Mint Theater Company

Geoffrey Chinn, President

Elsa A. Solender, Secretary

Sari Anthony

Jonathan Bank

Linda Calandra

Carol Chinn

Jon Clark

Toehl Harding

Eleanor Reissa

Tina Rieger

Gary Schonwald

M. Elisabeth Swerz

Jonathan Bank

Sherri Kotimsky

Colleen T. Sullivan

Artistic Director

General Manager

Box Office Manager

“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 pre-

serving 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. Mint

has a keen interest in timeless but timely plays that

make us feel and think about the moral quality of our

lives and the world in which we live. Our aim is to use

the engaging power of the theater to excite, provoke,

influence and inspire audiences and artists alike.

311 West 43rd St. suite 307 New York, NY 10036

www.minttheater.org

Box Office: (212) 315-0231

Staff

Board of Trustees

Staff for The Madras House

The Producers would like to thank the following:

Goodspeed Musicals Costume Rental Division and Odds Costume

Rentals for its assistance in this production. Jeannette Hawley, American Repertory Theater. Michael Parva, The Director’s

Company. Lighting equipment provided by the Technical Upgrade Project of

the Alliance of Resident Theatres/New York through the generous

support of the New York City Council and the City of New York Department of Cultural Affairs.

Technical Director Associate Costume Designer Sound Consultant Master Electrician Programmer Wig Supervisor Wardrobe Supervisor Board Operator Carpenters Electricians Scenic Artist House Manager Box Office Associates

Evan Schlossberg Jessica Pabst

Elizabeth Rhodes Philippe Bachy

Alden Fulcomer Jessa-Raye Court

Jen Haines Kane Chiang

Paul Burke, Kyle Jordan Kenny Komer, Dennis Luczak

Joe Rayome , Steve Wargo Caroline Abella, Scott Early

Randy Yonally Yana Babaev

Adam Branson Janel Cooke, Toni Anita Hull

Actors’ Equity Association was founded in 1913. It is the labor union representing over 40,000 American actors and stage managers working in the professional theatre. For 89 years,

Equity has negotiated minimum wages and working conditions, administered contracts, and enforced the provisions of its vari-ous agreements with theatrical employers across the country.

Something new from Mint—gift certificates!

A lovely idea for your theater-going friends. You can buy a gift certificate in any value, we will personalize it and

mail it to you or any other address of your choosing. Give us a call at 212-315-0231 to order one today!

Satoko Parker

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Irwin & Sheila Polishook

Stephen W. Porter & Arnold Somers

Maria Proctor

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Sylvia Rosen

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Foundation

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Burton & Susan Zwick

Anonymous This list represents donations made from January 2006 through January 2007. Every

effort is made to insure its accuracy. Please contact us regarding any mistakes

donors

Opening night February 15, 2007

Casting

Stuart Howard, Amy Schecter & Paul Hardt

Press Representation

David Gersten & Associates

Sound

Ellen Mandel

Props

Jesse Dreikosen

Wigs & Hair

Gerard James Kelly

with

Mary Bacon, Ross Bickell, Lisa Bostnar

Thomas M. Hammond, Jonathan Hogan

Laurie Kennedy, Roberta Maxwell Allison McLemore, Pamela McVeagh

Mark L. Montgomery, George Morfogen

Angela Reed, Scott Romstadt, Kraig Swartz

Sets

Charles Morgan

Costumes

Clint Ramos

Lights

William Armstrong

by Harley Granville-Barker

Mint Theater Company Jonathan Bank, Artistic Director

Sherri Kotimsky, General Manager presents

Directed by

Gus Kaikkonen

Mint Theater gratefully acknowledges public support from the Na-tional Endowment for the Arts, the New York City Department of Cultural Affairs and the New York State Council on the Arts, a State

agency. Production support provided by The Edith Lutyens and Norman Bel Geddes Foundation.

Production Stage Manager

Allison Deutsch

Assistant Stage Manager

Andrea Jo Martin

Dialects & Dramaturgy

Amy Stoller

by Harley Granville-Barker CAST

HENRY HUXTABLE

KATHERINE HUXTABLE their daughters:

MINNIE HUXTABLE

CLARA HUXTABLE

JULIA HUXTABLE EMMA HUXTABLE

JANE HUXTABLE

THE MAID

CONSTANTINE MADRAS

AMELIA MADRAS his wife and Henry’s sister

PHILIP MADRAS their son JESSICA MADRAS his wife

MAJOR HIPPISLY THOMAS

WILLIAM BRIGSTOCK FREDA BRIGSTOCK

BELHAVEN

MISS CHANCELLOR MARION YATES

MR WINDLESHAM EUSTACE PERRIN STATE

THE MANNEQUINS

Jonathan Hogan

Laurie Kennedy

Lisa Bostnar

Mary Bacon

Angela Reed Allison McLemore

Pamela McVeagh

Mary Bacon

George Morfogen

Roberta Maxwell

Thomas Hammond Lisa Bostnar

Mark L. Montgomery

Kraig Swartz Angela Reed

Scott Romstadt

Laurie Kennedy Mary Bacon

Kraig Swartz Ross Bickell

Mary Bacon

Allison McLemore Pamela McVeagh

Act I The Huxtable House,

Denmark Hill. Sunday morning

Act III The Madras House,

Bond Street. Monday afternoon

—-Intermission—-

Act II The office of Roberts & Huxtable, Peckham. The following Monday

morning

Act IV Philip and Jessica’s

house, Phillimore Gardens.

