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Temporal Powers
After launching the Teresa Deevy Project with WIFE TO JAMES WHELAN in 2010, the Mint continued its exploration of “one of the most undeservedly neglected and significant playwrights of the 20th century” (The Irish Times) with a production of TEMPORAL POWERS.
Teresa Deevy was born in 1894, the youngest of thirteen children. Intent on a teaching career, Teresa enrolled in the University College, Dublin in 1913. After about a year she began to feel ill; her ears rang and she suffered frequent bouts of vertigo. She was diagnosed with Meniere’s disease, an incurable condition caused by fluid imbalance in the inner ear. Within a few years, Deevy had completely lost her hearing.
Wife To James Whelan
In 2010 Mint claimed the role of champion on behalf of the brilliant, but forgotten Irish playwright, Teresa Deevy. The ambitious Teresa Deevy Project, which includes three productions, as well as two published compilations of her plays, was launched with her “crisp psychological drama,”1 WIFE TO JAMES WHELAN.
Teresa Deevy (1894-1963) After years of rejection, Deevy had her first play produced at Ireland’s Abbey Theater in 1930, at the age of 36. One of Ireland’s leading critics predicted: “The new dramatist from whom most may be expected in the future is Miss T. Deevy.”[1]
The Fifth Column
Ernest Hemingway wrote THE FIFTH COLUMN in 1937 while he was in Madrid working as a correspondent during the Spanish Civil War. A hot-blooded romance played out against a backdrop of treachery and intrigue during the Spanish Civil War, Hemingway’s first and only play was published a year later.
THE FIFTH COLUMN rings out with a battle-scarred truth as one would expect from Ernest Hemingway, the Nobel and Pulitzer-prize winning author of A Farewell to Arms and For Whom the Bell Tolls and a celebrated war correspondent.
The Skin Game
In summer of 2005 THE SKIN GAME marked the opening of the Mint’s theater on the third floor at 311 West 43rd Street. John Galsworthy’s gripping drama of battling neighbors and class prejudice hadn’t been seen in New York since 1920.
In 1893, while on a cruise in the South Seas, John Galsworthy, then a young lawyer with a decided distaste for his profession, became acquainted with the first officer of the ship and the two became close friends. The mate was Joseph Conrad. He had written “Almayer’s Folly” and showed the manuscript to Mr. Galsworthy.
The Lonely Way
Mint Theater first introduced New York theatergoers to the neglected talents of Arthur Schnitzler with an acclaimed and long-running production of FAR AND WIDE in 2003. Three years later with THE LONELY WAY, Mint continued “doing its utmost to restore Schnitzler to where he rightfully belongs, alongside such dramatists of middle-class life as Chekhov and Ibsen.”1
Arthur Schnitzler (Playwright, 1862-1931) was one of the most famous of all of the great personalities in Vienna at the turn of the last century. A prolific author, Schnitzler wrote more than twenty prose works including stories, novellas and novels in addition to over twenty-five plays. From before 1900 until 1925, Schnitzler was more talked about, and his plays were more performed on the stages of Germany and Austria than any other writer. Schnitzler was both a Jew and a critic of the Austrian Monarchy, contributing to the censorship of his work in his lifetime, and by the Nazi’s after his death. His work ultimately suffered the same fate as the Viennese culture that he was describing and vanished into obscurity after Word War I. His best-known play today is Reigen a.k.a. La Ronde. This work was the basis for The Blue Room by David Hare, as well as the recently released film Love in the Time of Money. Audiences may also be familiar with Anatol, an early work (1893) consisting of seven scenes variously controversial, censored or banned for immorality. Neither of these plays accurately represents the breadth or depth of Schnitzler’s genius; what Benedict Nightingale describes as his “inquisitive, complex, formidably moral intelligence.”
Echoes of The War
With ECHOES OF THE WAR, Mint Theater once again turned its spotlight on an author whose indelible achievement in writing for children had overshadowed his remarkable work for adults: J.M. Barrie, best known for Peter Pan.
James Matthew Barrie (Playwright 1860-1937) If J. M. Barrie had only written Peter Pan, its extraordinary and enduring popularity would testify to his talents as a dramatist. As it is, Peter Pan, which celebrates its 100-year anniversary this year, now only obscures Barrie’s gifts as a dramatist of significance. In his lifetime, Barrie was much admired by his peers and even regarded as a genius, however his work fell out of favor in later years. His full length plays include Quality Street, The Admirable Crichton, What Every Woman Knows, Dear Brutus and Mary Rose. One-act plays include The Twelve-Pound Look, The Will and A Well-Remembered Voice among many others.
Far and Wide
Known mainly for his oft-adapted work La Ronde (or Reigen), FAR AND WIDE (Das weite Land) introduced New York audiences to European playwright Arthur Schnitzler as they had never seen him before. FAR AND WIDE is a complex examination of love and sex among the decadent upper classes of early twentieth century Vienna. It opened simultaneously in nine European cities in 1911 but was never seen in New York until Jonathan Bank’s adaptation premiered at the Mint in 2003.
