Mint theater CoMpanyJonathan Bank, Artistic Director

Sherri Kotimsky, General Managerpresents

Temporal powersby Teresa DeeVY

withRosie Benton, Paul Carlin, Robertson Carricart, Bairbre Dowling,

Con Horgan, Eli James, Aidan Redmond, Wrenn Schmidt, Fiana Toibin

set design costume design lighting design Vicki R. Davis Andrea Varga Jeff Nellis

sound design properties designJane Shaw Joshua Yocom

dramaturgy dialect & dramaturgy Heather J. Violanti Amy Stoller

production stage manager assistant stage manager Lisa McGinn Andrea Jo Martin, Lauren McArthur

production manager press representative Sherri Kotimsky David Gersten & Associates

illustration graphics Stefano Imbert Hey Jude Graphics Inc. casting advertising & marketing Stuart Howard, Amy Schecter The Pekoe Group & Paul Hardt

directed byJonathan Bank

opening night August 29th

Temporal Powers is made possible with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency.

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Michael Donovan Aidan RedmondMin Donovan Rosie BentonMoses Barron Eli JamesLizzie Brennan Wrenn SchmidtDaisy Barron Fiana ToibinNed Cooney Con HorganMaggie Cooney Bairbre DowlingJim slattery Paul CarlinFather O’Brien Robertson Carricart

Act 1 Afternoon in the early autumn of 1927

Intermission

Act 2 A few hours later

Intermission

Act 3 The following morning

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temporal powers teresa deevy

Teresa DeeVY (1894-1963)

Teresa Deevy was born on January 21, 1894 at Landscape, her family’s home in Waterford. Nicknamed Tessa, she was the youngest of 13 children. Her father died when she was two, so Tessa formed an es-pecially close bond with her mother. Mrs. Deevy fostered young Tessa’s imagination, encouraging her to make up stories about the people and things she saw about the house. Details were important--the way light fell across a door frame, the differ-ence between an August morning and an october afternoon—all these made a dif-ference. This stayed with Tessa throughout her writing life.

In 1913, Tessa enrolled at university Col-lege, Dublin. She wanted to become a teacher, but after a few months, she was struck by a mysterious illness. Her ears rang; she would suddenly get so dizzy so she couldn’t stand up; her head throbbed. Doctors eventually diagnosed her with Meniere’s disease, an incurable condition caused by fluid imbalance in the inner ear. Meniere’s can cause deafness, and by 1914, at the age of 20, Tessa had completely lost her hearing.

She was sent to London to study lip-read-ing. To practice, she went to the theater. Night after night, she sat in the front row, entranced. The plays of Shaw and Chekhov were her favorite. She admired their richly drawn characters, finely crafted dialogue, and serious themes. Long ago, her mother had encouraged her to write stories. Now Tessa knew how she wanted to tell them. She decided to become a playwright.

It was an unusual ambition. Tessa had no theatrical connections. As a woman and as a person who was deaf, she didn’t fit the then-typical image of a playwright. But she was undaunted. Tessa had a quiet ge-nius for understanding the intricacies of the human heart. Her plays would show not only a distinct gift for dialogue, but an

uncanny appreciation for meaning hidden between the lines. Years after her death, Tessa’s nephew Jack would recall her strik-ing ability to read people’s thoughts even before they spoke them—a sixth sense per-haps heightened by her deafness.

In 1925, at age 31, Tessa finally felt ready to send her plays to the Abbey, Ireland’s na-tional theater. They were rejected, but one reader had been particularly impressed. This was Lennox Robinson, the Abbey’s managing director and a playwright him-self. (Mint audiences may remember his IsLifeWorthLiving? from 2009). He encour-aged Tessa to keep writing.

In 1930, at Robinson’s urging, the Abbey accepted Tessa’s Reapers, a sweeping family epic set in a rural “big house.” In 1932, Tes-sa won first prize in the Abbey’s new play contest with TemporalPowers. After seeing Temporal Powers, author Frank o’Connor sent Tessa this note: “When I saw Reapers, I knew something was happening. When I saw your new play, I realized it had hap-pened with a vengeance.”

The years from 1930 to 1936 were among

TeresaDeevy

the happiest in Tessa’s life. She moved to Dublin with her sister, Nell, who served as a companion and interpreter. She had six plays produced at the Abbey and was con-sidered one of Ireland’s most promising playwrights. Her most popular play, Katie Roche(1936), about a servant girl who longs for adven-ture, was pro-duced in Dublin and London and was included in the Abbey’s 1937 American tour. It was also pub-lished in Victor Gollancz’s influential anthology “Famous Plays.”

Then, in the 1940’s, the Abbey mysteri-ously turned down Tessa’s next play, WifetoJamesWhelan (seen at the Mint in 2010). Tessa’s career at the Abbey was effective-ly over, though they continued to revive some of her older work (KatieRoche was revived five times during her lifetime) and they produced her one act LightFalling at their experimental space, the Peacock, in 1948. (LightFalling was read at the Mint’s benefit in 2010). Deevy eventually man-aged to find other venues for her new work: WifetoJamesWhelan was produced at Dublin’s tiny Studio Theatre in 1956, LightFalling was the curtain-raiser for Jack McGowran’s production of Shadow of AGunman at London’s Lyric Theatre, Ham-mersmith in 1957. Meanwhile, to support herself, Tessa turned her attention to the burgeoning field of radio. Between 1938 and 1946, she wrote over a dozen plays for the B.B.C. and Radio Eireann, as well as adapted her stage plays for broadcast. She supervised rehearsals by reading the actors’ lips and amazed everyone with her precise orchestration of sound.

