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Tuesday-Wednesday-Thursday at 7pmFriday-Saturday at 8pm & Saturday-Sunday at 2pm

How to purchase your tickets for THE MADRAS HOUSE

• By Mail or In-Person: Mint Theater Company(No Service Charges) 311 West 43rd Street, Ste. #307

New York, NY 10036

• By Phone: (212) 315-0231 ($2.50 per ticket service charge will apply)

• By Fax: (212) 977-5211 (No Service Charges)

• On-line: www.minttheater.org (No Service Charges)

• Call for special group rates (groups of 15 or more)

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Performances begin January 31st

$35 Jan. 31 – Feb. 18$45 Feb. 20 – March 11

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SETS CHARLES MORGANCOSTUMES CLINT RAMOS

LIGHTS WILLIAM ARMSTRONGSOUND ELLEN MANDEL

DIALECTS AND DRAMATURGY AMY STOLLERCASTING STUART HOWARD,

AMY SCHECTER & PAUL HARDTPRODUCTION STAGE MANAGER ALLISON DEUTSCH

ASSISTANT STAGE MANAGER ANDREA JO MARTINPRESS REPRESENTATIVE DAVID GERSTEN & ASSOCIATES

GRAPHICS JUDE DVORAK

All tickets are HELD at the Box Office. NO LATE SEATING! *All sales are final. There are no exchanges or refunds.

w i t h :

M a r y B a c o nR o s s B i c ke l lL i s a B o s t n a rT h o m a s M . H a m m o n d J o n a t h a n H o ga nL a u r i e Ke n n e d yR o b e r t a M a x we l lA l l i s o n M c L e m o r ePa m e l a M c Ve a g hM a rk L . M o n t g o m e r yG e o r ge M o r fo ge nA n ge l a R e e dS c ot t R o m s t a d tK r a i g S w a r t z

TUES • WED • THURS – 7PMFRI • SAT – 8PM

SAT • SUN – 2PM

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B y: H a rl ey G r a nv i l l e - B a rke rD i r e c t e d B y: G u s K a i k ko n e n

LimitedEngagement!

Pe r fo r m a n c e s a t M i n t T h e a t e r 3 11 We s t 4 3 r d S t r e e t , 3 r d f l o o r

Join us for a reading of

MISALLIANCEby George Bernard Shaw Monday March 12th at 7:30

In 1909 Shaw heard Granville-Barker read an unfinished draft of THE MADRAS HOUSE and was inspired to write his own treatment of the ideas and people that he encountered in his friend’s work. “MISALLIANCE was conceived and written as Shaw’s answer to THE MADRAS HOUSE,” writes Professor Cary Mazer.

Performance at 7:30, Mint Theater. Tickets $35

Or join us for dinner and a pre-show conversation about the relationship between Shaw and Granville-Barker. Le Madeleine at 6:00. Tickets $100

Call 212-315-0231 Today!

Discussions follow the matinee performances for the first three weeks of the run and last approximately 50 minutes. These discussions are open to the public free of charge. You do not need to attend that days performance to attend our discussions.

Feb. 3rd, 2007: Professor Lana Cable, SUNY, AlbanyCable, author of “Popular Secularism and the Idea of Islam on the Early Modern English Stage,” will discuss Constantine Madras, a convert to Mohammedism, in the context of early modern English orientalism in drama and the artistic treatment of Muslim characters and ideas on the stage.

Feb. 4th, 2007: Professor Amanda Claybaugh, Columbia UniversityClaybaugh is a professor of English and a specialist in transatlantic literary studies.

She is the author of Cross Purposes: Literary Ambition and Social Reform in the Trans-Atlantic Novel. She will discuss THE MADRAS HOUSE from the perspective

of social history.

Feb. 10th, 2007: Professor Alan Andrews, Dalhousie UniversityAndrews is a professor of theater whose principal interest is Shaw and his contemporaries.

He is the author of the essay “Voysey in Context” published by the Shaw Festival. He will discuss the interplay between THE MADRAS HOUSE and Shaw’s MISALLIANCE.

Feb. 11th, 2007: Professor Martin Meisel (retired), Columbia UniversityMeisel is the author of Shaw and the 19th-Century Theatre and a frequent speaker at the Mint.This discussion will focus on the play and its author.

Feb. 17th, 2007: Professor J. Ellen Gainor, Cornell UniversityGainor is the author of Shaw’s Daughters: Dramatic and Narrative Constructions of Gender. She has led

many Mint post-show discussions over the last seven years. This discussion will focus on the social context of the play.

Feb. 18th, 2007: Professor Cary Mazer, University of PennsylvaniaMazer was chair of the Theater Arts program at Penn for many years. His published writing

includes “Granville Barker and the Court Dramatists,” in The Blackwells Companion to Modern British and Irish Drama. This discussion will focus on the play and its author.

Post-show discussion performances sell out first. Call 212-315-0231 for more information or to book your seats.

SURROUND EVENTS:�

✃

Save the Date: Monday, June 18th,Mint’s annual Benefit

Anyone under 25 can now order $25 tickets in advance—over the phone, online or in person!

(You will be required to show proof of age when you pick up your tickets. Limit two tickets per order)

$25 for under 25!Introducing a new discount pricefor anyone under the age of 25.

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“No British play of this century has soexcited me.” The Financial Times, 1992

Harley Granville-Barker was one of the mostinfluential figures in the history of the mod-ern theater. “We are all in debt to GranvilleBarker,” wrote The Guardian just last spring,“His ideas were prophetic and extraordinary.”He was an inspired director, a visionaryproducer and a brilliant playwright—and yethe is hardly known in this country.