The Madras House

London, October 1910

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* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

Bruce & Adele Fader

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Arts

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donors

When The Madras House was written in 1909, there was little security in the

life of an Edwardian shop-assistant. There were no set meal breaks, no holi-

days or days off, no health or unemployment insurance. As Mint audiences

saw in Cicely Hamilton’s Diana of Dobson’s (1908; produced here in 2001),

shopworkers not only lived in, but could work 80 hours a week on starvation

wages. Low pay and management fines for a bewildering list of transgres-

sions made saving for the future difficult, and even better-paid senior em-

ployees could be terminated at a moment’s notice. Among the reasons for

job-loss given were: carrying matches in one’s pocket; asking two days’

leave to arrange and attend a funeral; going through the wrong door to din-

ner; being ill one day; becoming engaged to someone employed by the same

firm. A worker could simply be replaced by someone younger and cheaper,

or an employer’s relation, at any time. With a reference, they might hope for

comparable employment elsewhere; without one, their chances were slim.

For a female shopworker that generally left, if she was lucky, descent from

the lower middle class to the working class via unskilled or sweatshop labor;

if unlucky, the Workhouse or prostitution. If a worker had family relying on

any portion of their earnings, they too were vulnerable.

The specter of the Workhouse, known to most of us nowadays through Oli-

ver Twist, was terrifying. Nineteenth-century Poor Law assistance was orga-

nized on the local level, purposely designed to be so meager and humiliating

as to discourage voluntary appli-

cation for aid. As the Victorian

era gave way to the Edwardian,

some of the burden on local au-

thority was lightened by the ad-

vent of “friendly societies,” trade

union insurance plans, and reli-

gious and other charitable organ-

izations. But without help from

one of these, or from family, a

dismissed worker’s prospects

were bleak.

In 1891, a national union for retail workers was formed. They did much to

publicize the plight of shop assistants, fighting against the living-in system,

and for reduced working hours. Still, there was no old-age pension scheme

until 1908; no minimum wage or labor exchange until 1909. Finally, in

1911, the Shops Act succeeded in establishing limited working hours, a

weekly half-day off, and regular meal breaks. That same year, the National

Insurance Act created health and unemployment insurance in Great Britain

for the first time. The British Welfare State would not be formed until after

WWII, but its foundation had been laid. — Amy Stoller

Pro

gra

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otes

. “Living-in”

The Madras House is not only the title of Granville-Barker’s 1909 play, it is the

name the playwright gives to his equivalent of the sprawling Edwardian

department store, an amalgamation of drapery shop and fashion house. (Contemporary audiences made the immediate connection to Selfridge’s, the

London retail mecca established by American entrepreneur H. Gordon

Selfridge.)

In Act II, we meet some of the workers who “live in.” A descendant of the pre-industrial apprenticeship, “living in” was a system whereby employees lived in

or near their place of work, in dormitory-type housing provided by their

employer.

Mint audiences might recall another play, Diana of Dobson’s (written by Cicely

Hamilton in 1908, produced by the Mint in 2001), whose first act portrays life in

a typical drapery shop dormitory. Conditions were brutal. Six to twenty

employees shared a room. The room was sparsely furnished—a bed for each employee, some pegs for clothes, a box for storage, and a single stove or gas jet

were all the amenities usually provided. “Everything plain and comfortless to

the last degree,” was how Hamilton described it.

Many employers considered a separate bathroom an unnecessary luxury. Some firms even limited workers to one pint of hot water a week for washing. Food

was often stale; week-old bread was not uncommon. In some dormitories, rats

scampered across the room at night, or lice infested the bedclothes.

Employees, whose salaries were already reduced to cover the costs of room and

board, were charged for any infraction of house rules. These included burning a

candle after “lights out,” putting on the gas after hours, or coming in after

curfew. Behavior at work was also subject to fines. Any employee caught in “unbusinesslike conduct”—such as being rude to a customer or, heaven forbid,

not dusting the shelves properly—would see a reduction in salary for the week.

Pro

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ote

s

SCENE FROM “DIANA OF DOBSON’S”, SAVOY THEATRE 1908

Patrons Robert Brenner

Lucille Lortel Foundation

National Endowment for the Arts

New York State Council on the Arts

The James B. Oswald Co.

The Shubert Foundation, Inc.

