Program for Partnership by Elizabeth Baker

MINT THEATER COMPANY

JONATHAN

BANK, Artistic Director presents

with JONATHAN CHAMPION, GINA DANIELS, JOSHUA ECHEBIRI, GENE GILLETTE, OLIVIA GILLIATT, SARA HAIDER, CHRISTIANE NOLL, TOM PATTERSON, MADELINE SEIDMAN, AND AHDREAM SMITH

ALEXANDER WOODWARD

Costumes KINDALL ALMOND Set

Props

CHRIS FIELDS

Production Stage Manager JEFF MEYERS

Lights MARY LOUISE GEIGER

Sound DANIEL BAKER & CO

Casting STEPHANIE KLAPPER

Assistant Stage Manager ARTHUR ATKINSON

Dialects & Dramaturgy AMY STOLLER

Assistant Stage Manager MIRIAM HYFLER

Production Management

INTUITIVE PRODUCTION MANAGEMENT

Producing Director

MATTHEW McVEY-LEE

Illustration STEFANO IMBERT Graphics HEY JUDE DESIGN, INC

Publicity DAVID GERSTEN & ASSOCIATES

Directed by JACKSON GRACE GAY

Special thanks to the following for providing multi-year support for the MEET MISS BAKER PROJECT (2019-2023): The Royal Little Family Foundation, The Jean and Louis Dreyfus Foundation, The Mental Insight Foundation

THIS PRODUCTION IS SUPPORTED IN PART BY:

The New York State Council on the Arts with the support of the Governor and the New York State Legislature.

MEET MISS BAKER

THE PRICE OF THOMAS SCOTT

January 19, 2019 – March 17, 2019

EDITH & MISS TASSEY

March 3, 2019

CHAINS

June 7, 2022 – July 23, 2022

PENELOPE FORGIVES

June 29, 2022

PARTNERSHIP

September 30, 2023 – November 12, 2023

Our online Production Archives are organized by author making it easy to see how often I’ve picked a second (or a third) play by an author. Crothers, Granville Barker, Hankin, Schnitzler, Milne, Lawrence, Kelly, Malleson and most recently Elizabeth Baker.

Why? I believe Mint can be much more effective in creating attention for an author and their plays if we prove they are not a flash-in-the-pan. The best example of this would be Teresa Deevy.

When I first came across Deevy’s plays (in 2009) I read everything I could find. I loved WIFE TO JAMES WHELAN and TEMPORAL POWERS equally and I was torn as to which one I should do. They were different in ways that I found remarkable. Then it struck me—I should do them both. I knew if I announced them both at once I might really be able to get some attention for Deevy. And that proved to be true, leading to a 1,000-word feature story in the New York Times and a Sunday Times story in Ireland.

Ultimately, we did four productions of Deevy plays, one per year in 2010, 2011 2013, and 2017. We published those plays and a few more in two volumes. Our activity over a long period of time had a real impact in terms of creating attention for Deevy, inspiring production, dissertations, conferences, feature stories and a recent RTE documentary, in which I have a bit part. And it proved my thesis. If I had only ever produced the one play, I have no doubt that the memory of it would have faded and Deevy would have been forgotten again, just as she had been several times before.

The “Teresa Deevy Project” was the inspiration for “Meet Miss Baker” a three-play project announced in 2018, featuring the work of another woman playwright, long forgotten, and deserving of attention, Elizabeth Baker. “Meet Miss Baker” began with our production of THE PRICE OF THOMAS SCOTT in January 2019.

MEET MISS BAKER

WICKSTEED: What is the difference between a good strong prejudice and a conviction?

ANNIE: A man would sacrifice things —even his life—for a conviction.

WICKSTEED: And wouldn’t he, if he were mad enough, do it for a prejudice? Read your history and see how many of so-called martyrs have not been bigoted fools.

The plan was to follow THOMAS SCOTT… with two plays running simultaneously in two spaces at Theater Row over the summer of 2020. The illustration featured here was created (by Stefano Imbert) for our two-show flyer, inspired by a photo of Baker sitting outside her hut during the time she lived on the Cook Islands. However, Covid came along and changed everything—except for my belief in Elizabeth Baker and my desire to bring her some attention.

We staged CHAINS last summer. This turned out to be one of my all-time favorite productions and reaffirmed my respect for Miss Baker and my determination to follow through on our commitment to presenting PARTNERSHIP, which I hope you will find as inspiring as I do.