Teresa’s beloved sister Nell died in Febru-ary 1954. Without Nell as her interpreter, Tessa could not survive in Dublin. Heart-

broken, she returned home to Landscape. Tessa was now removed from the center of Ireland’s artistic life, but she was not yet forgotten. In october 1954, she was elected to the Irish Academy of Letters, Ireland’s

highest literary honor, though without Nell, the triumph was bit-tersweet.

Gradually, as the years passed, peo-ple forgot Tessa. Many Waterford townsfolk weren’t aware she was a playwright.To them, she was a

sweet old lady on a bicycle who wore mismatched socks. Poet Sean Dunn recalled her eccentric reputa-tion:

In the Fifties, she was a thin woman on a bi-cycle, her gray hair tucked under one of an assortment of strange hats. She rode through the streets of Waterford and those who knew her tensed as she passed in case a car might hit her. She heard nothing and just cycled on with the nonchalance of a girl cycling along a country lane. Her clothes never seemed to match. She was seen wearing sandals or run-ners even in the middle of winter. Some peo-ple thought she’d once written plays. others knew it, but it was a long time ago.

In her final years, Tessa’s vertigo—a recur-rent symptom of Meniere’s—worsened. Hardly able to stand on her own, and losing her eyesight, she was moved to May Park Nursing Home. She died there on January 19, 1963. James Cheasty, a poet and one of Tessa’s protégés, wrote in her obituary for the Irish Independent:

Teresa Deevy is dead, but she will not be for-gotten. Those of us who were her friends can never forget her kindness and her great hu-manity. For remembrance among the general public she has left behind her work, which is monumental.

by Heather J. Violanti

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temporal powers dialect

A note about Dialect

one of the more interesting aspects of my job as a production dialect designer is researching the language of the play I’m working on. (Well, actually, I think all as-pects are fascinating; but then, I should!) While the languages of the play and the company are (usually) both English, va-rieties of English can be very different in-deed.

I’ve done several Irish plays, including three at the Mint. But Temporal Powersposes the most linguistic challenges for American speakers and listeners. Why is Irish English so different from American English? And why is it “denser” in this play than in Teresa Deevy’s Wife to JamesWhelan, which we did here last season? To find out, I had to hit the books.

Historians agree that Ireland’s first expo-sure to English occurred in the 12th centu-ry, but its progress was slow until the mid-16th century, when the English Tudors launched a series of invasions and colo-nizing resettlements that lasted through the Stuarts and finally oliver Cromwell. The last mass migration from England to Ireland took place in the 17th century—thereafter the traffic all ran the other way. That’s why Irish English can sound like Shakespeare, or the King James Version of the Bible, with word order and usage that seems archaic to us.

The other main influence on the develop-ment of English in Ireland was Irish Gael-ic. While some aspects of Irish English can be traced to Shakespeare’s day or earlier, a great proportion of its syntax (everything from word order to verb tenses and be-yond) and some vocabulary are directly traceable to Gaelic—which enriched the English language even as Ireland’s native language (and its speakers) were system-atically impoverished and suppressed.

Gaelic influence tended (and tends still) to be heard more strongly in rural areas, where there was less direct contact with British English. This effect was somewhat lessened during the 20th century, as “talk-ies” and radio, then television, carried more urban, Anglo-influenced language to the wider population. This may partly explain why WifetoJamesWhelan(written only a few years later than TemporalPow-ers, but set in a different era) was more ac-cessible to the Americans in our company; but so perhaps does the nature of the com-munity and its characters.

So, how is Irish English different from British and American Englishes? For start-ers, there are English terms that have both standard English and special Irish English meanings. This can be very confusing un-til you sort out which meaning applies! You could write a book about every differ-ence, including grammar and syntax (and people have), but I won’t. I’ll just list a few words and idioms that we’ve encountered in our play.

Whisper can mean listen • Till can mean so, inorderthat • And can mean as,while,with,evenwho • After can mean has justdone, justhappened • Over can mean east-wards, intheeast • True for you [him,her] means You’reright [he’s,she’sright] • Have a right to means should

And did you know that so long, meaning goodbye, comes from the Gaelic slán? I’d had no idea. That’s why I love doing this part of the work; I always learn something!

Slán for now …

Amy Stoller

the teresa deevy projectWife to James Whelan July 29th- Oct. 3rd, 2010

temporal poWers Aug. 3rd- Sept 25th, 2011

Katie roche Sept. 11th- Nov. 5th, 2012

publicationsTeresa Deevy Reclaimed Available 2012

FURTHER READINGS...

the King of spain’s Daughter Sept.19th, 2010 at 7:30pm

light falling Spring Benefit 2011 Apr. 11th, 2011, The Players Club

in the cellar of my frienD Aug 22nd, 2011at 8pm

In the Cellar of My frIend: A one-act play by Teresa Deevy

A World Premiere Reading, Monday, August 22nd 8:00 pm

DiNNeR: 6:00 PM | ReADiNg: 8:00 PM ReCePTioN: 9:00PM $125 PeR PeRSoN. ReADiNg AND ReCePTioN oNlY: $35

Tickets available online at www.minttheater.orgor call 212-315-0231

Join Professor Morash and Mint Artistic Director Jonathan Bank for dinner at else-where (on the corner of 43rd and 9th). en-joy a delicious gourmet meal while Chris and Jonathan talk about this remarkable short play which has never been published or produced. Then hear the play read at the Mint, followed by a Q & A with Chris and the cast; then we can all mingle over cookies and coffee.

a Special enrichMint event with Professor Christopher Morash from the National University of Ireland

ShawnFaganandRosieBentoninWife to James Whelan

ShawnFaganandEllenAdairatthe2011SpringBenefitreadingofLight Falling

ROSIE BENTON (Min Donovan) The Mint: Wife to James Whelan. Broadway: Accent on Youth (MTC), Les Liaisons Dangereuses (Roundabout Theatre Company). Off-Broadway: Saturn Returns (Lincoln Center Theatre), Howard Katz (Roundabout). Regional: A Time To Kill (Arena Stage), Stick Fly (Huntington Theatre), Dissonance, The Night Season (Bay Street Theatre), Spike Heels (Syracuse Stage), Betrayal (Hangar Theatre) The Winter’s Tale (Shakespeare on the Sound), Film: “Return”, “A Bridge to Bourne”. TV: “Law & Order: SVU”, “All My Children”. MFA from the NYU Graduate Acting Program.