Michael Tuch Foundation

anonymous

Artistic Directors Circle Geoffrey & Carol Chinn

Barbara Bell Cumming Foundation

The Gladys Krieble Delmas

Foundation

Mary Rodgers Guettel

Edgar & Renee Jackson

DJ McManus Foundation

New York City Department of

Cultural Affairs

The Fan Fox & Leslie R Samuels

Fnd Inc

The Ted Snowden Foundation

Mary Elisabeth Swerz

First Priority Platinum Circle American Theater Wing

Axe-Houghton Foundation

Linda Calandra

Adam D. & Linda Chinn

Edward & Lori Forstein

The Heidtke Foundation

Kendal at Oberlin

Karl Lunde

Edith Meiser Foundation

The New York Times Company

Foundation Fund for Mid

size Theaters, a project of

A.R.T./New York

Tina & Howard Rieger

Gary A. Schonwald

Wallace Schroeder

Stephen D & Elsa A Solender

The Dorothy Strelsin Foundation

Sukenik Family Foundation

First Priority Gold Club Lisa Ackerman

American Friends of Theatre Inc

Sari Anthony

Jonathan Bank

Malvin & Lea Bank

Bank of America

Ezra Barnes

Andre Bishop

Bernice & Frederick Block

Dr. & Mrs. Jeffrey S. Borer

Virginia Brody

Jon Clark

Jeffrey Compton & Norma Ellen

Foote

Robert & Ruth Diefenbach

Cory & Bob Donnally Charitable

Fund

ExxonMobil Foundation

Fine Family Foundation

Nicholas & Edmee Firth

Barbara Fleischman

Charles Flowers

Edward & Joan Franklin

Burry Fredrik

Ruth Friendly

Mr & Mrs Ciro Gamboni

The Gramercy Park Foundation Inc

Virginia Gray

Kristen Griffith

Antonia & George Grumbach

Guilford Publications

Guild Family Foundation

Ron Guttman

Toehl Harding

George B. Hatch

Hickrill Foundation

Barbara Hill

Edward & Dorothy Hoffner

Anna B. Iacucci

The following generous Individuals, Foundations and Corpora-

tions support Mint Theater, and we honor their contributions:

donors

ley, Fringe Festival: Trouble in Shame-

land; Workshop: Red; Reading: Grand

and Glorious. Favorite regional credits

include: Hair, Little Shop of Horrors,

The Who’s Tommy, Macbeth, Zombie

Attack!, and The Diviners. Thanks to

Jonathan, Gus and Allison for bringing

me to the Mint.

STUART HOWARD, AMY SCHEC-

TER & PAUL HARDT (Casting) have

cast hundreds of shows over the past 25

years. Among their favorites are: Broad-

way: Gypsy (Tyne Daly), Chicago (Bebe

Neuwirth, Ann Reinking), Sly Fox

(Richard Dreyfuss), Fortune's Fool

(Alan Bates, Frank Langella) & the origi-

nal La Cage Aux Folles. Off Broadway:

I Love You, You're Perfect, Now Change

& The Normal Heart. Happily casting

for The Mint for the past 2 seasons

DAVID GERSTEN & ASSOCIATES

(Press Representatives) is proud to con-

tinue our relationship with Mint. DGA

currently represents the Off-Broadway

hits Altar Boyz (3rd year - NYC and

National Tour), Naked Boys Singing! (8

full frontal years) and The Awesome 80s

Prom (3rd year - NYC, Chicago). Other

current clients include New World Stag-

es (the Clinton entertainment complex

formerly known as Dodger Stages),

Stage Entertainment US, York Theatre,

Ensemble Studio Theatre, The Lucille

Lortel Foundation, and The League of

Off-Broadway Theatres & Producers'

annual Lortel Awards, which David also

writes and co-produces. Also a producer,

David presented Tea At Five starring

Kate Mulgrew as Katharine Hepburn, as

well as the musicals Dr. Sex and Eleanor

and Hick.

SHERRI KOTIMSKY (General Manag-

er) Produced for Naked Angels: Meshu-

gah, 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 Festi-

vals, River to River Festival and the

Carol Tambor Awards 2005 productions,

amongst many others. Currently work-

ing with several theater companies as

business consultant.

JONATHAN BANK (Artistic Director)

Bank has been the artistic director of

Mint since 1996 where he has unearthed

and produced more than two dozen lost

or neglected plays. Bank 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 Re-

claimed which Bank edited. He is also

the editor of Worthy But Neglected:

Plays of the Mint Theater Company

which includes his adaptations of Thom-

as Wolfe's Welcome to Our City and

Edith Wharton's The House of Mirth,

both of which he directed, along with

five other Mint rediscoveries. Bank also

directed The Truth about Blayds and Mr.

Pim Passes By both by A.A. Milne and

performed in rotating repertory with a

single group of actors under the title

Milne at the Mint, as well as this sum-

mer’s Susan and God.. Other directing

credits include critically acclaimed pro-

ductions of Ivanov and Othello for the

National Asian American Theater Com-

pany, John Brown's Body, The Double

Bass and Three Days of Rain for the

Miniature Theater of Chester and Can-

dida and Mr. Pim Passes By for the Pe-

terborough Players. This spring Bank

taught directing in the graduate program

of The New School for Drama. He

earned his M.F.A. from Case Western

Reserve University in his hometown of

Cleveland, OH.

Bio

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ph

ys

Any mistake, such as miscounting inventory or giving the wrong change, was

also grounds for salary reduction. Even behavior outside of work was subject for punishment. An employee caught smoking, or reading novels, could find his

or her wages cut.

Conditions were grim, but a shop assistant’s workday was “only” 14 hours, as

opposed to the 16 hours or more expected from a household servant. This made “living in” a more attractive option than domestic service for an increasing

number of workers. In 1891, 450,000 assistants “lived in” their shops. By 1914,

five years after Granville Barker wrote The Madras House, 400,000 employees

still “lived in.”

