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 Although this site is nothing like a book a mere list of names to be thanked seems curt and so .......as befits its subject, this site has been developed with the advice and enthusiasm of many individuals and institutions both in the US and UK.
Of those in the US a very special thanks goes to Maria Irene Fornes. She has supported the idea of the site, and with the characteristic caution 'as long as it's not set in stone' has ensured that we are committed to development and change. Sadly, we are not yet able to meet her suggestion - made in recent conversation with Maria Delgado and Caridad Svich - that the site should be perfumed.
I should like to thank very much Ms Fornes' agent, Morgan Jenness, for her advice, support, and encouragement whilst this website was moving beyond an idea. My thanks also to publisher and critic, Bonnie Marranca, for her support and permission to use PAJ Publishing materials. Donald Eastman, set designer, Kate Lipuma of the Signature Theatre and Jocelyn Rugiero, one time Maria Irene Fornes' assistant, were all generous with their time and kindness during my research in New York in ways which eventually contributed to the development of this site. Anne Militello, lighting designer, has generously agreed that her photographs can be used here. Our thanks also to Jonathan Silin for his kind agreement to the use of Robert Giard's fine photograph and also to Caridad Svich who has allowed an extract of an interview she granted to be used here. Also thanks to Jonathan Slaff of Jonathan Slaff Associates, New York. Also Patrick Hoffman, Wendy Norris, and the staff at the Theatre and Tape Archive at New York Public Library and David Lowe of the Library have been most helpful, as have the various publishers who have given permission to use quotations. Judy Baker at SUNY, Albany has been a supportive fellow student.
In the UK I would particularly like to thank: Maria Delgado of Queen Mary, University of London, who introduced me first to the plays and then to Maria Irene Fornes herself, and continues to supervise my studies with her characteristic enthusiasm and commitment; Viv Agget, librarian at Queen Mary, who has quickly and efficiently answered my pleas for advice; and a fellow student, Anna Keeling, who continues to contribute a lot of fun to the enjoyment of my studies
Tom Fisher, Vivienne Gibbs, Tom Power and Marieke Sander, and director Tiffany Watt-Smith, have been generous during their London production of Mud. Carolyn MacDonald and Eva Lennox Birch always believe and encourage and Evelyn and Frank Neal have always given me the benefit of their skills and energies. Ian Mackay has been a calm voice and Judith Summers has provided coffee and editing. I am very grateful to them. My family, Derek Carline, and our daughter, Cordelia Ruth Mackay, have been fully supportive - essential for such a project and not taken for granted. Indeed, the site might not have come about had not our daughter, by some Fornesian chance, made the link with Adam Sime and Ian Whalley, the web designers who convinced me that the site was possible and worked generously with me in the preparatory stages.
Johnny Magee, site designer, has been wonderful in bringing this to fruition.
Finally, we are indebted to Arts Council England for the grant towards our costs and to Ian Tabbron and Verity Leigh for advice as the application was prepared. We also send our thanks for enthusiastically supporting our grant application to Caryl Churchill, playwright, John E. McGrath, Artistic Director, Contact Theatre, Manchester, England, www.contact-theatre.org.uk Nancy Meckler, Director, Shared Experience, London, England, www.sharedexperience.org.uk and Scott T. Cummings, US critic and Boston College academic www.bc.edu
All these contributions have played their part in allowing this site to exist as it does. Together we hope that this site provides lots of pleasure, and opportunities for people more easily to pursue their interest in Ms Fornes' work. For those of us in the UK we hope that it can perhaps help contribute towards increased production of these plays in the UK.
www.mariairenefornes.com is owned by Maggie Mackay a graduate student in the School of English and Drama, Queen Mary, University of London studying the works of Ms Fornes.
Acknowledgements: Updated August 2004
I am very grateful to Christel Maass, Archivist, in helping make possible the kind permission to use the photographs from the Mark Avery Collection, University of Wisconsin-Milwaukee Libraries. Thanks also go to Melissa Wojciechowski of the Trinity Repertory Company for her help, and to the theatre for permission to use their photographs. The additions of these photographs on this site help to further draw together here strong images of Fornes' own direction.
My thanks to James Thorn, who played Lloyd in the Omaha Magic Theatre production of Mud, who has provided information which has replaced the previous too meagre one line entry about the OMT production.
Acknowledgements: Updated May 2005
Many thanks for the generous support of Johnny Magee, the webdesigner. Without Johnny this site would not exist. Thank you also to Mala Renganathan for permission to use her interviews with Gabriel Berry, Donald Eastman and Mary Forcade and the supporting photograph. These interviews link to her thesis at Academia.
Acknowledgements: Updated June 2005
Thanks are due to Michelle Memran and Alison Forbes who have so generously granted permission for the inclusion of many terrific photographs. From these it is possible to grasp something of the excitement of the upcoming documentary film and what a treat lies ahead.
Acknowledgements: Updated September 2005
Many thanks again to Michelle Memran for permission to use the material at Documentary Film - and congratulations on her newly launched website www.documentingirene.com
Acknowledgements: Updated November 2005
Thanks to Aaron D Hurst for kind help with a correction amongst the Fefu information.
Acknowledgements: Updated January 2006
Many thanks to Leslie Katz, University of Toronto, for her kind permission to put the teleconference with Fornes on the site at Academia.
Acknowledgements: Updated April 2006
I'm most grateful to Kimberly (Flynn) Williams who has been generous enough to share some of her memories of working with Irene Fornes on Terra Incognita and It Is/It Is Not. This has also allowed me to add information to these entries to build fuller histories. See www.ashtangayogashala.com
Acknowledgements: Updated February 2007
Thanks to Kartia Pagano for generously offering to translate from the Spanish La Viuda/The Widow which made the detailed synopsis possible.
Thanks also to Judith Summers for her continued support.
Acknowledgements: Updated March 2010
Thanks to Gwendolyn Alker and Bonnie Marranca for additions and corrections to And What of the Night?
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