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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.
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.
An “un-romantic comedy” about the price of free love, YOURS UNFAITHFULLY is an insightful, intelligent and exceptionally intimate peek behind the closed doors of an open marriage. Stephen and Anne, blissfully happy for eight years, are committed to living up to their ideals. When Stephen, a writer who isn’t writing, begins to sink into a funk of unproductive moodiness, Anne encourages him to seek out a fresh spark. Can their marriage survive uncompromising generosity, sacrifice and love? More than the story of an unconventional couple, the play is about what happens when our ideals clash with our emotions.
William Miles Malleson (1888-1969)
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.
“One might wonder how a story that takes place in a Hungarian haberdashery could possibly suit a 21st-century American audience, but the Mint’s production fits like a glove,”1 hailed TheaterMania of FASHIONS FOR MEN. A delightful comedy of character by Ferenc Molnár, FASHIONS tells the story of shop owner Peter Juhász, a saintly beacon of decency who only sees the good in everyone—making him easy prey for the sinners who surround him.
In the first half of the twentieth century, the Hungarian playwright Ferenc Molnár rose to international acclaim with his cosmopolitan fairy tales for adults. Molnár’s plays inventively blended romantic fantasy and sardonic wit; pointed social satire and polished theatricality. Best known today for the mystical folk play Liliom (1922; the basis of the classic musical Carousel) Molnár was immensely prolific as a journalist, short story writer, novelist, and the author of forty-two plays, many of which were performed widely throughout Europe and America.
THE FATAL WEAKNESS, George Kelly’s last produced play, tells the story of Ollie Espenshade—an incurable romantic who discovers, after 28 years of marriage, that her husband is a lying cheat. It opened in New York on November 19, 1946 in a production starring Ina Claire. Although Claire’s triumphant return to Broadway after a five year absence garnered much of the press attention, Kelly’s play turned more than a few critics’ heads.
Admired for his character-driven satires and gimlet-eyed plays of modern manners, George Kelly (1887-1974) led a distinguished career in the New York theatre from the 1910s through the 1940s.
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