We have made recordings of all our Baker productions, as well as the reading of PENELOPE FORGIVES and we are planning on sharing a virtual Baker festival with the world in the future.

CHARLEY: People like us are just cowards. We seize on the first soft job—and there we stick, like whipped dogs. We’re afraid to ask for anything, afraid to ask for a rise even— we wait till it comes. And when the boss says he won’t give you one—do we up and say, “Then I’ll go somewhere where I can get more.” Not a bit of it! What’s the good of sticking on here all our lives? Why shouldn’t somebody risk something sometimes?

ABOUT THE AUTHOR

“Going Roaming:” Elizabeth Baker’s Comic Holiday

Vaulting in 1909 from office typist to “one of the most widely discussed playwrights in England,”1 Elizabeth Baker (1876-1962) wrote thirteen produced plays marked by their originality, social perception and “uncompromising truth of treatment” (The Era). Between her first play, the realist landmark Chains, and One of the Spicers (1932), Baker gave unprecedented voice to the frustrations, aspirations, and wanderlusts of suburban London’s clerks and shopgirls. Throughout a versatile body of work, Baker critically portrayed the constrictions of modern industrial capitalism as much as she celebrated the liberations of women in the work force. Partnership (1917), too, explores these tensions while showing Baker at her most ebullient, on holiday with a prismatic comedy exploring the relationships of romance, marriage, work and leisure to a fulfilled life.

Born Gertrude Elizabeth Baker in Paddington, London on or around August 20th, 1876, the playwright grew up in a religious, Puritan family that worked in the garment trade. When Baker was an infant, her father, draper John Alexander Baker, died, leaving her widowed mother Elizabeth to find work as a shop assistant in Bishop’s Stortford, Hertfordshire. After remarrying master draper George Robert Collett, Elizabeth assumed a new role running her second husband’s shop. The family, including Baker’s four stepsisters, moved from Islington to Hammersmith before settling on Esmond Road in the West London “garden suburb” of Bedford Park. While the Colletts kept their noses to the grindstone, the teenaged Baker wrote stories and verses in her spare hours while working as an assistant in the family business. Although the family shunned dancing, music and the theater, the Bard might have provided an exception. As protagonist Annie Scott relates in Baker’s autobiographical 1913 play The Price of Thomas Scott, her father never lets her go to dramatic recitals, “unless it’s Shakespeare.”

As the “New Woman” charged into the twentieth century, Baker launched into the urban work force. Commuting from Bedford Park, Baker found employment as a London shorthand clerk and typist. Baker also started to break away from her family’s objection to the stage, developing an interest in realist drama. From 1904 to 1907, Harley Granville-Barker and J.E. Vedrenne presented three innovative seasons at the Court Theatre, including eleven plays by George Bernard Shaw. As The London Weekly reported, after an interview with Baker: “She started going to the theater during Granville-Barker’s tenancy at the Court, and was so much inspired by the productions there that she attempted to write a play herself.”

Produced by the independent stage society, the Play Actors, Chains caused a sensation, boosted by the Play Actors’ marketing of Baker as an untutored “girl

ABOUT THE AUTHOR

novice.” In fact, Baker, who had already worked both as a City typist and in the newspaper offices of The Spectator, was thirty-two. First presented for a single performance at the Court Theatre on April 18, 1909, Chains paralleled the stories of clerk Charley Wilson, contemplating emigration to Australia, with his rebellious sister-in-law Maggie, who contemplates trading the drudgery of shop work for a marriage of convenience. Critics received the play rapturously. The New Age’s Cecil Chesterton compared the unknown stenographer favorably to Shaw, while hailing her as a “new playwright of unmistakable dramatic genius.” The critic called Chains “at once the most brilliant and the deepest problem play by a modern British writer that I have seen since Major Barbara.”

Chains’s resounding success reached producer Charles Frohman. The American impresario included Chains in his 1910 season of London repertory at the Duke of York’s Theatre, in an ambitious program that also included Shaw’s Misalliance, Granville-Barker’s The Madras House, and John Galsworthy’s Justice. Still bound to her office work, Baker could only attend “rehearsals during her lunch hour, the only leisure time she had” (The Sun).