PAUL CARLIN (Jim Slattery) NY Stage: Long Day’s Journey into Night at Irish Repertory Theatre (Jamie), director Charlotte Moore; After the Ball, Irish Rep (Lord Windermere), director Tony Walton; Apple Cove, Julia Miles Theatre (Gary), dir. Gio Sardelli; Woyzeck, Ensemble Studio Theatre (Woyzeck); Bella, Lincoln Center (Jacob); The Milk of Paradise, The Women’s Project (Billy), dir. Joan Vail Thorne; Twelfth Night, Phoenix Theatre Co. (Orsino), dir. John Barton, RSC; Paint Your Wagon, Musicals Tonight (Ben Rumson); Salvation, Hudson Stage (Jack). Regional Stage: The Boyfriend, Goodspeed Opera House (Percy Browne), dir. Julie Andrews; Where’s Charley? Goodspeed (Sir Francis), dir. Tony Walton; Shenandoah, W.V. Public Theatre (Charlie Anderson); On the 20th Century, Goodspeed, (Max Jacobs); Brigadoon, Goodspeed (MacLaren); 1776, Goodspeed (Chase); Hamlet, N.J. Shakespeare Fest. (Laertes); Song of Singapore, Piper’s Alley, Chi. (Hans); A Christmas Carol, Indiana Repertory Theatre (Scrooge x 2); The Herbal Bed, Indiana Rep (Goche). TV: “30 Rock”; “Law & Order”; “Ryan’s Hope” 1980-82; other soaps.

ROBERTSON CARRICART (Father O’Brien) Returns to the Mint after his performance as John Ferguson in John Ferguson. Broadway credits include On The Waterfront, Zoya’s Apartment, Marriage Of Figaro (with Christopher Reeve), Design For Living (directed by George C. Scott) and Oklahoma!. Among his favorite roles Off-Broadway and regionally are: Billy Budd, Last Night Of Ballyhoo, A Touch Of The Poet,

Treasure Island, Our Town, Long Day’s Journey Into Night, Moon For The Misbegotten, Sleuth, Hamlet, Midsummer Night’s Dream. Most recently on television he has been seen in 3 episodes of “Law and Order”. He has worked with Lauren Bacall, Anthony Quinn, Bob Hope, Jackie Gleason, Bill Cosby, James Gandolfini, and Robin Williams and been directed by George C. Scott, Andrei Serban, Michael Blakemore, Adrian Hall and Michael Kahn. BAIRBRE DOWLING (Maggie Cooney) The Mint: Is Life Worth Living? by Lennox Robinson. BROADWAY: Da with Brian Keith. .…and a Nightingale Sang, Lincoln Center. OFF-BROADWAY: Flying Blind, Clurman Theater; Early Irish Poetry Public Theatre w/ Siobhan Mc Kenna and Barnard Hughes. REGIONAL: Great Lakes Theatre Festival (roles include Ophelia, Beatrice, Mrs. Page, Laura in Glass Menagerie, Peg in Peg o’ My Heart, The Life and Adventures of Nicholas Nickleby, A Childs Christmas in Wales) Mark Taper, Asolo Theater, Laguna Playhouse, Studio Arena Buffalo, Dancing at Lughnasa, South Coast Rep, Secret Rapture, David Grimm’s Sheridan, La Jolla Playhouse (Mrs. Pope) director Mark Brokaw. Amanda Private Lives; Mrs. Patrick Campbell Dear Liar; Honey, Gravity of Honey; Esther Franz, The Price; Lady Macbeth, A Macbeth; Athena, Wanderings of Odysseus GETTY; Penny, You Can’t Take it with You; Vi, Memory of Water, director Jenny Sullivan. Over twenty plays with California Artists Radio Theatre . TV: “Crossing Jordan”, “Murder She Wrote”, “ER”, “Star Trek: Voyager” and John Huston’s last film, “The Dead”. Bairbre has two stories in “Monday Morning Memoirs, Women in the Second Half of Life.”

CON HORGAN (Ned Cooney) Riders to the Sea (Fountain Theater LA and The Cornelia Connely Theater NY) Dir. Tony Torn. Twenty Five, Arrah Na Pogue, Shaughraun (Storm Theater) Dir. Peter Dobbins. The Plough and The Stars (The Irish Repretory) Dir. Charlotte Moore. Translations (Irish Arts Center) Dir. Brian Doyle. Moon of The Carribes (The Bat Theater) Dir. Simon Hammerstein. The Personal Equation (Provincetown Playhouse) Dir. Stephen Kennedy Murphy. Rocking the

