Historical Note

Mabou Mines is a collaborative, avant-garde theater company based in New York City. Founded in 1970, the company took its name from an old mining town in northern Nova Scotia, near where founding members JoAnne Akalaitis, Lee Breuer, Philip Glass, Ruth Maleczech, and David Warrilow, developed The Red Horse Animation, the group's first original performance piece. Since then Mabou Mines has produced scores of plays, collaborated with well-known writers, musicians, visual artists, and filmmakers, garnered heaps of critical praise and awards, and performed around the globe, cementing its reputation as an innovative force in the theater world. The company's official website is maboumines.org.

Lee Breuer and Ruth Maleczech met studying theater at UCLA in the late 1950s. Around 1960, the couple hitchhiked to San Francisco to participate in the city's active theater scene. Working at the San Francisco Actor's Workshop and the San Francisco Mime Troupe they met Bill Raymond, and at the San Francisco Tape Music Center they met JoAnne Akalaitis. In 1964 Akalaitis moved to New York City but left for Paris soon after with composer (and future husband) Philip Glass. The following year Breuer and Maleczech left San Francisco for Europe. The two couples met up while traveling in Greece, went back to Paris, and with actor David Warrilow, began to work on staging Samuel Beckett's Play. It premiered at the American Cultural Center in 1967. It was also in Paris that the group first met actor Frederick Neumann. In 1969, back in New York with Glass, Akalaitis wrote the others in Paris suggesting they form a theater group in New York.

"Mabou Mines came together as a group to create formal works that would explore language and acting. They had a strong desire to collectively exercise complete artistic control over the work."1 Influenced especially by Jerzy Grotowski's teaching and Beckett's work, Mabou Mines went on to produce experimental theater pieces like Breuer's Red Horse Animationpieces that resulted from intense collaboration and improvisation, and incorporated elements of visual art, dance, mime, puppetry, and music. Arc Welding Piece (1972), for example, featured an artist using an arc welder to make cuts in a large piece of metal, while actors expressed various states of emotion, their faces enlarged by magnifying lenses. In 1974, Fred Neumann joined the group to work on Breuer's second "Animation," The B. Beaver Animation. Bill Raymond joined shortly thereafter.

In its early years, Mabou Mines moved easily between the art world and the theater, often performing in galleries as well as stages. But its work with Beckett's writing firmly situated the group within a theatrical context. "Mabou Mines has produced eight pieces by Samuel Beckett [ Cascando, Come and Go, Company, Imagination Dead Imagine, The Lost Ones, Mercier and Camier, Play, Worstward Ho], six of which have been world premieres of texts not originally written for the theatre. These productions have led to Mabou Mines being considered one of the foremost interpreters of Beckett's work."2 After an early residency at La Mama Experimental Theatre Club in New York, the company began performing at Joseph Papp's New York Shakespeare Festival Public Theater, and other venues in New York and elsewhere.

From the beginning, creative roles were fluid and collaboration was key, but Lee Breuer served as the company's primary director. In 1975 however, Akalaitis directed Cascando and opened the door for other members to take on new roles, for the company to expand, and for multiple projects to come together simultaneously. Akalaitis went on to direct Dressed Like an Egg (1977) and Southern Exposure (1979), and wrote and directed Dead End Kids (1980); Neumann directed Mercier and Camier (1979); Maleczech directed Vanishing Pictures (1980). Other performers worked with Mabou Mines, including L.B. Dallas, Linda Hartinian, Ellen McElduff, Greg Mehrten, Terry O'Reilly, and B-St. John Schofield.

The company steadily expanded its repertoire and continued its tradition of collaboration, working with talented performers and artists, including composers Bob Telson, John Zorn, Pauline Oliveros, and David Byrne. Mabou Mines has adapted works by Shakespeare ( Lear, 1990), Franz Xaver Kroetz ( Through the Leaves, 1984; Help Wanted, 1986), Philip K. Dick ( Flow My Tears, The Policeman Said, 1985), and Bertolt Brecht ( In the Jungle of Cities, 1991). The company has toured extensively in the United States and abroad.

Mabou Mines has remained committed to its ideal of complete artistic control. "All decisions, artistic and administrative, large and small, are made by the company members, and each member functions variously as producer, designer, actor, writer, or director for the other. Additionally all participate as members of the Board of Directors."3

As the company stated in a 1990 press kit, "The artistic purpose of Mabou Mines has been and remains the creation of new theatre pieces from original texts and the theatrical use of existing texts staged from a specific point of view. Each member is encouraged to pursue his or her artistic vision by initiating and collaborating on a wide range of projects of varying styles, developing them from initial concept to final performance. This process is intense and often lengthy. While the director of a Mabou Mines work is responsible for its concept and its basic structure, the ultimate production reflects the concerns and the artistic input of all its collaborators."4

References:
1. Unknown author, unpublished manuscript. A history of Mabou Mines through 1989.
2. Mabou Mines, company history included in press kit, 1990.
3. Mabou Mines website, maboumines.org.
4. Mabou Mines, company history included in press kit, 1990.

Chronology of Productions: