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The Mountains Look Different is the story of Bairbre’s return home to Ireland, after a dozen hard years in London working the streets. Three days ago, she married Tom, who knows nothing of her past. Together they hope to settle with Tom’s father on his farm, and live a simple life far from the temptations and torments of the sinful city. But soon they will learn that it’s not easy for anyone to escape their past, even among the rocks and ruins of the mountainside.
Micheál mac Liammóir was a legendary figure, his death in 1978 was front-page news in the Irish Times for three days running. His obituary described him as “the dominant figure in the Irish theatrical world for almost half a century” . “Hundreds Mourn MacLiammóir” was the headline describing the scene in the church the day of his funeral. Ireland’s President Dr. Hillery, “joined actors, artists, writers, Irish language enthusiasts and hundreds of people who had simply enjoyed his performances in mourning.”
Mr. Scott and his wife, son and daughter have long hoped to sell the declining family business so they can pursue dreams now out of reach. When a buyer finally appears and makes a rich offer—Scott hesitates—he doesn’t approve of his buyers plans for the building.
Lillian Hellman’s second play, Days to Come, is a family drama set against the backdrop of labor strife in a small Ohio town which threatens to tear apart both town and family. “It’s the story of innocent people on both sides who are drawn into conflict and events far beyond their comprehension,” Hellman said in an interview before Days to Come opened in 1936. “It’s the saga of a man who started something he cannot stop…”
She was “very full of the most miraculous kind of contradictions,” observed Jane Fonda on playing Lillian Hellman (1905-1984). Hellman persistently spoke her mind as one of America’s most celebrated playwrights and controversial icons. Hailed as a “dramatist of extraordinary strength and skill” (John Chapman, The New York Daily News), Hellman pursued questions of truth and deception, integrity and complicity throughout her life and plays. Drawing from melodrama’s conflicts between good and evil, Hellman created characters of textured moral ambiguity, including the indelible Regina Giddens of The Little Foxes.
Conflict is a love story set against the backdrop of a hotly contested election. Miles Malleson combines his two great passions: sex and politics. The result is a provocative romance that sizzles with both wit and ideas.
As a playwright, screenwriter, director, producer, and character actor, Miles Malleson (1888-1969) established himself as a theatre artist of dazzling versatility. Yet while Malleson “acted the fool most memorably” in dozens of plays and films, he was also a playwright of provocative wit, searching insight and, as described by The Manchester Guardian, a sense of “ethical passion” drawing upon a lifelong engagement in progressive politics.
Mint Theater Company presents "Hindle Wakes" by Stanley Houghton. 12/23/17 through 2/17/18 at Theatre Row, 410 West 42nd St.
The Suitcase Under the Bed, so named for the place where all of Teresa Deevy’s writing was stored for decades, prior to the launch of Mint Theater Company’s “Deevy Project”, featured four short plays, three of which were World Premieres. Deevy, thanks in part to the Mint, is now recognized as “One of Ireland’s best and most neglected dramatists.” (Irish Times)
STRANGE BIRTH (World Premiere)
Sara Meade works at a small rooming house where she observes with determined detachment the heartache of each resident; a caution against falling in love herself. Suddenly the day’s post brings a letter that challenges her resolve.
THE LUCKY ONE followed MR. PIM PASSES BY and THE TRUTH ABOUT BLAYDS as Mint’s third production by A.A. Milne—best remembered today as the creator of Winnie the Pooh. The play tells the timeless story of antagonism between two brothers: Gerald, who stands in the sun and Bob, who stands in Gerald’s shadow. When Bob finds himself in serious legal trouble, he turns to Gerald for rescue. When Gerald fails to come through, years of simmering resentment boil over in a confrontation that is as stirring as it is surprising.
At once ironic and fanciful, the work of A.A. Milne spanned novels, light verse, essays, and children’s literature. Yet beyond his beloved Winnie-the-Pooh books, Milne wrote over two dozen plays marked by “enchanting ingenuity” (E.V. Lucas), skillful craftsmanship, and subtle wit. Peering beneath the polite surfaces and semblances of English life, Milne concealed a serious and penetrating eye under a charmingly light touch.
After our acclaimed production of A PICTURE OF AUTUMN, Mint revisited the work of playwright N.C. Hunter with A DAY BY THE SEA. A warm, human, and often humorous depiction of the ‘crisis’ of middle age, the play tells the story of Julian Anson, a once-promising Foreign Service employee, who confronts professional disappointment and personal failure while picnicking along the English seaside.
N.C. Hunter (1908-1971) was one of the leading English dramatists of the 1950s and early 1960s. As theatrical revolution—spearheaded by John Osborne and his school of “angry young men”—exploded around him, Hunter kept his head down and provided moving portraits of a people questioning their own purpose in chaotic post-war England.
“There’s a major rediscovery at the Mint Theater Company and what else is new?”1 wrote Peter Filichia of our production of Hazel Ellis’ WOMEN WITHOUT MEN. A workplace drama laced with biting humor, WOMEN WITHOUT MEN is set in the teacher’s lounge of a private girls’ boarding school in Ireland in the 1930s. The play explores the clash of conflicting natures and petty competitions that erupt amongst the school’s cloistered teaching staff.
By Maya Cantu
Set aboard a houseboat on a fashionable reach of the Thames in 1911, The New Morality tells the story of how the brazen Betty Jones restores dignity to her household and harmony to her marriage, by losing her temper and making a scene.
A writer of “wit, gaiety and skillful craftsmanship,” the Brooklyn-born British playwright Harold Chapin (1886-1915) wrote ten one-act plays and four complete, full-length works before falling as a WWI soldier at the age of twenty-nine. With Chapin’s tragic early death, the British and American theater lost an already assured comic talent. Revolving around the whims and wits of candid female characters, Chapin’s philosophical comedies of manners brim with “imagination and sympathy,” sparkling dialogue, and a sense of humor at once sharp-edged and fanciful.
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