Arthur Schnitzler (Playwright 1862-1931) was one of the most famous of all of the great personalities in Vienna at the turn of the last century. A prolific author, Schnitzler wrote more than twenty prose works including stories, novellas and novels in addition to over twenty-five plays. From before 1900 until 1925, Schnitzler was more talked about, and his plays were more performed on the stages of Germany and Austria than any other writer. Schnitzler was both a Jew and a critic of the Austrian Monarchy, contributing to the censorship of his work in his lifetime, and by the Nazi’s after his death. His work ultimately suffered the same fate as the Viennese culture that he was describing and vanished into obscurity after Word War I. His best-known play today is probably Reigen a.k.a. La Ronde. This work was the basis for The Blue Room by David Hare, as well as the recently released film Love in the Time of Money. Audiences may also be familiar with Anatol, an early work (1893) consisting of seven scenes variously controversial, censored or banned for immorality. Neither of these plays accurately represents the breadth or depth of Schnitzler’s genius; what Benedict Nightingale describes as his “inquisitive, complex, formidably moral intelligence.”
Welcome To Our City
Known primarily as a novelist, Thomas Wolfe also wrote plays, training under George Pierce Baker in his influential 47 Workshop at Harvard. WELCOME TO OUR CITY—a searing examination of race relations inspired by events in Wolfe’s hometown—was produced at Harvard in 1923 but was never performed professionally in America until the Mint’s production in 2000.
Thomas Wolfe (Playwright) As one of America’s most revered novelists, Thomas Wolfe was hailed by critics as being “among the immortals of American letters.” But before he achieved success and fame with Look Homeward, Angel, Of Time and the River and You Can’t Go Home Again, Thomas Wolfe first had aspirations to become a playwright. He was born on October 3, 1900 as the youngest of eight children in Asheville, North Carolina. Wolfe was privately educated and shortly before his sixteenth birthday he entered the University of North Carolina at Chapel Hill as an undergraduate. Upon graduation and determined for a career as a successful dramatist, he enrolled in Professor George Pierce Baker’s renowned 47 Workshop at Harvard University in 1920. He received his Master of Arts degree in Literature in two years, but stayed an extra year to gain further experience in the 47 Workshop. However, his writing style and personal temperament proved to be ill suited for the theatre. Frustrated at being unable to get his plays produced, he accepted a teaching position at New York University where he taught English intermittently between 1924 and 1930. In 1926, while abroad in Germany, Wolfe began recollecting and writing about his childhood in Asheville, which he called Altamont. The result became Look Homeward, Angel, instantly acclaimed as an American classic, and later successfully adapted for the Broadway stage. With the success of Look Homeward, Angel and a subsequent Guggenheim Fellowship, Wolfe went back to Europe to write. Upon his return to the States, he spent much of the remainder of his life in New York, until he died of tuberculosis of the brain on September 15, 1938 in Baltimore. Richard Watts, Jr. wrote in the New York Herald Tribune of Wolfe’s untimely death, “I do not see how any one in any way concerned with American letters can fail to be plunged into deep mourning over the death of Thomas Wolfe. Wild, dark, and beautiful was his muse, and his spirit was a heroic one.”
Miss Lulu Bett
Zona Gale became the first woman to win the Pulitzer Prize for Drama when MISS LULU BETT received the award in 1921; yet this poignant play about a small town spinster’s search for love and independence went unseen in New York for over 80 years until its Mint revival in 2000.
Zona Gale (Playwright) is the first woman to win the Pulitzer Prize for drama. She was born in Portage, Wisconsin where she spent much of her life. Like Susan Glaspell, author of Alison’s House, which was presented by the Mint this past fall, Gale began her professional career as a journalist. After stints as a reporter for the Evening Wisconsin and the Milwaukee Journal Gale left the mid-west for New York and wrote for the Evening World. After 18 months she embarked on a freelance career. She returned to Portage in 1911 and in 1920 she published a short novel that became a national best seller and caught the eye of Broadway producer Brock Pemberton. Ms. Gale adapted her book Miss Lulu Bett for the stage in only ten days and two months later the play opened on Broadway!
The Voysey Inheritance
“Some playwrights are overlooked in their lifetimes, others unjustly forgotten after their deaths. A few are both. One of these is the English playwright Harley Granville-Barker, a contemporary and friend of Bernard Shaw who was also an actor, director and Shakespearean scholar. And he’s left three or four plays that are among the masterpieces of early 20th-century drama. Don’t believe me? Go to the Mint Theater which this week re-opened a perfectly splendid production of one of Granville-Barker’s finest plays, THE VOYSEY INHERITANCE,”1 wrote Clive Barnes of the New York Post.
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 appearance 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 Barker 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.
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