Baker’s next plays, the one-acts Miss Tassey (1910) and Edith (1912; presented as a benefit matinee for the Women Writers’ Suffrage League), both unfolded against the world of London retail and commerce while focusing upon working women’s economic vulnerabilities and struggles for emancipation. Miss Tassey unveiled the bleak prospects for a group of women “living in” within the dormitory of a shop. By contrast, Edith offered a scintillating comedy about a rebellious young woman with a sharp head for business (as the creator of the Marie Première fashion line, Edith’s title character reappears briefly as an offstage character in Partnership). Baker, meanwhile, continued her work as a typist. The New Rochelle Pioneer reported, “Chains made a great sensation and not a little money for its author, but Miss Baker continued and still continues in her position as a public stenographer.”

ABOUT THE AUTHOR

Additionally, the autodidactic Baker continued to hone her dramatic craft by copying work in Frohman’s London office, where she transcribed “plays by the foremost English playwrights.”2

London theatrical success proved frustratingly elusive for Baker into the WWI era, despite a critically acclaimed series of productions at England’s innovative repertory theaters. These included 1913’s The Price of Thomas Scott (Gaiety Theatre, Manchester) and 1915’s Over a Garden Wall (Birmingham Repertory Theatre). Theatre historian Rebecca Cameron speculates that “Perhaps in part because of her interest in class issues, Baker had difficulty in finding audiences for her plays after the war, when commercial theater consisted primarily of glamorous, sophisticated comedies and musical extravaganzas.”3

Nevertheless, Partnership also received critical admiration for the realism with which Baker imbued her buoyant Brighton shop. The comedy was produced in March of 1917 by J.T. Grein’s London Repertory Company at the Court Theatre (with a young Ronald Colman among the cast). Partnership earned praise from The Tatler for “show(ing) us a new and just as real aspect of modern life” as Chains: a play with which Partnership shares themes of escaping unfulfilling work. The Graphic also praised Partnership as “one of the very few intelligent, and therefore, really interesting plays of the moment…It grips you precisely because it is not a fairy tale.” Drawing from Baker’s upbringing, Partnership celebrated the smartness, style and industry of the class of shop-keeping women to which her mother belonged.

An unexpected romantic alliance may also have influenced Partnership. In 1915, at the age of thirty-nine, the long-independent Baker married James Edmund Allaway, a widower who worked in the upholstery trade, and the father of two adult daughters. Echoing themes in Chains and Partnership, Baker, with Allaway, followed her “heart’s desire” toward the Pacific island of Rarotonga in January of 1922. As she confided to The London Weekly in 1927: “It is so difficult to get a play produced in London that I ran away to the South Seas for eighteen months and lived in a hut there with my husband…in the Cook Islands.” Baker soon realized she had followed a romantic illusion, writing in The Spectator: “The sunsets were as wonderful as the most fulsome pen of Hibiscus romanticists ever described, but I should have enjoyed the ocean more if it had been not quite so empty.” Still, Baker delighted in her visits to Australia on both legs of her move to the Cook Islands. In 1923, Gregan McMahon’s Sydney Repertory Theatre Society followed up its acclaimed 1921 production of Chains with Baker’s new satire of English suburbia. However, Bert’s Girl failed to provide Baker with a London comeback when the Birmingham Repertory Theatre produced it at the Royal Court Theatre in 1927. Despite declining production prospects in the early 1930s, Baker continued to

ABOUT THE AUTHOR

write challenging and original plays about women breaking bonds of class and gender. With Penelope Forgives (1930), the playwright created a trenchant problem play about the economic perils confronting divorced women. Baker’s final produced play was the one-act comedy One of the Spicers (1932), about a young woman who expresses her desire to “go into the wide world.” Baker herself remained closer to home. Following the death of her husband in 1941, Baker relocated from Bedford Park to Bishop’s Stortford, where she lived with a stepsister. Baker’s later years brought a small measure of renewed recognition. Between 1959 and 1961, ITV Television Playhouse produced adaptations of Chains, Miss Robinson, Over a Garden Wall, and The Price of Thomas Scott (retitled Paris Round the Corner). The Daily Mirror identified Baker as “Mrs. Gertrude Allaway, an eighty-four-year old widow.” The paper quoted her: “It’s a wonderful experience at my age to see one’s work coming to life again and reaching a vast new audience.” Baker died on March 8, 1962, at the age of eighty-five.

