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Mint Theater Company's Production of "Hindle Wakes" by Stanley Houghton, Directed by Gus Kaikkonen..
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
Mint Theater Company Free Streaming.
LONDON WALL premiered in 1931 at the Duke of York’s Theatre, one of five plays by John Van Druten that enjoyed success in London in the early 30’s. The play was acclaimed for its deftly etched characters and richly detailed atmosphere, yet it languished in obscurity until London’s Finborough Theater successfully revived it in 2013. One year later our warmly-received production marked the play’s American premiere.
Best known today for such midcentury Broadway hits as Old Acquaintance, The Voice of the Turtle, I Remember Mama, Bell, Book and Candle, and I Am a Camera (which inspired the classic Broadway musical Cabaret), John Van Druten wrote deftly observed, character-driven plays that ranged from the realistic atmosphere of his early West End plays, to the sentimental charm of his wartime hits, to the daring allurements of his final works.
“N.C. Hunter’s beautiful, shamefully neglected comedy was performed only once in London in 1951, and receives its American premiere here,” wrote The New Yorker of Mint Theater’s A PICTURE OF AUTUMN. “It’s about an aging, once prosperous family living in an aging, once grand manor, and the echoes of Chekhov are unmistakable, if subdued and Anglicized. It’s a big, generous play, exquisitely written, both funny and touching.” 1
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.
Mint Theater continued its exhaustive exploration into the work of Teresa Deevy—which began with WIFE TO JAMES WHELAN in 2010 and TEMPORAL POWERS in 2011—with a production of Deevy’s compelling drama, Katie Roche. The play’s mercurial heroine is a servant girl whose romantic ambitions reach for the heavens. “Katie Roche is the third Deevy work to be produced by the Mint in as many years. It may be the best one yet,” 1 wrote David Barbour in Lighting and Sound America.
Teresa Deevy was born in 1894 as the youngest of thirteen children in Waterford, Ireland. Though she intended to teach, Teresa contracted Meniere’s disease while at University College Dublin and lost her hearing. She went to London to study lip-reading and the theater provided her an opportunity to practice—there she discovered her calling.
“There must be no shortage of little-known, finely crafted, funny, thought-provoking plays exploring the fracturing of English society in the early twentieth century, because the Mint Theatre Company keeps coming up with them,”1 wrote the New Yorker of MARY BROOME. Monkhouse’s biting comedy tells the story of a household turned upside down by an upstairs/downstairs liaison between the ne’er do well son and the honest housemaid.
Allan Monkhouse (1858-1936) was a dramatist, novelist, and critic known for his piquant portrayal of middle class life in northern England. He startled audiences with complex characters, who pierced societal niceties as they grappled with the contradictions of a rapidly changing world.
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