The Widowing of Mrs. Holroyd
By D.H. Lawrence
Directed by Stuart Howard
February 4th 2009 through April 5th 2009
The Mint Theater
311 West 43rd St, 3rd floor
In 2003, New York audiences were introduced to D. H. Lawrence—the playwright—with a highly acclaimed production of THE DAUGHTER IN LAW. Five years later, Mint Theater returned to the same literary well with a production of Lawrence’s searing 1910 drama, THE WIDOWING OF MRS. HOLROYD
The story of a wife and mother trying desperately to make a safe home amidst the coarseness and grime of a coal mining village in England, Lawrence’s grim naturalist drama was so ahead of its time that it was not produced until 1916; receiving its world premiere in Los Angeles where it was hailed for its startling realism.
Eighty-seven years later, Lawrence’s neglected masterpiece received equally exuberant reviews. The New York Times hailed the production as “psychologically probing and characteristically intelligent.”1Frank Scheck of the New York Post echoed this praise, claiming “The Mint Theater has done it again… Stuart Howard’s atmospheric staging and the fine performances by the ensemble fully bring out the work’s strengths…THE WIDOWING OF MRS. HOLROYD demonstrates that the author never got his proper due as a playwright.”2
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- Mrs. Holroyd Julia Coffey
- Holroyd Eric Martin Brown
- Blackmore Nick Cordileone
- Jack Holroyd Dalton Harrod /
- Minnie Holroyd Emma Kantor / Amanda Roberts
- Grandmother Randy Danson
- Rigley James Warke
- Ciara Pilar Witherspoon
- Laura Sheila Stasack
- Manager Allyn Burrows
- Miner Arthur Lazalde
- Set Design Marion Williams
- Costume Design Martha Hally
- Lighting Design Jeff Nellis
- Sound Design Jane Shaw
- Properties Design Deborah Gaouette
- Dialects and Dramaturgy Amy Stoller
- Fight Choreographer Michael G. Chin
Stuart Howard, Amy Schecter & Paul Hardt
- Production Stage Manager Allison Deutsch
- Assistant Stage Manager Andrea Jo Martin
- Assistant Director Quin Gordon
- Press Representative David Gersten & Associates
- Illustration Stefano Imbert
- Graphics Hunter Kaczorowski
GREGORY F. TAGUE: LAWRENCE & DRAMATIC MODERNISM
Gregory F. Tague, associate professor of English at St. Francis College in Brooklyn Heights, is the author of Character and Consciousness (2005), Ethos and Behavior (2008), and, most recently, is the editor ofOrigins of English Literary Modernism, 1870-1914 (2009).
JONATHAN BANK AND AMY STOLLER: UNDERSTANDING THE DIALECT IN MRS. HOLROYD
Jonathan Bank and Mint’s resident dialect designer and coach, Amy Stoller, invite audiences for brunch at Le Petit Un Deux Trois and a primer on the Midlands dialect that Lawrence employs.
ELIZABETH FOX: CONNECTING THE DOTS IN THE WORK OF D.H. LAWRENCE
Elizabeth Fox is the current President of the D.H. Lawrence Society of North America, and has delivered and published papers using psychoanalytic theory to explore Lawrence’s works. Elizabeth teaches at MIT and The New England Conservatory of Music.
JEFFREY BERMAN: LOVE, HATE, & CONFLICTED GRIEF IN MRS. HOLROYD
Jeffrey Berman is Distinguished Teaching Professor of English at the University at Albany and the author of ten books, including Dying to Teach: A Memoir of Love, Loss, and Learning.
VICTOR GLUCK: LITERARY & AUTOBIOGRAPHICAL SOURCES OF D.H. LAWRENCE'S PLAYS
Formerly an arts journalist for Back Stage and Backstage.com for 26 years, Victor Gluck is currently a drama critic for TheaterScene.net. He has been a voting member of the Drama Desk, Outer Critic Circle, and American Theatre Critics Association since 1980.
MARTIN MEISEL: HOW PLAYS WORK
Martin Meisel, Brander Matthews Professor Emeritus of Dramatic Literature, Columbia University and author of How Plays Work, draws upon his recently published book in discussing THE WIDOWING OF MRS. HOLROYD. Meisel articulates some of the most important aspects of drama as a performed art while exploring their workings in Lawrence’s play.
In this 90 minute session, Meisel examines how a play defines its world; how it creates and redirects expectation; how it organizes space and time; how it shapes action, uses words, creates meanings; and how, at its most fulfilling, it combines the experience of wonder with that of involved witnessing.