Restlessly risk-taking in her movements from suburban London to Australia and the South Seas, and from a sheltered upbringing to a career in the theater, Baker reflected her adventurous and nonconforming life in a versatile body of work. Her works explore what mobility means for working women: whether in terms of social class and professional advancement, or the natural right to “go roaming.” Baker’s plays express the writer’s celebration of potentials for human liberation—individually and in partnership.

With special thanks to Dr. Maggie B. Gale, University of Manchester.

1 “News of the Playhouses,” The Christian Science Monitor, June 10, 1909, p. 8.

2 “Girl Typist Author of Chains, New Play at Criterion Theatre,” The New York Press, December 15, 1912, p. 6.

3 Cameron, Rebecca, “Irreconcilable Differences: Divorce and Women’s Drama Before 1945,” Modern Drama, Vol. 44.4, Winter 2001, p. 484.

MAYA CANTU Since 2013, Maya has worked on nineteen productions at the Mint. She is the author of the book, American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy (Palgrave Macmillan, 2015). For her essay “Beyond the Rue Pigalle: Recovering Ada ‘Bricktop’ Smith as ‘Muse,’ Mentor, and Maker of Transatlantic Musical Theater,” published in Reframing the Musical: Race, Culture and Identity, Maya was selected as the 2020 recipient of the American Theatre and Drama Society’s Vera Mowry Roberts Research and Publication Award. Maya teaches at Bennington College, and received her D.F.A. in Dramaturgy and Dramatic Criticism at Yale School of Drama.

CAST & SCENES

Miss Blagg......................................................................................GINA DANIELS

Lawrence Fawcett..................................................................JOSHUA ECHEBIRI

George Pillatt...............................................................................GENE GILLETTE

Maisie Glow.................................................................................OLIVIA GILLIATT

Kate Rolling.....................................................................................SARA HAIDER

Lady Smith-Carr-Smith..........................................................CHRISTIANE NOLL

Jack Webber & Elliman...........................................................TOM PATTERSON

Miss Gladys Tracey.............................................................MADELINE SEIDMAN

UNDERSTUDIES Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance. Miss Blagg, Maisie Glow, Kate Rolling, Lady Smith-Carr-Smith, Miss Gladys...........................................................................................AHDREAM SMITH

Lawrence Fawcett, George Pillatt, Jack Webber & Elliman........JONATHAN CHAMPION

ACT ONE Private Room at Rolling’s, Brighton.

ACT TWO On the Downs. The next day.

ACT THREE As in Act One. A fortnight later.

Very Special Thanks to James Hart Dyke who generously permitted us to adapt his painting “Winter Evening Light on Windmill, 2021” for our production. The full painting is featured above. Please visit JamesHartDyke.com to learn more about James and to see many more exceptional studies of the South Downs, near where James lives. James currently has an exhibition at Cromwell Place, South Kensington, through October 8th, called “Mont Blanc: The Summit Paintings”.

WHO’S WHO: CAST

JONATHAN CHAMPION

(Understudy) Jonathan is thrilled to be making his Off-Broadway debut in Partnership. Jonathan graduated from Carnegie Mellon University with a BFA in Acting in the spring of 2022. Since then, he was been working in and around New York, be it in film (Re-Entry, dir. Brendan Choisnet), television (“American Rust” dir. Darnell Martin), or theatre helping his friends and colleagues put on productions of their own making. He feels incredibly fortunate to have this opportunity and would like to thank his incredible professional team; Hannah Roth, Scott Manners, and everyone at Framework Entertainment and Artists and Representatives, along with his family and friends for their support. He hopes you enjoy the show!

GINA DANIELS

(Miss Blagg) Mint: Becomes A Woman.

Broadway: Network, All The Way. Selected other theatre (NY, International and Regional): Park Avenue Armory, CSC, New World Stages, Wuzhen Theatre Festival, Paper Mill

Playhouse, Studio Theatre, Arena Stage, Berkeley Repertory Theatre, Repertory Theatre of St. Louis, American Players Theatre, Cincinnati Playhouse in the Park, Milwaukee Repertory Theater, Indiana Repertory Theater, Utah Shakespeare Festival, Syracuse Stage, Portland

