbara Fleischman Martha Fleischman Jerry Floersch & Jeffrey Longhofer Charles Flowers Janey & Jerry Fodor Helene Foley Donald W. Fowle Charlotte Frank Diana & Jeffrey Frank Glenda Frank Barbara & Robert Gaims-Speigel Michael Garber Mary Ann & John Garland Agnes & Emilio Gautier Phyllis Gelfman James C. Giblin Ardian Gill & Anna L. Hannon Suellen & David Globus Ruth Golbin Joyce Golden Gloria Goldenberg Duncan Goldie-Scott 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 Anita Greenbaum Harry Greenwald & Babette Krolik Tosia Gringer Antonia & George Grumbach Victoria Guthrie Gunilla Haac Lanie Hadden Joseph Hardy Carol Hekimian Reily Hendrickson Michael Herko David Herskovitzs Karin & Henry Herzberg Sigrid Hess Barbara Hill Lee Ho Joan Hoff Dorothy & Edward Hoffner Mary & Robert Hogan Heather & Bruce Horner Stuart Howard Cathy Hull & Neil Janovic Anne Humpherys Elizabeth Ellis Hurwitt Harriet Inselbuch Jocelyn Jacknis
James Jackson Ellie Jacob Ellen & Peter Jakobson Alan Jeffrey Susan & Stephen Jeffries Gus Kaikkonen & Kraig Swartz Thomas Kane Anne Kaufman Jules Kaufman & Ann MacDougal Frances Keithley Laurie Kennedy & Keith Mano Roberta & Gerald Kiel Gerard Kiernan Jospeh Kissane Kaori Kitao Caral G. Klein Elizabeth & William Kloner Paul Knierieman Susanna Kochan-Lorch & Steven Lorch Allegra Kochman Anna Kramarsky & Jeanne Bergman Jean Kroeber Maria Kronfeld Charles Kuhlman & Margery Reifler Mildred G. Kuner Carmel Kuperman George LaBalme Paul LaFerriere & Dorrie Parini Thomas Langston Lee & Richard Laster Christopher Lawrence Kent Lawson & Carol Tambor Pearl & Karl Lazar Margaret & Gordon Leavitt Gloria & Ira Leeds Jane & Eliot Leibowitz Laura & Rodney Leinberger Dr. Albert Leizman Jean Leo & Richard Kuczkowski Gloria & Mitchell Levitas Carol & Stanley Levy Christopher LiGreci & Robert Ohlerking Ruth Lord Mary & Boyd Lowry Jon Lukomnik Estelle Lynch Bette Lyons Judith Mahler Mary Rose Main Jane Anne Majeski Vivian & John Majeski Miriam Malach Sophie & David Mann Barry Margolius Erica Marks & Dan George
DONORS CONT. THANK YOU! Jacqueline Maskey Jill Matichak Margaret Mautner A. Cushman May Cheryl & Harris May George Mayer Roberta Maxwell Pamela Mazur Francis McGrath Betsy McKenny Martin Meisel Richard Mellor, Jr. Joan & John Mendenhall 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 Elaine & Ronald Morris Carole & Theodore Mucha Tim Mulligan Maureen Murphy Amanda Nelson Mary Martin Nelson Carol & Dick Netzer Nancy Newcomb & John Hargraves Oanh Nguyen Jean & B.W. Nimkin Peter Nitze Tim Nolan Stephanie & Robert Olmsted Linda Oprysko Trisha Ostergaard Dottie & Richard Oswald Judith Page Jonathan Parker Francis C. Parson & Brinton Taylor Gwen & Bruce Pasquale Cheryl & Mitchell Patt Peggy & William Pennell Alice & Frederick G. Perkins Gillis & Leonard Plaine Sheila & Irwin Polishook Mary & Larry Pollack Lorna Power Georgette & David Preston Carlo & Robert Prinsky Judith Quillard Joan Rahav Paul Rawlings 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 Fnd/ Mary R. Guettel James Roe Theodore Rogers Renee & Seymour Rogoff Sylvia Rosen Barbara Rosenthal Mark Rossier Meryl &Charles Rubin James Russell Karen Kelly Sandke J. B. Sandler Catherine Scaillier Judith & Richard Schachter Barbara Schoetzau Daphne & Pete Schwab Jay M. Schwamm Marilyn & Joseph Schwartz Phyllis Schwartz Veronica Scutaro The Martin E. Segal Revocable Trust Harriet Seiler Eleanor Selling John Settel Barbara & Donald Shack Marjorie & George Shea Camille & Richard Sheely Janet & Joseph Sherman Virginia C. Shields Susan & Zachary Shimer Kayla J. & Martin Y. Silberberg Mel Silverman Marion & Leonard Simon 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 Linda & Jerry Spitzer Erica Stadtlander
Stagedoor Lee Steelman Trudy Steibl Sherry & Bob Steinberg Gary Stern 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 Sheila & Arthur Taub Anne Teshima Annie Thomas & David H. Kirkwood Rochelle Tillman 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 This list represents donations made from July 2010 – January 2012. Every effort is made to ensure its accuracy. Please contact us regarding any mistakes
RUTHERFORD & SON STAFF Assistant Production Manager Assistant to the Director Assistant Costume Designer Assistant Lighting Designer/Programmer Wardrobe Supervisor Board Operator Production Assistant Carpenters
Wayne Yeager Jesse Marchese Matthew Keating Carla Linton Leah Mitchell Robert Mendoza Josephine Ronga Daniel Halliday, Eric Nightengale
Box Office House Manager Videographer Marketing & Advertising Press Representation
Brenna Ormiston, Adrienne Scott Brian Fitts Joshua Paul Johnson The Pekoe Group / Amanda Pekoe, Kerry Minchinton, Jessica Ferreira, Beth Chrobak, Katlyn Campbell, Jason Murray, Gregory Fullum, Caroline Searfus David Gersten / Daniel DeMello
Lighting installed by the Lighting Syndicate Set Constructed By Carlo Adinolfi Rutherford & Son rehearsed at Manhattan Theater Club’s Creative Center The Producers wish to thank the tdf Costume Collection and Fairway Market for their assistance in this production. 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 Ellen Mittenthal Joshua Paul Johnson Amy Schecter Kristin Krauskopf David Gersten & Associates The Pekoe Group
Producting Artistic Director Finance & Production Development & Dramaturg Audience Relations & Marketing 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