From the acclaimed author of
An Inspector Calls
“...a master craftsman at spinning a yarn.” - Rose Feld, The New York Times
unearthing,” wrote Paul Taylor in The Independent, “This one resoundingly is.” The Glass Cage is a taut drama about the danger of family wounds left unattended. “The McBanes are a pious, Bible-thumping lot, dominated by the bullying David and puritanical household with their boozing and sexual seduction, we are kept in the dark as to their ultimate purpose. Finally, Priestley makes it clear that they are hellbent on revenge for the way their late dad was cheated of his rightful inheritance.” (The Guardian) Priestley dispenses with his usual English setting in favor of Toronto, 1906. “You don’t expect to find a Priestley play located in Toronto,” observes The Independent, “but while it may be a far cry from England geographically, in terms of theme The Glass Cage has certain strong affinities with An Inspector Calls. But instead of a police inspector...that springs family skeletons from cupboards, the catalytic characters are connected by more than ties of blood to the well-heeled Edwardian hypocrites they are determined to rumble.” Priestley slowly ratchets up the tension in his suspenseful tale before surprising us with his true purpose. “Just as it seems that this play is going firmly in one direction,” the Oxford Times writes, “the old stage magician Priestley swiftly conjures it somewhere quite different.” “It’s hard to believe one would think of Pinter when watching J.B. Priestley,” observes The
the glass cage
DOUGLAS: We didn’t come to this house to hear about our father. DR. GRATTON: You didn’t, eh? I liked Charlie McBane. A lot of people didn’t— DOUGLAS: We know that. DR. GRATTON: So I imagine. But it’s all old history—over and done with— ANGUS: Is it, doctor? How do you know? Suppose now and then I get fighting mad just because once—let’s say—I wanted a pair of skates and couldn’t have them—and I couldn’t have them because some people didn’t like my father? Is that old history, over and done with? DR. GRATTON: Are you asking me something or telling me something?
an excerpt from
saturday, september 13th
Following the matinee performance BarnarD collEgE
date and time to be announced.
Check our website for updates. Son of thE author
of a very special kind, with dark sinister scenes, magical touches of humour” -The Stage
Priestley’s drama of “fears, prejudices, hypocrisies and lies” (BBC) was first brought to light in 2001 when his son Tom recommended it for a reading as part of a Priestley Festival. A full production followed in 2007 at the Royal Theatre, Northampton—the first in fifty years— where it was hailed as a “not-to-be-missed revival.” (The Oxford Times) “This is what real theatre is all about,” declared The Stage. “Not all theatrical rarities are worth
.B. Priestley keeps being rediscovered,” writes the London Times, because “he’s never really gone away.” In the mid-1990s, New York audiences thrilled to Priestley’s prescient modernity in An Inspector Calls on Broadway and Dangerous Corner (adapted by David Mamet) for the Atlantic Theater. Now Mint Theater Company presents the American premiere of his 1957 masterwork, The Glass Cage.
reminiscent of An Inspector Calls.”
“Exhibits a fierce moral sense,
- Michael Billington,
“This is what
is all about”
In 1956, John Osborne’s Look Back in Anger burst onto the London stage, shattering the drama that had come before and defining what would follow. In Osborne’s play, Jimmy Porter, the first of the “angries”, dismisses J.B. Priestley with a snide and callow slur” “He’s like Daddy—still casting well-fed glances back to the Edwardian twilight from his comfortable, disenfranchised wilderness....” Is The Glass Cage a play an answer to Osborne’s insult? London’s Evening Standard newspaper thought so, and headlined their review: “The Mellow Old Man delivers a Counter-Blast” Patricia Denison, editor of “John Osborne: A Casebook” will discuss the relationship between Priestley and Osborne and the seismic shift that occurred in the drama of the ‘50’s. Denison teaches dramatic literature in the departments of English and Theatre at Barnard College.
Tom Priestley is the guardian of his father’s estate and responsible for The Glass Cage resurfacing in London in the last decade. He will talk about Priestley’s life and work.
All events take place immediately after the performance and usually last about fifty minutes. Free and open to the public. Please join us for one or for all, even if you are seeing the show at another time. Check our website for updated schedule information and additional events. Speakers and dates subject to change without notice.
saturday & sunday, september 20th & 21st
Following the matinee performances
froM thE original caSt of The Glass CaGe
“What an entrance
his bachelor brother, Malcolm. Into their midst comes a strange trio of siblings, the fruits of a marriage between a third, wild McBane brother and a Native American woman. As the three disrupt the
Telegraph, “but The Glass Cage—unseen for 50 years—carries much of the calculated menace that the former was beginning to unleash on the London stage.”
About the playwright
riestley was born in the North England industrial town of Bradford. In his teens, he quit school to become a clerk in the wool trade. Already an ardent Socialist, he wrote articles for a political journal, The Bradford Pioneer, in his spare time. After the war, Priestley established himself as an essayist and novelist. With the help of American playwright, Edward Knoblock, he adapted his bestselling novel, The Good Companions, for the stage in 1931. Priestley, at age 37, suddenly found himself beginning a new career as a playwright. In 1932, he enthralled the West End with Dangerous
Corner, an ingenious thriller that presents multiple outcomes of the same event. For the remainder of the decade, and throughout the 1940’s, Priestley would rule London theatre. By the 1950’s, however, Priestley was falling out of favor. His socialist politics ruffled the Establishment on both sides of the Atlantic. His apparently “realistic” plays, often set in the Edwardian past, seemed old-fashioned compared to the vituperative “Angry Young Man” movement then setting London theatre ablaze. However, beneath the deceptively calm, ordered surface of
“i am too conventional for the avant-garde, too experimental for aunt Edna; a lowbrow to highbrows, a highbrow to lowbrows.’’