Center Stage, Shakespeare Santa Cruz, Arden Theatre, TheaterWorks, Kansas City Repertory Theatre, Lake Tahoe Shakespeare Festival, Delaware Theatre Company, Baltimore Center Stage, Geva Theatre Center, and Pittsburgh Public Theater. In 10 seasons as a company member of the Oregon Shakespeare Festival, Gina appeared in over 30 productions, originated roles in a dozen world premieres and ran Shakespeare’s gamut from Perdita to Portia to Puck. She can be heard in the Next Chapter podcasts of King Lear and The Winter’s Tale as well as the narrator of many an audiobook. Film/television credits include “The First Lady,” “FBI,” “Manifest,” Lapsis, “Orange is the New Black,” “Evil,” and “Law and Order.” www.gina-daniels.com

JOSHUA ECHEBIRI (Lawrence Fawcett)

Theater: We Swim, We Talk, We Go to War (Martha’s Vineyard Playhouse), Henry V (The Old Globe: Globe For All), Lizardly (Media Art Exploration/New York Live Arts), Merry Wives (Public Theater Shakespeare in the Park), A Raisin in the Sun (Williamstown Theatre Festival), Something Happens for Joe (Williamstown Theatre Festival), Soft (Williamstown Theatre Festival);

Television: “Bob Hearts Abishola” Season 4 (CBS), “Dear Edward” (Apple TV+), “The Good Fight” Seasons 5-6 (Paramount+).

BA: Dartmouth College. MFA: NYU Graduate Acting. www.joshuaechebiri.com

WHO’S WHO: CAST

GENE GILLETTE

(George Pillatt)

Broadway: To Kill a Mockingbird.

Broadway National Tours: Ed Boone in The Curious Incident of the Dog in the Night

Time, Ted Narracot in War Horse, both for The National Theatre of Great Britain.

Regional and Off-Broadway: Macbeth with Frances McDormand at Berkeley Rep, Orpheus Descending with Maggie Siff at TFANA, the title role in Hamlet at the Denver Civic, Claudius in both Hamlet and the world premiere of Gertrude and Claudius at Orlando Shakes, Pale in Burn This at Shakespeare Santa Cruz.

International: Artaud in Artaud/Van Gogh at the Karolos Koun Art Theatre in Athens, Greece and he co-developed and performed in A Hymn To Liberty that premiered at The Philippi Theatre Festival in Kavala Greece with his theatre company Spleen Theatre.

Television: “Quantico,” “Elementary,” “The Good Wife,” “Person of Interest,” “The Punisher,” “The Blacklist,” “Law and Order SVU.” MFA: The Shakespeare Theatre’s Academy for Classical Acting.

OLIVIA GILLIATT

(Maisie Glow) is thrilled to return to the Mint, having appeared last year in Elizabeth

Baker’s play Chains

New York and re -

gional: Ken Ludwig’s

MORIARTY: A New Sherlock Holmes Adventure (Cleveland Play House); The 39 Steps (Repertory Theatre of St. Louis);

Mother of the Maid (The Public); Dial M for Murder (Bucks County Playhouse); Pushkin (the american vicarious); Negative Liberty/Positive Liberty (Invisible Dog); Disgraced (Denver Center, Northern Stage); A Doll’s House (Northern Stage); CasablancaBox (Culturemart@HERE); Buried Child (Palm Beach Dramaworks); Tomorrow in the Battle (Stageworks/ Hudson); The Libertine (Fool’s Theatre); Boeing Boeing (Seven Angels); The Country Wife (Odyssey). Film/TV: Rare Objects, directed by Katie Holmes; Ken Burns’ and Lynn Novick’s PBS documentary “Hemingway;” The Bit Player; Tyrel; “The Path;” “The Mysteries of Laura.” Olivia is a member of the multidisciplinary art collective The New Wild, and hosts a devised theater and games gymnasium called Book Club. BA: Dartmouth College, MFA: NYU. www.bookclubtheater.org

SARA HAIDER (Kate Rolling) is thrilled to be making her off-Broadway debut. Sara recently completed a run as Sherlock Holmes in Ms. Holmes & Ms. Watson (Dir. Aneesha Kudtarkar) at the Dorset Theatre Festival, where she previously appeared as Susan in Wait Until Dark (Dir. Jackson Gay). A recent graduate of Juilliard’s Group 52, Sara appeared in numerous productions including: Zarina in The Who & The What (Dir. Aneesha Kudtarkar), Cressida in Troilus And Cressida (Dir. Shaun Patrick Tubbs), and Sara in Stop Kiss (Dir. Adrienne D. Williams). At Juilliard, she was honored with the Harold and Mimi

WHO’S WHO: CAST

Steinberg Award, as well as the Alfred E. Lyon & Dorothy Lyon Award. Originally from Karachi, her most recent credit in Pakistan includes “Chahe Jis Sheher” for Velo Soundstation. Additionally, Sara is an accomplished singer-songwriter having begun her musical career as part of the renowned Pakistani television program, “Coke Studio.” Sara would like to thank her friends and family for their constant support.