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Bronx (Lehman Center for Performing Arts) Dir. Ray Yates. Macaire (Theater for The New City) Dir. Thomas G. Waites and Mary Fassino. Portia Coughlin, In the Boom Boom Room (Show World NY), Dir. Aaron Bell. The Passion Play (Park Theater Performing Arts Center), directors Eric Hafen and Daniel Quinn. The Beauty Queen of Leenane (The Actor’s Theater of Louisville) Dir. Bill McNulty. Under Milkwood (Irish Arts Center LA) Dir. See Glassman. The Shattering (Cherry Lane Theater) Dir. Olympia Dukakis, Anna Christie (Actors Studio East and West) Dir. Wilson Milam. A Reed in the Wind (Blueberry Pond Arts Center) Dir. Ernie Martin. Film credits include: “Pizza” Dir. Donald Gregory; “God And Generals”, “Gettysburg” Dir. Ron Maxwell; “Crimson Tide” Dir. Tony Scott; “Batman” Dir. Christopher Nolan; “Beyond the Pale” Dir. George Bazala; “Luminous Motion” Dir. Bette Gordon; “Some Fish Can Fly” Dir. Robert Kane Pappas. Television: “New York Under Cover”, “One Life To Live”, “Law & Order: SVU”. Lifetime member of Actor’s Studio.

ELI JAMES (Moses Barron) is making his Mint debut. His solo play William and the Tradesmen has been performed at numerous venues around the city, including Ars Nova, La Mama, and The Drilling Company. Stage credits include the original 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, Gross Indecency with Philadelphia Theater Company, and Howie the Rookie with Brat Productions; 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.

AIDAN REDMOND (Michael Donovan) Aidan is thrilled to be back at the Mint and to be a part of Temporal Powers. Previous

New York theater engagements include: Wife To James Whelan (Mint), Blood Guilty (The Bronx Co./Wholeinthewall), Sive, (IRT), Anna Christie (Boomerang), Dirty Works and The Pitchfork Disney (Stiff Upper Lip). His work in film includes the recently released “Daylight” by David Barker, “I Sell The Dead” by Glenn McQuaid, and “79 Parts”, directed by Ari Taub.

WRENN SCHMIDT (Lizzie Brennan) most recently appeared in the world premiere of Bekah Brunstetter’s critically acclaimed Be a Good Little Widow at Ars Nova. Broadway: Come Back, Little Sheba (Manhattan Theatre Club). National tour: Who’s Afraid of Virginia Woolf? with Bill Irwin and Kathleen Turner. Off-Broadway: Jailbait (Cherry Lane Theater), Sive (Irish Repertory Theatre), Phantom Killer (Abingdon Theatre Company), Caesar & Cleopatra (Resonance Ensemble), Crazy for the Dog (Jean Cocteau Repertory), The Dudleys! (Dream Up Festival, Theatre for a New City). Regional: Proof (Cape May Stage) and Heaven (Kitchen Dog Theater). Film & TV: “Client 9”, “Our Idiot Brother”, “Body of Proof”, “Mercy”, “The Necklace”, “Javelina”, “Law & Order”. Training: BFA, Meadows School of the Arts, Southern Methodist University. Proud member of AEA.

FIANA TOIBIN (Daisy Barron) The Mint: The Glass Cage. BROADWAY: Long Day’s Journey into Night (with Vanessa Redgrave), The Weir (Royal Court) and Shining City (MTC). OFF-BROADWAY: Sive, The Yeats Project, My Scandalous Life (Irish Repertory Theatre), The Boys (Outhouse), The Ginger Man (IAC), Fire Eater (CSV), Lovers (Abingdon). REGIONAL: Mrs. Packard (McCarter), Conversations on a Homecoming (Druid/Donmar Warehouse), Cyrano (Shakespeare Theatre DC), The Weir (Pittsburgh Public, Geffen Playhouse), A Streetcar Named Desire, Fen (Ovation Nomination, Open Fist LA), After Miss Julie (Purple Heart), Hamlet, The Witches, A Doll’s House. FILM: “Twelve” (Joel Schumacher), “The Boxer”. TV: “Boardwalk Empire” (recurring), “The Sopranos”, all three “Law & Order” shows, “All My Children”, “Fair City”. Fiana was chosen by Backstage for their Best Performances of The Year for her performance as Olive in Crestfall (Origin/59E59) and Bi

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recently had the pleasure of recording the radio play “I’m with Ya’ Duke” with Jerry Stiller.

VICKI R. DAVIS (Scenic Designer) Previous productions at the Mint: 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.

ANDREA VARGA (Costume Designer) works as both a freelance costume designer in NYC and a faculty member in the Theatre Arts Department at SUNY New Paltz. Most recently she designed costumes for Next, a new play directed by Michael LoPorto at HERE. Last summer she designed Annie Get Your Gun at The Park Playhouse in Albany, NY. At the same time she designed costumes for a new musical I’ll Be Damned produced by Jaradoa Theater Company at The Vineyard Theatre and worked on a new independent film, “Small of Her Back” by Russell Sharman. She is a member of United Scenic Artists and a proud alumna of Florida State University where she met her scenic designer husband, Nathan Heverin.

JEFF NELLIS (Lighting Designer) At the Mint: The Daughter-In-Law, John Ferguson, Fifth Column, Power of Darkness, Rutherford and Son, and others. Other designs include Broadway’s Prymate, Off-Broadway’s Tryst

(New York Outer Critics Circle Nomination), The Milliner, Zanna Don’t!, From Door to Door, One Shot One Kill, Our Sinatra, Cobb, 2 ½ Jews, Coyote on a Fence, Men on the Verge of an Hispanic Breakdown, My Italy Story, The IT Girl, and others. Jeff has worked around the country at theatres including Milwaukee Repertory Theatre, Centerstage, Alley Theatre, Westport Country Playhouse, Actor’s Theatre of Louisville, Bay Street Theatre, Walnut Street Theatre, Hartford Stage, Williamstown Theatre Festival, Repertory Theatre of St. Louis, North Shore Musical Theatre, Los Angeles Opera, Trinity Repertory Company, Florida Stage, and others.