Priestley’s drama lurks a subversive tumult of time and emotion.
The iconoclastic Priestley was intrigued by the vagaries of time. He studied the theories of mystic P.D. Ouspensky and mathematician J.W. Dunne, who argued that past, present, and future exist on the same temporal plane. Priestley’s own experiments with time are evident in such works as Time and the Conways (1937). Priestley’s work remained a staple of repertory theatre, but it wasn’t until the breathtaking mid-1990’s revival of An Inspector Calls, directed by Stephen Daldry, that audiences began to realize how prescient he was. — Heather J. Violanti
ANGUS: I’m asking you. What’s the answer. DR. GRATTON: You won’t like it. ANGUS: Go on. DR. GRATTON: You’re a grown man, not a child. If you can’t get over once wanting a pair of skates and not having them, you’d better start blaming yourself, not other people. ANGUS: That’s too simple—
Priestley wrote The Glass Cage after meeting a trio of renowned Canadian actors, the brothers Donald and Murray Davis, and their sister, Barbara Chilcott, founders of the Crest Theatre in Toronto. Priestley admired their strong family resemblance and dark, brooding good looks and decided to write this play for them which premiered at the Crest Theatre and was a smash success. Success secured a transfer to London’s Piccadilly Theatre, where Ms. Chilcott took the town by storm: “The most exciting young actress to hit London in months!” Derek Monsey, The Sunday Express 1957 Mint Theater is proud and pleased to welcome Barbara Chilcott to New York for the American Premiere of The Glass Cage. She will speak about meeting
these three could make!”
happy birthday john boynton
saturday september 13th
following the evening performance
Barbara Chilcott with her brothers Donald and Murray Davis from a press photo for The Glass Cage, 1957.
Join the cast in the lobby for a piece of cake and a glass of bubbly as we drink a toast to our author on his birthday!
Priestley, performing the play in Toronto and London and her extraordinary sixdecade career.
saturday, september 27th
Following the matinee performance coluMBia uniVErSitY
Priestley is born in Bradford, England.
His first book, a collection of 1927 poems entitled Chapman of He publishes his first Rhymes, is published. World War I begins; novel, Benighted. Priestley enlists.
Three plays by J.B. Priestley premiere in London: Time & The Conways, I Have Been Here Before and People at Sea.
His extended essay titled Man and Time is published as a companion to Carl Jung’s Man and His Symbols.
The Mint Theater Company produces the American premiere of The Glass Cage.
Priestley was fascinated with the Edwardian period of British history (1901-1914). Many of his plays were set during that era and he even wrote a social history of the time. “The Edwardians”, a volume rich with illustrations and photographs was published in 1970. Edward Mendelson, professor of English and Comparative Literature and the Lionel Trilling Professor in the Humanities at Columbia University will discuss the Edwardian Era.
saturday, october 4th
author of “glaSS cagE: thE crESt thEatrE StorY”
Following the matinee performance
The Crest Theater was the beginning of home-grown theater in Canada. A generation of Canadian theater artists began their careers at the Crest. Priestley’s play had such a significant impact on the Crest that Paul Illidge named his history of the theater after the play.
Priestley is wounded while serving in the 10th battalion.
Priestley begins his career as a dramatist with Dangerous Corner on the West End.
The Glass Cage has a successful run at the Crest Theater, Toronto.
Priestley is award the Order of Merit by Queen Elizabeth II.
Revival of An Inspector Calls directed by Stephen Daldry wins 1993 Olivier Award for Best Revival, and 1994 Tony & Drama Desk Awards for Outstanding Revival of a Play.
Thanks to a generous lead gift from the Michael Tuch Foundation, we have expanded our EnrichMINT programming. Please help us to maintain this critical fund which enables us to bring you an array of international scholars and experts to enhance your theatergoing experience. For more information call 212-315-0231.
contribute to the enrichmint fund!
(212) 315 -0231 . MintthEatEr.org
tuesday wednesday thursday friday saturday sunday
$35 for performances SEPT 4th - SEPT 7th $45 for performances SEPT 9th - SEPT 21st $55 for performances SEPT 23rd - OCT 26th
$2.50 per ticket service charge applied to all phone orders.
performances begin september 4th
A spellbinding drama about the danger of family wounds left unattended.
artiStic DirEctor Jonathan BanK gEnEral ManagEr ShErri KotiMSKY
Anyone under 25 years old can order $25 tickets over the phone, online or in person! Limit one ticket per ID. Proof of age will be required at ticket pick up. noon - 6pm Mon-Fri noon-6pm Sat noon - 3pm Sun
25 unDEr 25:
by J.B. Priestley
directed by Lou Jacob
BoX officE hourS:
- The Stage
Weekend hours (beginning Sept 6th)
Following select matinee performances ( ), The Mint hosts discussions and lectures to further your understanding of the play. More information inside.
The award-winning mint has brought you lost treasures such as: The Power of Darkness, The Madras House, Susan and God, The Return of the Prodigal and The Fifth Column.
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with: Gerry Bamman CHeT CarLIn mICHaeL Crane CHad Hoeppner roBIn moseLey saxon paLmer JeanIne serraLLes sandra sTruTHers-CLerC FIana ToIBIn JaCk WeTHeraLL
set design RogeR Hanna costume design Camille assaf lighting design maRCus DosHi sound design linDsay Jones properties design DeboRaH gaouette production stage manager bRian masCHka assistant stage manager anDRea Jo maRtin illustration stefano imbeRt graphics HunteR kaCzoRowski press representative DaviD geRsten & assoCiates casting stuaRt HowaRD, amy sCHeCteR & paul HaRDt
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performances begin september 4th
by J.B. Priestley directed by Lou Jacob
performances begin september 4th!