Employers argued that “living in” promoted morality among the workforce,

another factor in ensuring the system’s survival. In the interests of “morality,”

each dormitory was segregated by gender. A strict forewoman or foreman,

usually an older employee of many years standing, kept watch over the other workers (Miss Chancellor in The Madras House and Miss Pringle in Diana of

Dobson’s). Actions deemed “immoral” were grounds for docked wages, or

depending upon their severity, dismissal. Unwed pregnancy was one cause for

dismissal. Marriage, surprisingly, was another. Workers were expected to remain single. Family life could interfere with obligations to the firm. One

employer remarked, “I would rather they go elsewhere and get married; we do

not want people in our employ like that…it tends to make them—well, certainly

not honest.”

In The Madras House, Granville Barker exposes the hypocrisy behind such

sentiment. By 1910, the year the play premiered, avant-garde audiences had

seen many “shopgirl” dramas recounting the horrors of “living in.” Madras

House nevertheless proved a shock. Not only did Granville Barker gave us a vibrant shopgirl (Miss Yates) who does not atone for her “wrong-doing,” he had

the audacity to compare the exploitation of drapery shop workers to the

entrapment of middle-class women.

Heather J. Violanti

When The Madras House was first produced, the Englishman’s average

yearly wage was £50–60; for women it was about £20. At the time, a com-

fortable income was defined as £160–700 per annum, with any larger fig-

ure signifying true wealth. Is it any wonder Mr. Brigstock says £30 a year

is not enough to “live out” on? Miss Yates might hope to support herself

and her child for a little over a year on the nearly £200 she has saved. On

the other hand ... While it isn’t possible to determine an exact value for

the 1910 pound in today’s currency, a reasonable estimate of the £1200

salary that Philip Madras forgoes would be just over a half-million pounds

— or roughly a million dollars. — Amy Stoller

Pro

gra

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otes

MARY BACON (Clara Huxtable, Mari-

on Yates, Mannequin, Maid at Denmark

Hill) Broadway: Arcadia., Lincoln Cen-

ter. Off-Broadway: Treason, Perry

Street Theatre. Mother Lolita and

Dream of Wealth at Urban Stages, and

workshops/productions with The Culture

Project, The Lark, Old Vic New Voices,

Primary Stages, Lincoln Center Lab,

New Dramatists, Directors Company,

Drama League, Ensemble Studio Thea-

tre, New Georges, the Women’s Project,

Lincoln Center Institute, and TACT.

Regional: This summer Julia in The Ri-

vals at Shakespeare Theatre of New Jer-

sey, Iron Kisses, world premiere (Geva),

Hypatia in Misalliance (Old Globe),

Hazard County (Humana Festival), Ste-

phen Wadsworth’s adaptation/translation

of Don Juan (Old Globe, Seattle Rep,

McCarter Theatre) and The Triumph of

Love (Seattle Rep, Long Wharf), Radium

Girls (Playwrights Theatre of New Jer-

sey), Last Night of Ballyhoo (world

premiere at the Alliance), and produc-

tions with Capital Rep, Dallas Theatre

Center, Hartford TheatreWorks, Balti-

more Center Stage, Denver Center, Cin-

cinnati Playhouse, Williamstown.

TV/Film: “Alexander Hamilton” PBS

American Experience, “Jonny Zero”,

“Third Watch”, “Law & Order”,

“Suzanna Most”, “The Gaveltons”.

TACT company member.

ROSS BICKELL (Eustace Perrin State)

recently appeared in the world premiere

of Durango by Julio Cho at Long Wharf

and N.Y. Public. Broadway: Noises Off,

The Iceman Cometh, and A Few Good

Men (also the national tour). Off-

Broadway include the OBIE Award-

winning Waste, Remembrance, Privates

on Parade, Somewhere in the Pacific,

The Crucible, and Down by the Ocean.

Regional theater credits include produc-

tions for Pittsburgh Public Theatre, The

Repertory Theatre of St. Louis, Arena

Stage, Alley Theatre, Huntington Theatre

Company, Cincinnati Playhouse in the

Park, Guthrie Theater, Kennedy Center,

Pioneer Theatre Company, Virginia

Stage Company, Philadelphia Theatre

Company, and Buffalo’s Studio Arena

Theatre. Film and Television credits

include “Airport ‘77”, “Major Payne”,

Fantasy Island”, “WKRP in Cincinnati”,

and many other canceled series. Mr.

Bickell is a repeat offender on “Law &

Order” and has also guest starred on

Comedy Central’s “Strangers with Can-

dy” and “The Chappelle Show”. This is

for Jack.

LISA BOSTNAR (Minnie Huxtable,

Jessica Madras) Mint regulars have seen

Lisa in Schnitzler's Far and Wide and

The Lonely Way; as well as The Voysey

Inheritance, The Truth About Blayds,

Mr. Pim Passes By, The House of Mirth,

August Snow & Night Dance, and going

as far back as Quality Street and Oroono-

ko. Some favorite roles have been Be-

atrice in Much Ado About Nothing, Kate

in The Taming of the Shrew, Beth in A

Lie of the Mind. Lisa has guest starred in

several “Law & Order” episodes as well

as “Conviction”. She can be seen in the

soon to be released “The Sensation of

Sight” with David Straithairn.

THOMAS HAMMOND (Philip Madras)

In New York, Tom was most recently

seen portraying Will Shakespeare in

Swansong at the Summer Play Festival.