JANE SHAW (Sound Designer) At the Mint: 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. Off Broadway: Hamlet, Merchant of Venice (TFANA/RSC/National Tour), The Coward (Lincoln Center 3), The Sneeze (The Pearl), Liberty City (NYTW), among others. Off-off Broadway: En el tiempo de las Mariposas (Repertorio Espanol), The Wonder (Queen’s Company), Rise and Fall of Annie Hall (Theater Row), CROOKED (Women’s Project), Sounding (HERE), Septimus and Clarissa (Ripe Time). Dance: Big Dance Theater (collaboration for over 12 years, Bessie Award, 2010), Susan Marshall, David Dorfman. Regional theater includes: Denver Center Theatre Company, 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. Nominations: Lortel, Eliot Norton, Henry Award, Connecticut Critics Circle. Graduate of Harvard and the Yale School of Drama.

JAMES GRIFFIN is a Photographic Digital Artist based in the old harbour town of Greystones, Co Wicklow, the Garden of Ireland. James studied art and design in Lincolnshire and Derbyshire, England, before moving to Ireland. He has extensively travelled and documented the beautiful landscapes and seascapes of Ireland in a unique and personal representation by combining photography and artistic creativity. “Photographic Art” a

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selection of James’ work can be viewed online at his website www.jegphotoart.com where a range of prints and limited editions are available to purchase.

HEATHER J. VIOLANTI (Dramaturg) also worked on A Little Journey and Susan And God at the Mint. Other dramaturgy: Pearl’s Gone Blue by Leslie Kramer (NY Fringe Festival), The Odyssey Project: Which Direction Home? (The Internationalists), and Valiant adapted by Lanna Joffrey (Unofficial New York Yale Cabaret). She is a reader for the O’Neill Theater Center’s National Playwrights and Music Theater Conferences. MFA, Dramaturgy and Dramatic Criticism, Yale School of Drama.

AMY STOLLER (Dialect Design, Additional Dramaturgy) celebrates 15 happy years as resident dialect designer/coach (and occasional dramaturg) at the Mint, most recently on Teresa Deevy’s Wife to James Whelan. Other Mint highlights include Is Life Worth Living?, The Widowing of Mrs Holroyd, The Fifth Column, The Daughter-in-Law, The Madras House, Echoes of the War, Milne at the Mint, and The Voysey Inheritance. Other New York credits include Anna Deavere Smith’s Let Me Down Easy at Second Stage (and the subsequent national tour), and shows at the Pearl, Keen, and Origin, among many others. Regional credits include world premieres by Athol Fugard, Paula Vogel, Anna Deavere Smith, and Aditi Brennan Kapil at the Long Wharf, plus productions at Arena Stage, A.R.T., People’s Light & Theatre, and Peterborough Players. Television work includes animated series, commercials and a documentary. Amy is Associate Editor for NYC at International Dialects of English Archive, and an officer of the Voice and Speech Trainers Association. Learn more at www.stollersystem.com and find Stoller System on Facebook.

LISA McGINN (Stage Manager) is thrilled to be joining the Mint Theater for this production. NYC credits include How to Build a Forest (PearlDamour + Shawn Hall), Sing Sing and Stay With Us as part of NYU’s grad program Freeplay Festival, Next! (Abraxas Stage Company); In Quietness (Ensemble Studio Theatre); Ivanov (Chekhov at Lake Lucille); Once Upon a Time in New Jersey (Prospect Theater); Shakespeare’s Richard

II…on Trapeze! (Matchbook Productions/Sonnet Rep); Limonade Tous Les Jours (New Voice Project/the cell theatre, starring Austin Pendleton); A Question of Mercy and Therese Raquin (PTP/NYC); Or, and Smudge (Women’s Project), Complete (2009 NYC Fringe Festival); The Shanghai Gesture (Mirror Rep); Elephant in the Room! (Stage 13); A Stone Carver (Soho Playhouse); Lisa has also worked regionally at Trinity Repertory Company, Two River Theater Company, Passage Theatre Company, Playwrights Theatre of NJ, The Old Globe, Charlotte Rep, NJPAC, Berkshire Theatre Festival.

ANDREA JO MARTIN (Assistant Stage Manager) is happy to be back at the Mint! Credits include: Broadway: Rent (sub); Broadway Backwards 3, 4, 5 and 6. Off-Broadway: A Little Journey, The Widowing of Mrs. Holroyd, The Glass Cage, The Madras House (Mint); Busker Alley, Fanny Hill, A Fine and Private Place, and 10 different Musicals in Mufti (The York Theatre); with various companies: White’s Lies; Love Child; Signs of Life; De Novo; Beauty on the Vine; WASPs In Bed; A Dangerous Personality. Festivals: at NYMF: Judas & Me; Fringe Festival: Dancing With Abandon, and Trouble in Shameland. Andrea is also a sub at Naked Boys Singing! and NEWSical, Full Spin Ahead.

LAUREN MCARTHUR (Assistant Stage Manager) Lauren is exited to be working with the Mint team again! Previous Mint productions include: What the Public Wants, The Wife to James Whelan, So Help Me God! and Is Life Worth Living? Other NYC credits: This Side of Paradise (Culture Project); Life in a Marital Institution (59E59 Theaters & SoHo Playhouse); American Jornalero (Working Theater); Widows (59E59/Reverie); The Kids Left, The Dog Died, Now What? (NYMF); Savage in Limbo (The Process Group); The Program (NY Fringe Festival). Regional/Tour: The Wild Duck (Bard Summerscape); The Laramie Project & The Laramie Project: 10 Years Later Tour (Tectonic Theater Project). Film: Production Designer-‘Wunderkind’ (Dir: Lauren Rosen). She would like to thank her parents for their love and continued support. Proud member of AEA.