CHRISTIANE NOLL (Lady Smith-CarrSmith) Broadway/Tour: Dear Evan Hansen, Elf (MSG), Chaplin (Drama Desk nomination), Ragtime (Tony & Drama Desk nominations), Urinetown, The Mambo Kings, It Ain’t Nothin But the Blues, Jekyll & Hyde, Grease, Miss Saigon, City of Angels, South Pacific (Australia/Thailand). TV/ Film: “Evil,” “Law & Order: Organized Crime,” “Madam Secretary,” “Law & Order: SVU,” “The Bite,” “Sound of Music Live,” “The Good Fight,” “The King & I” (Animated - Singing Anna). Theatre: God of Carnage (Theatre Row), Fun Home, Next to Normal (TheatreWorks), Snow Child (Arena Stage), Follies (Repertory Theatre of St. Louis) 1776 (Encores!), The Cottage (Engeman Theatre), Closer Than Ever (York Theatre), Take Flight (O’Neill Theatre Center), American Songbook Series – Frank Loesser (Lincoln Center). Guest soloist with over 100 symphony orchestras. Opera with Placido Domingo and Hollywood Bowl/O2 Arena London with Julie Andrews. Solo recordings: “Christiane Noll – A Broadway

Love Story,” “Live At the Westbank,” “The Gershwin Album,” “My Personal Property,” “Gifts-Live at 54 Below.”

TOM PATTERSON (Jack Webber & Elliman) Broadway: 1984. Off–Broadway: Three Sisters (Sheen Center), About Love (Culture Project).

Regional: Delmonico (Bay Street Theater); The Last Match, Babel, Hand to God, Cherry Docs, The Hound of the Baskervilles, Shotgun (Florida Studio Theatre); Constellations (Studio Theatre, Helen Hayes Award); Ether Dome (Hartford Stage, Huntington Theatre Company); Sideways (La Jolla Playhouse); Of Mice and Men (Northern Stage); Bedroom Farce, Murder on the Nile (The Barnstormers). Film/TV: Thorp, “The Equalizer.” MFA: UCSD. Instagram: @tommustbestopped, Twitter: @TomNow. He is originally from South Bend, Indiana.

MADELINE SEIDMAN

(Miss Gladys Tracey) is so happy to be returning to the Mint and to be using a British accent, which was, frankly, a career goal. Off-

Broadway: Becomes a Woman (Mint Theater Company).

Regional: Who’s Afraid of Virginia Woolf, The Christians (Chautauqua); Love, Love, Love (upcoming, Studio Theatre DC). TV: “A League of Their Own.” Film: Music for the Requiem Mass, CRAM. She is passionate about collaborating on new plays, and she’s workshopped recent-

WHO’S WHO: CAST & ARTISTIC STAFF

ly at The O’Neill, Rattlestick, Fault Line, and Urban Stages. BA: Williams College.

MFA: Yale School of Drama (Herschel Williams Prize in Acting ‘22).

AHDREAM SMITH

(Understudy) is overjoyed to be making her Off-Broadway debut at Mint Theater Company as a member of the Partnership family! Select Regional: Julius Caesar, As You Like It, Stick Fly, A Wrinkle in Time (PlayMakers Repertory Company)

MFA: UNC-Chapel Hill. BA: Wesleyan University. She is grateful to God, her family, her team, and Gerrard for all of their continuous support. You can find her on the interwebs at ahdreamsmith. com and IG: @chasingahdream

ARTHUR ATKINSON (Assistant Stage Manager) is thrilled to be working once again with the Mint Theater family! Prior Mint productions: Becomes A Woman, The Daughter-in-Law, The Fatal Weakness, The New Morality. Recent NYC theatre productions: God of Carnage (Theatre Breaking Through Barriers), The Year of Magical Thinking (Keen Company), Liz Swados’s Nightclub Cantata at the Cell Theatre, Paradise Lost (FPA), Cagney - The Musical at the Westside Theatre; many shows at the Irish Repertory, the York Theatre, The Directors Company, Cape Playhouse, et al. Toured internationally in Fiddler on the Roof starring Topol, then Harvey Fierstein and Theodore Bikel. A proud member of Actors Equity Association. Love to Lisa.