Other New York credits include Brutus

in Julius Caesar, All’s Well That Ends

Well, Cymbeline, Richard III, and The

General from America, all with Theatre

for a New Audience. Regional perfor-

mances include playing Macbeth at the

Old Globe Theatre, Pericles in Pericles

at the Shakespeare Theatre of D.C. and at

the New Jersey Shakespeare Festival

where he also played Berowne in Love’s

Labors Lost. Also, The Rainmaker and

Permanent Collection at Baltimore Cen-

terstage, and All My Sons at the Westport

Country Playhouse. TV Credits include

“Law and Order”, “All My Children”,

and the role of John Proctor for PBS’

American Masters film on Miller and

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coming summer will be the second time

his work will be on exhibit at the Prague

Quadrennial in the Czech Republic. He

received his M.F.A. in Set Design from

Purdue University and has received both

regional and national awards for his de-

signs.

GERARD JAMES KELLY (Wigs and

Hair) has designed extensively for North

Shore Music Theater, The Walnut Street

Theater, and The Public Theater/New

York Shakespeare Festival, N.Y.U. and

many Off-Broadway productions includ-

ing the world premiere’s of Fanny Hill at

The York Theater, and The Internation-

list at The Vineyard Theatre. Other re-

gional credits include The Lake Tahoe

Shakespeare Festival, Westchester

Broadway Theater, Goodspeed Opera,

Paper Mill Playhouse, The Williamstown

Theater Festival, San Diego Repertory

Theater, San Francisco’s Theater Works

and The Magic Theatre, The Westport

County Playhouse, Main State Music

Theater, the New Jersey and Idaho

Shakespeare Festivals, the Sacramento

Theater Company, The Carousel Theater,

New Freedom Theater, The Northern

Stage Company, Downtown Cabaret

Theater and The Geva Theater.

Gerard has also created wigs for per-

formers such as Harvey Fierstein, Felici-

ty Huffman, Laura Linney, Marlo Thom-

as, The B-52’s , Sandy Duncan, Jennifer

Holiday, Ru Paul, Lypsinka, Varla Jean

Merman, and Brini Maxwell. Gerard's

films include “Transamerica”, “Girls

Will Be Girls” and soon to be released

“The Ten” and “The Savages”.

AMY STOLLER (Dialect Coach, Dram-

aturge) With Gus Kaikkonen at the Mint:

The Voysey Inheritance, The Cha-rity

That Began at Home. This is Amy’s

twelfth production at the Mint, where her

credits also include John Ferguson, The

Daughter-in-Law, and the double-bills

Echoes of the War and Milne at the Mint.

She recently completed work on Austin

Pendleton’s production of Toys in the

Attic at the Pearl, where she worked on

last season’s I Have Been Here Before,

directed by Gus Kaikkonen. Other clients

include Keen Company, Thea-

treworks/USA, Drama League Direc-

torFest, FringeNYC, Summer Play Festi-

val, Hypothetical Theatre, Boomerang,

Peter-borough Players (NH), and Dis-

tilled Spirits Theatre (for whose

Northanger Abbey Amy won an OOBR

Award). She is also Co-Director of Ka-

ren Eterovich’s touring play, Cheer

From Chawton: A Jane Austen Family

Theatrical, which was dubbed “the hit of

the Festival” at the 2006 Jane Austen

Festival in Bath. For more information,

please visit www.stollersystem.com.

Member, Voice and Speech Trainers

Association.

ALLISON DEUTSCH (Production Stage

Manager) is thrilled to return to the Mint

Theater where her stage managing cred-

its include The Voysey Inheritance, also

directed by Gus Kaikkonen, No Time For

Comedy, directed by Kent Paul, Far &

Wide and August Snow & Night Dance,

both directed by Jonathan Bank. Other

credits include: Ford’s Theatre: Trying,

starring James Whitmore, directed by

Gus Kaikkonen; Peterborough Players:

five seasons including Cookin’ at the

Cookery, starring Ernestine Jackson,

directed by Marion J. Caffey; Tuesdays

With Morrie, starring James Whitmore

and James Whitmore Jr., directed by Gus

Kaikkonen, Mr. Pim Passes By, directed

by Jonathan Bank; York Theatre: The

Great Big Radio Show, directed by Da-

vid Glenn Armstrong, and I Can Get it

For You Wholesale, directed by Richard

Sabellico. Proud member of Actors’

Equity Association.

ANDREA JO MARTIN (Assistant Stage

Manager) is pleased to be working with

the talented cast and crew of Madras.

NYC credits include off-Broadway:

WASPs in Bed, A Fine and Private

Place, Fanny Hill, the 2005 Musicals in

Mufti; Benefit Performance: Busker Al-

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for over 100 shows in Chicago, New

York and Boston. In the Boston area he

has designed for the Peterborough Play-

ers, Merrimack Repertory Theater,

American Stage Festival, the Nora Thea-

ter, Worcester Foothills, and Gloucester

Stage Company. Special thanks to Mys-

tic Scenic Studios, where he is senior

designer, for supporting his theatre habit

and KC, Nora, Catherine & Miles for

sharing the adventure with him.

