Over twelve years elapsed before Minter attempted writing professionally.
In 1991, Minter moved to London, England.
His work was initially nurtured by The New Playwright’s Trust, and was subsequently
performed in London and work shopped in Berlin.
His development in London was with the collaboration of British director and mentor Areta
Breeze.
Minter moved back to the states in 2000 and began work on- what has emerged as -a triptych
of plays.
1993 saw Minter’s first work -Besswick - given a staged reading by the New Playwright’s
Trust at the Theatre Museum, Covent Garden.
1994 -A Lesson To Forgive - was premiered at The Man In The Moon theatre, in Chelsea.
The play ran for two months to good acclaim.
1995 -Fragments Of A Dream - was premiered at The Riverside Studios, Hammersmith.
After a successful run, the play was translated into German -and has since been published.
1996 -Minter was commissioned by The London New Play Festival to write Semper
Suburbia! -a work to complete a triumvirate of plays, under the heading of ‘Gay Marriage In
Suburbia’. The piece received it’s world premiere at The London New Play Festival in
September of ‘96.
1997 -the West End premiere of Exposition , at the Arts Theatre, Leicester Square. The
production started at the Thorndike Theatre, Leatherhead -and moved to the Arts Theatre,
March 17th, 1997 for a four week run.
1998 and the Henry Street Settlement in NY performed a workshop/reading of Past Is The
Present Imperfect .
Also in 1998, the Brave Hearts Theater in Madison Wisconsin performed the first full
production of a Minter play in America -Grace Notes [which consists of two, one act works:
strawberry dwarfs and other lies and Hostage] .
in Caliban’s eye, was completed by 2004; it is comprised of a triptych of plays [The Orion,
Breathing Ash, and America Rex] which unflinchingly mine the contortions in American
culture, race, politics, media and religion, through a compelling lens of narrative mediums.
Both The Orion and Breathing Ash have been work shopped through the efforts of The
Hansberry Project, as well as The Lark Theater, and performed as readings at the Lark
Theater, and the Manhattan Theatre Club in New York.
An Essay on The Voting Rights Act by Tom Minter
attended the conservatory at The University of Miami as a performance major. While in
Miami, he had the opportunity to study privately at The Coconut Grove Playhouse while
working on the world premier of Fame the Musical, directed by David Saint.
While pursuing his acting profession, [John Merrick/Elephant Man, Matt/ Talley’s Folly, Barry/
The Boys Next Door, The Three Penny Opera/ Tiger Brown] he took a position as a stage
carpenter at The Orlando Civic Theatre where he had the chance to design and build the set
for their touring production of A Midsummer Night’s Dream. He was taken under the wing of
guest director Paul Bengston, former VP of Casting NBC, and worked closely with him on a
large-scale production of A Christmas Carol. David also began to study with film legend
James Best, working on new techniques to add to his craft. He was also trained as a
window designer, working for several retailers and malls in the region, refining his visual
skills.
His career then led him to Charlotte, NC and work with Charlotte Repertory Theatre and
Southern Appalachian Repertory Theatre, [Paris/ Romeo and Juliet, Tom/Sundew, Light up
The Sky, Milo/ Sleuth, Max/Bent, Spoon River Anthology] and was a recurrent performer with
Children’s Theatre of Charlotte [Treasure Island, Sleeping Beauty, The Best Christmas
Pageant Ever]. At this time, he started to expand his career into Film and TV [numerous
regional TV commercials, Babyfat Reese/ Southern Belles, Greg/ Crinoline Head]. To pay
the bills between theatre gigs, he worked as a special events designer [Charlotte
Hornets/NBA, Carolina Panthers/NFL, numerous hotels and conventions].
Seeking to work in a more competitive market, he then moved to the greater Philadelphia
area. He started working as an actor in NYC [Nicholas/White Lies, Danny/ Quality Time,
Forrest/The Mentor, Anthony/Anthony and Cleopatra, Nathaniel Hawthorn/ Ancestral Ghosts]
and also worked as an assistant to theatrical agent Shep Pamplin, who taught him
contracts and negotiation.
During the last four years David has been fortunate to have Broadway director Billie Allen,
and TV/Film director Annette Bachner as godmothers to guide him on his path as a director.
without help. We have been very
fortunate in the individuals and groups
who have offered us their time,
attention, and generosity along our
way.
We would like to thank them publicly.
Bernard Vicary
Lynne Garone
Areta Breeze
Len Hirsch & Kristian Fauchald
Billie Allen
Alicia Adams
Michael Johnson Chase / The Lark
Vernice Miller / The Hansberry Project
Robert Arcaro / The Working Theater
Philip Rose
Professor Alfred Prettyman
Susan Stedman-Prettyman
Robert De Wynter
Sancia & David Simpson
Jonathan Meth / Writer Net
Polly Thomas / New Playwrights Trust
Phil Setren / London New Play Festival
Annette Bachner
Anne & Raiyo Shroff
Ivo Jansen
Douglas & Michelle Rathbun
Dorothy Scheffel
Jerold Coture /
Fitelson, Lasky, Aslan & Couture
Alex Bond
Chiz Shultz
The Walnut Street Theater
Endeavor Studios NY
Lily Hung / Margot Lion
Temple University
Susan Jacobson
both real and intellectual of Caliban
Productions Inc. , © 2005