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DAVID GERSTEN & ASSOCIATES (Press Representatives) also represents the Off-Broadway hits, Black Angels Over Tuskegee, Girl’s Night the Musical, and its sequel, Girl Talk, and Naked Boys Singing, as well as INTAR, Keen Company, Woodie King’s New Federal Theater, New World Stages, Red Bull Theater, and Stage Entertainment US. David serves on the Board of Governors of ATPAM, The Association of Theatrical Press Agents & Managers. www.davidgersten.com

THE PEKOE GROUP (Advertising & Marketing) 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, The Rap Guide To Evolution, Puppetry of the Penis, Theatre For A New Audience, and more. www.thepekoegroup.com

STUART HOWARD, AMY SCHECTER & PAUL HARDT (Casting) have cast hundreds of shows over the past 25 years. Happily casting for the Mint since 2004.

SHERRI KOTIMSKY (General Manager/ Production Manager) 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.

JONATHAN BANK (Director/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 Wife to James Whelan 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 two additional volumes in the “Reclaimed” series (Harley Granville Barker and St. John Hankin) as well as Worthy But Neglected: Plays of the Mint Theater Company.

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about the mint theater company

2011-2012teMPoral PoWerS By teresa deevy

2010-2011WIfe to JaMeS Whelan By teresa deevyWhat the PUBlIC WantS By arnold Bennetta lIttle JoUrney By rachel Crothers

2009-2010IS lIfe Worth lIVInG? By lennox robinson So helP Me God! By Maurine dallas WatkinsdoCtor KnoCK By Jules romains

2008-2009the GlaSS CaGe By J.B. Priestley the WIdoWInG of MrS. holroyd By d.h. lawrence

2007-2008the PoWer of darKneSS By leo tolstoy the fIfth ColUMn By ernest hemingway

2006-2007John ferGUSon By St. John ervine the MadraS hoUSe By harley Granville Barker retUrn of the ProdIGal By St. John hankin

2005-2006WalKInG doWn BroadWay By dawn Powell SoldIer’S WIfe By rose franken SUSan and God By rachel Crothers

2004-2005the lonely Way By arthur Schnitzler the SKIn GaMe By John Galsworthy

2003-2004MIlne at the MInt two Plays by a.a. Milne eChoeS of the War By J.M. Barrie

2002-2003the CharIty that BeGan at hoMe By St. John hankin far and WIde By arthur Schnitzler the daUGhter-In-laW By d.h. lawrence

2001-2002rUtherford and Son By Githa Sowerby no tIMe for CoMedy By S.n. Behrman

2000-2001WelCoMe to oUr CIty By thomas Wolfe the flatterInG Word & a fareWell to the theatreBy George Kelly & harley Granville Barker dIana of doBSon’S By Cecily hamilton

1999-2000the VoySey InherItanCe By harley Granville Barker alISon’S hoUSe By Susan Glaspell MISS lUlU Bett By Zona Gale

1995-1998QUalIty Street By J.M. Barrie Mr. PIM PaSSeS By By a.a. MilneUnCle 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 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 three volumes in our “Reclaimed” series, each featuring the work of a single author: Harley granville Barker, St. John Hankin and Arthur Schnitzler. a

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the following generous Individuals, foundations, and Corporations support the Mint theater, and we honor their contributions:

Crème de Mint: $10,000 and aboveBloomberg PhilanthropiesThe gladys Krieble Delmas FoundationThe Jean & louis Dreyfus FoundationThe Max & Victoria Dreyfus FoundationFlorence gould FoundationThe Fan Fox & leslie R Samuels FoundationMr. & Mrs. Ciro gamboni *The little Family Foundation *The Andrew W. Mellon Foundation New York Theater ProgramNew York City Department of Cultural AffairsNew York Foundation for the ArtsNew York State Council on the ArtsThe Shubert Foundation, inc.The Ted Snowdon FoundationThe Dorothy Strelsin FoundationThe geraldine Stutz Trust inc.anonymous

SilverMint: $5,000 to $9,999Axe-Houghton FoundationVirginia Brody *Barbara Bell Cumming Foundationlori & edward Forsteinlucille lortel FoundationThe South Wind FoundationThe Harold & Mimi Steinberg Charitable Trustlitsa Tsitsera Michael Tuch Foundation

ChocolateMint: $1,500 - $4,999Jonathan Bank *lea & Malvin BankRobert Brennerlinda Calandra *Jon Clark *Jeffrey Compton & Norma ellen Foote *William DowneyThe Friars FoundationRuth Friendly *Janet & John Harrington The Heidtke Foundation Blanche & irving laurie FoundationDorothy loudon Foundation executive Director, lionel larnerNew York City Council for the HumanitiesDorinda J. oliverPfizer Foundationeleanor Reissa & Roman Dworecki *Judy & Sirgay Sanger *Wallace Schroeder *Anne SheffieldDavid Stenn Sukenik Family Foundation *Katherine & Dennis Swanson *