CLINT RAMOS (Costumes) Mint :

Soldiers Wife, Susan and God Off

Broadway : Trial By Water (Ma-Yi The-

ater), And God Created Great Whales

(Culture Project), Santa Concepcion

(Public Theater), References To Salvador

Dali Make Me Hot (Public Theater),

Caucasian Chalk Circle (Vineyard Thea-

ter/Ma-Yi) Other NY designs : Ensemble

Studio Theater, The Play Company,

Rude Mechanicals, Foundry Theatre, La

Mama, Here Arts Center, PS 122, Dance

Theater Workshop, Dancespace, Duke

Theater, Ohio Theater, SPF, MCC, Red

Bull Theater and others. Regional :

American Repertory Theater, Merrimack

Repertory Theater, Commonwealth

Shakespeare Co., Baltimore Center

Stage, Dallas Theater Center, Speakeasy

Stage, East West Players, Opera Boston,

Opera Theater of St.Louis and others.

International: Barbican (London), Noor-

laand Operan (Stockholm), Kanon Dance

( St. Petersburg), Teatro Pilipino

(Manila), Ballet Stuttgarter (Stuttgart),

DeNederlandse Opera (Amsterdam).

Awards: NYTW Design Fellowship,

Gary Kalkin Memorial Award, Audelco

Nomination, 2 IRNE Nominations. Re-

cently features in Live Design magazine

as one of 2007’s Designers to Watch.

2006 and 2007 Guest Artist at

Georgetown University. MFA from

NYU.

WILLIAM ARMSTRONG (Lights) is

pleased to be returning to the Mint hav-

ing previously lit The Voysey Inher-

itance, The Flattering Word & A Fare-

well to the Theatre, and The Charity The

Began at Home. Mr. Armstrong has lit

numerous productions in New York City,

both on and off Broadway, as well as for

many of the regional theatres across the

country. For the past twenty years he has

also worked as an architectural lighting

consultant and designer with his compa-

ny, William Armstrong Lighting Design.

ELLEN MANDEL (Sound) has com-

posed music for over forty plays includ-

ing at the Mint Welcome to Our City,,

The Flattering Word, and The Voysey

Inheritance, and for the Jean Cocteau

Rep, Riverside Shakespeare, and Phoe-

nix Theatre Ensemble in NYC, and the

Asolo, Peterborough Players, Arkansas

Rep, Tennessee Rep, and other regionals.

She has written five film scores, and has

released three CDs: Every Play's an

Opera, a collection of her theatre music,

a wind has blown the rain away, her E.E.

Cummings songs; and the first of all my

dreams, new songs with lyrics by Cum-

mings and Seamus Heaney.

JESSE DREIKOSEN (Props) Recently

moved from Miami where he was the

resident set designer for three seasons at

New Theatre, in Coral Gables, Florida.

Favorite shows at New Theatre include

Madagascar (Carbonell nomination),

Paradise, and The Sunken Living Room,

which was co-produced with Southern

Repertory Theatre and was produced

once again in New Orleans this past Jan-

uary. Other recent credits include: A

Midsummer Night’s Dream, Of Mice and

Men, and Forever Plaid for the Texas

Repertory Theatre Company in Houston,

Texas; The Triumph of Love and The

Taming of the Shrew for The Shake-

speare Theatre of New Jersey; The Im-

portance of Being Earnest and Proof for

Viterbo University in La Crosse, Wis-

consin. He also designed The Red Fern

Theatre Company’s production of Two

Rooms, which is played at the 78th Street

Theatre Lab. He has assistant designed at

The Indiana Repertory Theatre. This

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JONATHAN HOGAN (Henry Huxtable)

has appeared On Broadway in Comedi-

ans, Otherwise Engaged, Fifth of July,

The Caine Mutiny Court Martial, As Is

(Tony and Drama Desk nominations),

Burn This, Taking Steps, and The Home-

coming. Plays he appeared in as a mem-

ber of Circle Rep include The Hot l Bal-

timore, The Mound Builders, and Balm

in Gilead. Other performances Off

Broadway include Getting Out, The Red

Address, Book of Days, and In the Matter

of J. Robert Oppenheimer. Regionally he

has acted at The McCarter Theatre,

George Street Playhouse, La Jolla Play-

house, The Repertory Theatre of St. Lou-

is, and Hartford Stage: On film – “In

Country”, “The House on Carroll Street”,

“A Fish in the Bathtub”. On television he

has been seen on “As the World Turns”,

“One Life to Live”, several Movies of

the Week, “L.A. Law”, “Quantum

Leap”, “Law & Order: SVU”, “L&O:

CI”, “L&O: Trial by Jury”, and four

appearances on “Law & Order”, the

mothership. Mr. Hogan is a graduate of

The Goodman Theatre and School of

Drama.

LAURIE KENNEDY (Katherine Hux-

table & Miss Chancellor) Broadway:

Copenhagen, Angels in America, Major

Barbara, Man & Superman (Tony, Dra-

ma Desk nominations): Spoils of War

Off-Broadway includes: All’s Well That

Ends Well, Andorra, Master Builder,

Recruiting Officer, He & She, Ladyhouse

Blues, Candida which was directed by

Gus Kaikkonen. National tour of Three

Tall Women. 21 seasons at Williamstown

Theatre. 12 seasons at O’Neill Theatre

Center. Numerous theatres across the

US—most recently Big Mama in Cat on

a Hot Tin Roof at Dallas Theatre Center.