Even in England THE MADRAS HOUSEis rarely revived, with only three notableproductions in the last seventy-five years.Now, for the first time since 1921, New Yorkaudiences will have an opportunity to seeGranville-Barker’s dazzling comedy aboutmen and women and sex and shopping (andmarriage and children and art and education).“It is a fantastically rich play that illuminateseverything it touches.”1

Phillip Madras is the heir to a leading Londonfashion emporium established by his fatherConstantine, a legendary designer who hasabandoned his family and the evils of theWest, converted to Mohammedism, andestablished a polygamous household in Iraq.Constantine’s return to England to sell thefamily business precipitates a series of looselyconnected scenes that serve as “a mercilesscritique of that ragbag of attitudes we nowcall ‘family values.’”2

Alexander Woollcott, writing for The NewYork Times in 1921, claimed that “THEMADRAS HOUSE is a dramatization not of ahuman being, but of a human problem. Theprotagonist that wanders through its fourabundant acts is not a person. It is a question.How are the brains of the world to becleared and the work of the world to bedone when that world is necessarily peopledwith mutually exciting creatures and itsenergy so largely devoted to fomenting thatexcitability?” In other words, what in theworld are we to do about the overpoweringdistraction of sex?

The play is “as rich in episodic detail as a19th-century novel.” No summary of thenarrative “can convey the way this play’sdetail becomes so enthralling,” writes AlistairMacauley of The Financial Times, “I had notseen it before; hours after I am still electrified.No British play of this century has so excitedme.”

“A great and

unfairly neglected play”

This is “a great and unfairly neglected play;”3

“bracingly intelligent,”4 “a marvelously rich,serious comedy that appeals equally stronglyto both the head and heart.”5 “Its characters,situations, lines and arguments are vivid andlive keenly in your mind after the curtain’sfall.”6

Harley Granville-Barker’s impact is still keenlyfelt, here and in England. His Prefaces toShakespeare revolutionized the approach tostaging the plays—in fact some credit himwith evolving the role of the modern directoras unifier of the creative elements in dramaand representative of the author.

Mint, New York’s Number One Source forLost Plays, first called attention to theneglected genius of Harley Granville-Barkerwith our New York Premiere of his 1905masterpiece, THE VOYSEY INHERITANCE.“Few theatrical works so shrewdly raiseprofound questions about the role ofordinary morality in the making of money,and none in English does it with suchelegance and wit,” The New York Timeswrote of our production: “A playwright anda company can’t do much better.” THEMADRAS HOUSE, according to BenedictNightingale of The Times “more thanmatches Barker’s better-known The VoyseyInheritance for intellectual scope and subtlety.”

Do not miss out on a rare opportunity to seethis “electrifying play.”7

Harley Granville-Barker:

How he radicalised the British stage

The Independent: 20 April 2006By Paul Taylor

It would be hard to exaggerate the seminalrole played by the actor, director, playwrightand polemicist Harley Granville-Barker(1877-1946) in the development of 20th-century British theatre.

Barker fought to create the conditions inwhich intelligent new drama could flourish,challenging the pernicious system of longruns, lavish settings, and an emphasis onstars that deterred artistic risk.

The repertory movement and the NationalTheatre for which Barker agitated (drawingup the first detailed Scheme for it in 1907,with the critic William Archer) owe a hugeamount to his example and inspiration, asdoes modern Shakespeare production.

So, Barker’s legacy would have been consid-erable, had he not also written a clutch ofsubtle, penetrating plays that combineChekhovian skill at handling a large ensemblewith trenchant social analysis.

The world of Edwardian women, theireconomic dependence on men and theinteraction of fashion and feminism, isviewed in four different environments in hisastonishing 1910 piece THE MADRAS HOUSE.

In 1918, Barker acqui red a wea l thyAmerican wife and retired from the hurlyburly of the theatre. The puzzle of whathappened psychologically to theatre’s greatwhite hope would make a fascinating,speculative drama - though you wouldprobably need the gifts of Granville-Barker todo it justice.

Excerpted. To read the entire article visit:http://enjoyment.independent.co.uk/theatre/features/article358911.ece

311 W. 43rd Street Suite #307 New York, NY 10036www.minttheater.org

Tickets only $35For preview performances:JANUARY 31 thru FEBRUARY 18

B y : H a rl ey G r a nv i l l e - B a rke r

Granville-Barker’s dazzling comedy about

men and women and sex and shopping (and

marriage and children and art and education).

“It is a fantastically rich play that illuminates

everything it touches.” (Guardian)

Phillip Madras is the heir to a leading London

fashion emporium established by his father

Constantine, a legendary designer who has

abandoned his family and the evils of the West,

converted to Mohammedism, and established

a polygamous household in Iraq. Constantine’s

return to England to sell the family business

precipitates a series of loosely connected scenes

that examine with piercing humor and keen

observation the obstacle that sex creates in

the daily interaction between men and women.

“ E L E C T R I F Y I NG ! ”(The Observer, The Independent)

“This neglected playwright is suddenlyone of the hottest new voices in theater.”

(Linda Winer, Newsday)

The award-winning Mint has brought you lost treasures such as:Susan and God, The Daughter-in-Law, John Ferguson and Echoes of the War.

�By:Harley Granville-Barker

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B y : H a rl ey G r a nv i l l e - B a rke r

“More than matches Barker’s better-knownTHE VOYSEY INHERITANCE for intellectualscope and subtlety.”-The Times

1 Michael Billington, Guardian2 Douglas Slater, Daily Mail

3 David Clark, What’s On4 Michael Billington, Guardian5 Charles Spencer, Daily Telegraph6 Alastair Macauley, Financial Times7 Michael Covney, Observer