Kathryn Swintek *Bertram Teich

SpearMint: $600 - $1,499Harry Abramslisa Ackerman linda Alterman *Richard Barnes & Marta grossJulia Beardwood & Jonathan Willens Jeffrey Bernstein & Cathy lanyard Joann, Jennifer & gene Bissellleslie (Hoban) Blake *Allison M. BlinkenRose-Marie Boller & Webb Turner *Ann Butera *e. R. BuultjensRobin Chase *Claudia & Frank Deutschmann *Cory & Bob Donnalley Charitable Fdn. *Julie DurkinH. Read evans *eva & Norman Fleischer Joan & edward Franklin *Phyllis Freed *The gordon Foundation Arthur grayzel, MD & Claire lieberwitzAnita & edward greenbaum *Julia B. & James C. Hall *Carol & Patrick Hemingway Hickrill FoundationC. Howard Co. inc.iBM FoundationDana ivey *Jacqueline & James JohnsonRoberta A. JonesJoseph Family Charitable Trust *Christopher Joy & Cathy Velenchik *Peter Haring Judd Fund *Brian KaltnerJoan Kedziora, MD. *linda irenegreene & Martin Kesselman Sarah-Ann KramarskyMary & David lambert *Judith & John laRosa *Audrey & Joseph lombardi *Charlene & gary MacDougalJames Marlasedith Meiser FoundationJohn & Stephanie Meyer, Teen ink leonard & ellen MilbergDoreen & larry Morales *Joseph Morello *Nancy Newcomb & John HargravesSusan & Peter Ralstongeorge Robb

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* indicates purchase of a seat name

Herbert Schlesinger *Susan ScottHarriet SeilerDrs. Robert M. Koros & Carole M. Shaffer-Koros *Rob Sinacore Alissa Sklaver State of New York – office of Parks, Recreation and Historic PreservationSuzanne & Jon StoutMilton & Barbara StromM. elisabeth Swerzlila Teich gold *Helen S. Tucker, The gramercy Park FoundationWein Family Fund *Anonymous

doubleMint $150-$599(first Priority Club)Actors equity Foundationgretchen AdkinsJudith Aisen & Kenneth VittorShihong & Peter Alden louis Alexanderlinda Alster *laura AltschulerMarc AnelloCarmen Anthonylouise Arias Barbara Austin *earl BaileyJudith Barlow *William BarthDeborah Berke & Peter D McCann, MDBarbara Berliner & Sol RymerAl BerrNidia BessoHelena & Peter BienstockSteven BlierRonald H. BlumerDorothy BorgBristol- Myers Squibb Co.Ambassador & Mrs. W. l. lyons BrownPeter CameronJames Carroll *Richard CarrollAurelie CavallaroSharon M. Chantilles-Wertz & Kevin Wertz *Andrew H. Chapman lynne Charnay Joseph CimmetSteven R. CoeToni CoffeeJane CondonJoAnn CorkranPenny & Peter CostiganRonald Covar *Wilbur Cowett, The longhill Charitable FoundationSusan & george Crow

Stuart DavidsonRuth & Anthony DeMarcogH Denniston & Christine ThomasPat DeRousie-Webb & Robb WebbKatherine & Bernard DickRuth & Robert DiefenbachM. Burton DrexlerHerzl eisenstadtMina & Martin ellenbergMarjorie ellenbogenMonte engler & Joan MannionSara & Fred epsteingrace & Donald eremineugene ernst *Judith eschweiler *Sarah Fels & george Steelorinda & Thomas Filipiirving and gloria Fine FoundationAngela T. Fioreedmee & Nicholas Firth Barbara Fleischman *Martha FleischmanCharles FlowersBarbara Fogel Donald W. FowleCharlotte FrankDiana & Jeffrey Frankglenda Frank *Monroe FreedmanJudith & Charles FreyerDr. H. Paul & Delores gabriel *Mary Ann & John garlandAgnes & emilio gautier *Phyllis gelfmanJames C. giblinArdian gill & Anna l. HannonSuellen & David globusJoyce goldengloria goldenberg Duncan goldie-ScottSamuel gonzalez Margaret goodmanMary & gordon gouldAnna grabaritsVirginia grayHarry greenwald & Babette Krolik Tosia gringerAntonia & george grumbachVictoria guthrieAmy & Ronald guttman gunilla Haaclanie HaddenJoseph Hardygeorge HatchCarol HekimianReily HendricksonDavid HerskovitzsKarin & Henry HerzbergSigrid HessD

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Barbara HillJoan HoffDorothy & edward HoffnerStuart Howard *Cathy Hull & Neil Janovicelizabeth ellis HurwittHarriet inselbuchJocelyn Jacknis *ellie Jacobellen & Peter JakobsonAlan Jeffrey *Susan & Stephen Jeffriesedith JonesMichael Jonesgus Kaikkonen & Kraig SwartzThomas KaneAnne KaufmanKaren Kellylaurie Kennedy & Keith Manogeorgianne enisign Kent Roberta & gerald Kielgerard KiernanJospeh KissaneKaori KitaoCaral g. KleinSusanna Kochan-lorch & Steven lorch Anna Kramarsky & Jeanne BergmanJean KroeberMildred g. KunerCarmel Kupermangeorge laBalmelee & Richard lastergene laughorneChristopher lawrenceKent lawson & Carol TamborMargaret & gordon leavittgloria & ira leedsJane & eliot leibowitzlaura & Rodney leinbergerDr. Albert leizman *Jean leo & Richard KuczkowskiCarol & Stanley levyChristopher ligreci & Robert ohlerkingAlene & Jeffrey lipshawRuth lordJudith MahlerMary Rose MainJane Anne MajeskiVivian & John MajeskiMiriam MalachBarry MargoliusJacqueline MaskeyMargaret Mautnergeorge MayerPamela MazurBetsy McKennyMartin Meisel Richard Mellor, Jr.The JVPC Memorial Fdn for the Arts