TV: “Bedford Diaries”, “Oz”, “Third

Watch”, “Criminal Intent”, “Law and

Order”, “ Homicide”, “Love Letter”,

“Choices”, “Path to Paradise”, “Perfect

Tribute” “Kennedy”. Awards: Theater

World Award, Clarence Derwent Award,

1999 Fox Fellowship.

ROBERTA MAXWELL (Amelia

Madras) began her career in Canada and

England. As a resident of NYC she has

been the recipient of several awards in-

cluding 2 Obies for the Public and Mer-

cury Theatres. She has worked in thea-

tres on both coasts and many in between.

Her film credits include “Philadelphia”,

“Dead Man Walking” and “Popeye”.

Her television credits include “Law &

Order”, “All My Children”, “Morning

Becomes Electra” (PBS) and many,

MANY Movies of the Week. In 2006

she was seen in the Oscar winning film

“Broke Back Mountain”, the Movie of

the Week “The Mermaid Chair”

(Lifetime) and as Queen Margaret in the

NJ Shakespeare production Richard III.

Later this season (2007) she will be seen

in The Middle March production of

“Alexander Hamilton” (PBS) and the

Origin Theatre Co. North American

Premiere of Thomas KilRoy’s play The

Shape of Metal Ms. Maxwell is a proud

member of 5 unions including AEA.

ALLISON McLEMORE (Emma Hux-

table, Mannequin), is pleased to make

her New York debut at The Mint Thea-

ter. She has recently completed her

MFA at Ohio University. Some favorite

regional credits include: Antigone

(Cincinnati Playhouse in the Park, tour-

ing company), Enchanted April (Creede

Repertory Theatre), Little Women

(Peterborough Players).

PAMELA McVEAGH (Jane Huxtable,

Mannequin, Maid at Phillimore Gardens)

is thrilled to be part of a Mint Theater

Production and to have the honor of

working with such incredible artists.

Previous New York credits include Pen

Pals at the Blue Heron Theater and Ten

Grand Productions' Titanic Voices. She is

originally from Northampton, England

and has a B.F.A in Acting from Otterbein

College, OH. Many thanks to Stuart,

Paul, Amy, Gus, Ed and my family.

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MARK L. MONTGOMERY (Major

Hippisly Thomas) The Public: Macbeth.

Broadway: Mamma Mia! Off– Broad-

way: Rose Rage (CST). Regional: The

Time of Your Life (Steppenwolf), Cat on

a Hot Tin Roof (Apple Tree), 12 produc-

tions with Chicago Shakespeare Theater

plus work with Remy Bumppo, North-

light, About Face, Writer's Theatre, The

Goodman, Hope and Nonthings and

many others. For In the Belly of the

Beast, Mark received a Joseph Jefferson

nomination and an After Dark Award.

TV/film: “Repetition”, “Under the City”,

"Law & Order" and "Guiding Light".

Love to Amy and Lewis. Proud member

of Actor's Equity.

GEORGE MORFOGEN (Constantine

Madras) Mint: Voysey in The Voysey

Inheritance, The Lonely Way, Farewell

to the Theatre, Uncle Bob (also L.A.

Drama-Logue Award). Broadway: For-

tune’s Fool, An Inspector Calls, Arms

and the Man, John Gabriel Borkman,

Kingdoms. Off-Broadway: Duke of

York in Richard II (Bayfield Award-

Classic Stage Company), King of France

in All’s Well That Ends Well (Theatre

For a New Audience), Heartbreak

House (Pearl Theatre), Hannah and Mar-

tin (Epic Theatre), Hamlet, Othello,

Cymbeline, Henry V, As You Like It

(Public Theater), Mrs. Warren’s Profes-

sion (Roundabout Theatre), The Disputa-

tion (Jewish Rep.). Regionals: Balti-

more, Dallas, Pittsburgh, Arizona, Mani-

toba, Seattle, Long Wharf, William-

stown. Films include: “20 Bucks”,

“What’s Up Doc?”, They All Laughed”,

(also Producer). TV includes “OZ”

(Rebadow) HBO. Fox Foundation Fel-

low, 2000. Brown University and Yale

School of Drama.

ANGELA REED (Julia Huxtable, Freda

Brigstock) is pleased to be back at the

Mint where she was seen as Minnie in

The Daughter-in-Law, and Lulu in Miss

Lulu Bett. Other NY credits include He

and She (TACT), Therese Raquin (CSC),

and standing by for Lizzie in The Rain-

maker on Broadway. Regionally, Angela

has performed in Rabbit Hole (Cleveland

Playhouse), After Ashley (Denver Cen-

ter), Olly's Prison (ART), Talley's Folly

(Pasadena Playhouse & Arizona Theatre

Company), Proof (Coconut Grove), Ca-

mille (Round House), The Real Thing

and Crimes of the Heart (Syracuse

Stage), numerous productions at Actors

Theatre of Louisville including How I

Learned to Drive, Angels in America and

Othello, as well as productions at St.

Louis Rep., Merrimack Rep., Baltimore

Center Stage, Indiana Rep. and the

Shakespeare Theatre of NJ, among oth-

ers. Her TV and film credits include

“Law and Order”, “L & O: Criminal

Intent”, “Third Watch”, and the upcom-

ing “The Girl in the Park”, written and

directed by David Auburn. She is most

happily married to Todd Cerveris.

SCOTT ROMSTADT (Belhaven) is

most lucky and proud to be working with

the Mint. He is a recent graduate of Hof-

stra University and originally from Tole-

do, Ohio. Many thanks to this cast, Gus

Kaikkonen, Jonathan Bank, Sherri Ko-

timsky, Allison Deutsch, Amy Stoller,

and Jean Dobie Giebel. This one's for

Mom.

KRAIG SWARTZ (William Brigstock,

Mr. Windlesham) last appeared at the

Mint as Edward Voysey in The Voysey

Inheritance. Recently, he played Bet-

ty/Edward in Cloud 9 at the Wilma Thea-

tre (2006 Barrymore Award Nom.) At

Philadelphia Theatre Company, he

played Mason in Take Me Out (2005

Barrymore Award) and Sam in Fully

Committed (2003 Barrymore Award).

Other regional credits include: Milwau-

kee Rep: Angels In America; Guthrie

Theatre: A Christmas Carol and Mac-

beth; MeadowBrook Theater: Broadway

Bound (opposite Jayne Houdyshell, De-

troit Free Press Theatre Excellence

Award.) Also, Goodman Theatre, Victo-

ry Gardens, and Chicago Shakespeare

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Theatre, Alabama Shakespeare Festival,

Pioneer Theatre, Rep. Theater of St. Lou-

is, Asolo Theatre, Coconut Grove Play-

house, Kennedy Center, Ordway Theatre,

Caldwell Theatre, and eleven summers in

New Hampshire at the Peterborough

Players, where he appeared in Our Town,

Inherit The Wind and You Can’t Take It

With You with James Whitmore and Six

Degrees of Separation with Mary Beth

Hurt. He has appeared on SNL and in the

film “World and Time Enough”

HARLEY GRANVILLE-BARKER

(Playwright) was born in London in

1877. He began his stage career on tour,

performing with Mrs. Patrick Campbell,

before he made his first London appear-

ance in 1892. He was only twenty-three

when George Bernard Shaw in 1900 cast

him as Eugene Marchbanks in Candida,

from which there grew a fifteen-year

professional and personal relationship so

binding that many came to believe Bark-

er was Shaw's illegitimate son. He joined

forces with the manager John E.

Vedrenne to found the Court Theatre,

London, in 1904 which was to become

the first modern repertory theatre in the

English-speaking world. Granville-

Barker's best known plays are The Voy-

sey Inheritance, Waste and Madras

House. As a stage director he introduced

to the London stage plays by Galsworthy,

Masefield, Maeterlinck, Schnitzler,

Hauptmann. As an actor he was ac-

claimed for his Shaw interpretations,

creating the roles of John Tanner, Frank

Gardner, Adolphus Cusins, and Louis

Dubedat, and appearing successfully as

well in such parts as General Burgoyne,

Major Sergius Saranoff, and Mr. Valen-

tine. He was one of the foremost champi-

ons of a national theatre for Great Brit-

ain, and the first to call for a subsidized

theatre. His stagings in 1912 of The Win-

ter’s Tale and Twelfth Night revolution-

ized Shakespearean production in the

modern theatre through their concentra-

tion on stripped-down productions and

analytical probing of character. In later

years, his greatest achievements were the

Prefaces to Shakespeare, recognized as

among the finest contributions to Shake-

spearean criticism. Barker was 68 at his

death in Paris on August 31, 1946, at

which time Shaw recalled him as

"altogether the most distinguished and

incomparably the most cultivated person

whom circumstances had driven into the

theatre."

GUS KAIKKONEN (Director) credits

include productions of Antigone (Wall

Street Journal Best of 2006) for the Phoe-

nix Theatre Ensemble, Arms and the

Man, The Gentleman Dancing Master, I

Have Been Here Before, and Heartbreak

House at the Pearl, Macbeth with Ste-

phen McHattie and Candida with Laurie

Kennedy at Playhouse 91, Richard III

with Austin Pendleton at Riverside

Shakespeare, Susan Sandler's Under The

Bed at HB Playwrights, People Like Us

at NYMF; and at the Mint, the New

York premieres of The Voysey Inher-

itance and Farewell To The Theatre

(both with George Morfogen and by

Granville Barker), and The Charity That

Began At Home by St. John Hankin. For

the last four years he has been a Guest

Artist at the Juilliard School. In the re-

gions, he has directed at Ford's Theatre

(Trying with James Whitmore), the Phila-

delphia Theatre Company, the Asolo,

GeVa, Northlight, BoarsHead, and the

Coconut Grove Playhouse (About Time

with Theodore Bikel). Since 1996 he has

been the Artistic Director of the Peter-

borough Players, an award-winning AEA

CORST theatre in New Hampshire where

he has staged 50 plays, including Mary

Beth Hurt in Six Degrees Of Separation,

James Rebhorn in Later Life, and James

Whitmore in Our Town, You Can’t Take

It With You, About Time, and Inherit The

Wind.

CHARLES MORGAN (Sets) is pleased

to return to the Mint where he previously

designed The Charity That Began at

Home. Mr. Morgan has designed scenery

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