Joan & John MendenhallJohn David Metcalfeleila & ivan Metzgerlusia & Bernard MilchSusan & Joel Mindel *ellen MittenthalJudith & Allan Mohlelaine & Richard Montaggeorge Morfogen *Frank Morraelaine & Ronald MorrisCarole & Theodore MuchaTim MulliganKarol MurovMaureen MurphyAmanda NelsonCarol & Dick Netzeroanh NguyenPeter NitzeTim NolanStephanie & Robert olmstedDottie & Richard oswaldJudith Pagegwen & Bruce PasqualeAlice & Frederick g. Perkinsgillis & leonard PlaineJeanine Parisier PlottelSheila & irwin PolishookMary & larry Pollackgeorgette & David PrestonJoan RahavPaul RawlingsJoe Regan, Jr. Allen lewis Rickmanirvin RinardPeter Robbins & Paige SargissonPhyllis & earl S. RobertsThe Rodgers Family Foundation/Mary R. guettelTheodore Rogers *Renee & Seymour RogoffSylvia RosenBarbara RosenthalMark RossierDonna RubensJames RussellJ. B. SandlerCatherine ScaillierJudith & Richard SchachterBarbara Schoetzau *Daphne & Pete SchwabMarilyn & Joseph SchwartzPhyllis SchwartzThe Martin e. Segal Revocable Trust Barbara & Donald ShackCamille & Richard SheelySusan & Zachary Shimer *Kayla J. & Martin Y. SilberbergMel SilvermanMarion & leonard Simon

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Susana & Americo SitnerRayna & Martin Skolniklily N. SmithRoger SmithBarbara & Stanley SolomonDr. Norman SolomonCaroline Sorokoff & Peter Stearn *linda & Jerry Spitzererica StadtlanderStagedoor lee SteelmanSherry & Bob SteinbergFrances SternhagenFaith Stewart-gordonAmy Stollerilene StoneStella Strazdas & Hank ForrestCarol & Will Sullivanlarry e. Sullivan *Douglas TarrAnne TeshimaAnnie Thomas & David H. KirkwoodRochelle TillmanJill TranSusan & Charles TribbittHelen & William van SyckleJoan & Bob Volingerald Wachsedith & gordon WallaceJohn Michael Walshlillian & Saul WechterKate & Seymour WeingartenRichard WeismanPatricia & Richard Whitelillian & Robert WilliamsMarsha & Vincent WilliamsMary C. WolfJohn Yarmick *Sue & Burton Zwickanonymous

* Purchased a chair or chairs

This list represents donations made from Janu-ary 2010 – July 2011. Every effort is made to ensure its accuracy. Please contact us regarding any mistakes

We are grateful to the following people who have generously donated to the teresa deevy Project:

gretchen Adkinslouise AriasMary Bacon & Andrew leynse

Jonathan Bank & Katie FirthSteven BlierAllison Blinkenlinda CalandraRobin ChaseJon Clark & Ryan FrancoJane CondonWilbur CowettJulie DurkinMarjorie ellenbogenMartha FleischmanPhyllis FreedRuth FriendlyCiro & gail gambonileonard & Marita gochmanlila Teich goldSam gonzalezVictoria guthrieJohn Hargraves & Nancy NewcombeJohn HarringtonDarlene & Brian Heidtkeelizabeth ellis Hurwittlinda irenegreenJann leeming & Arthur littleNeil & Cathy JanovicPeter JuddAnne Kaufmanlaurie Kennedygeorgianne Kentgerry KiernanAnna KramarskySarah-Ann Kramarksyleonard Milberggeorge MorfogenMaureen Murphyenid NemyDorinda oliverStephanie & Robert olmstedJoan Price RahavSusan & Peter Ralstoneleanor ReissaJudy & Sirgay SangerMartin SegalAnne SheffieldRob SinacoreAmy StollerBarbara & Milton StromM. elizabeth SwerzKathryn Swintek & Andre DorraCarol TamborBertram Teichlitsa TsitseraJoyce WeilSeymour & Kate Weingarten

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.

temporal powers staff

Assistant Production Manager/ Technical Director Wayne YeagerFight Director Mike ChinWardrobe Supervisor leah MitchellAssistant to the Director Natalia SchweinBoard operator Shannon epsteinProduction Assistant Renee JacksonAssistant Costume Designer olga MillsProgrammer/Assistant lighting Designer Rachel SzymanskiScenic Charge Julia Hahn-gallegoCarpenters Carlton Hall, Daniel HallidayProduction interns Treneil Walker, Malik lewisBox office Hayward leachHouse Manager ivana KarapandzicVideographer Joshua JohnsonMarketing & Advertising The Pekoe group /Amanda Pekoe, Kerry Minchinton, Marissa Coronado, Beth Chrobak, Jessica Ferreira, Jason Murray, gregory Fullum, Danielle Schoeck

Lighting installed by the Lighting Syndicate.

Set Constructed By Carlo Adinolfi

Mint theater wishes to thank the following for their assistance in this production:

James Griffin, Nathan Heverin, SUNY New Paltz

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.

MInt theater CoMPanyStaff

Jonathan Bank Artistic DirectorSherri Kotimsky general ManagerHeather J. Violanti Development Associate / DramaturgAdrienne Scott Box office Managerellen Mittenthal Development Consultant

Board of trUSteeSJonathan Bank linda Calandra

Ciro A. gamboni John P. Harrington

Jann leeming eleanor Reissa Kathryn Swintek

“When it comes to the library,” our 2001 obie citation states, “there’s no theater more adventurous.”

in 2002 the Mint was awarded a special Drama Desk Award for “unearthing, presenting and preserving forgotten plays of merit.”

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 www.minttheater.orgnew york, ny 10036 Box office: (212) 315-0231