MIRIAM HYFLER (Assistant Stage Manager) is excited to work with the Mint again! Recent credits: Becomes A Woman, The Rat Trap, Chains (Mint Theater), Twelfth Night (Music Theatre Wichita), hang, Time Stands Still (Shakespeare & Company), Shanghai Sonatas (Master Players Concert Series), In The Heights (Park Playhouse), Death of a Driver (Urban Stages), On Blueberry Hill, Maz and Bricks (Origin Theatre/Fishamble), Three Small Irish Masterpieces, It’s A Wonderful Life, Woman and Scarecrow (Irish Rep), The Dingdong (Pearl Theatre), author Directing author (La Mama), How to Break (HERE), Richard III, Henry V (New York Classical Theatre), Cymbeline, Capsule 33 (Barrow Street Theater), I Call My Brothers, The Sonic Life of a Giant Tortoise, Ludic Proxy (The Play Company), several seasons with Phoenix Theatre Ensemble, Pan Asian Rep, and New Century Theatre. Love to @orangefreddyg.

JEFF MEYERS (Production Stage Manager) was in a play once. He played the Captain in the Grand Junction, Colorado, high school production of Carousel. He then turned to stage management. He is very pleased to be continuing his collaboration with Mr. Bank having previously worked on sixteen Mint productions including Becomes A Woman, Chains, The Daughter-in-Law, Conflict, Hindle Wakes, Fashions For Men and Ernest Hemingway’s The Fifth Column . His New York highlights also include Beyond Therapy and Happy Birthday (TACT), Painting Churches and Marry Me A Little (Keen Company), Amazons and their Men (Clubbed Thumb), Orange Flower Water and Adam Rapp’s

WHO’S WHO: ARTISTIC STAFF

Stone Cold Dead Serious (Edge Theater Company), Hamlet (CSC), Critical Darling (New Group) and Greg Kotis’ Eat The Taste (Barrow St. Theatre). Regional highlights include Dracula (Triad Stage) and ten summer seasons with The Theater at Monmouth. His union of choice is AEA, and he dedicates this and every performance to his Mom and Dad.

JACKSON GAY (Director) Mint Theater Company: A Little Journey. Jackson’s recent work: Natural History by Collin Van Son (O’Neill Festival); Christina Anderson’s the ripple, the wave that carried me home (world premiere co-production Berkeley Rep and Goodman Theatre); Endless Loop of Gratitude with New Neighborhood www.newneighborhood.net (New Ohio’s Ice Factory); Lucy Thurber’s Transfers for Audible, MCC, and New York Stage & Film; These Paper Bullets! by Rolin Jones with music by Billie Joe Armstrong (New Neighborhood, Atlantic, Geffen, Yale Rep). Upcoming: workshop of The Yellow Wallpaper 2.0 by Jennifer Maisel (Lucille Lortel); Into the Breeches by George Brant (Gulfshore Playhouse); the new musical Hard Road (book by Willy Holtzman, music by Marty Dodson and David Spangler). MFA Directing Yale School of Drama. www.jacksongracegay.com

ALEXANDER WOODWARD (Sets) is a New York based multi-hyphenate, designer, organizer, and artist focused in scenic and costume design for live performance in theatre, opera, and dance with credits all over, including the world and Broadway premier of The Sound Inside and the world premiere of the

ballet Their Eyes Were Watching God. They are thrilled to make their Mint debut! In addition to their design work, Alexander is a co-founder of “In The Wings a Design/Tech Showcase” for young artists at the Williamstown Theatre Festival and serves as the Area Head of the BFA & MFA Design/Tech program at the University of Connecticut. As a designer and educator Alexander is an avid proponent for advancing arts advocacy, exploring all aspects of our medium as a form for social change and a tool to shape the environment around us. In recent years Alexander has served on the executive board for Wingspace, a non-profit organization that promotes conversation on design, our community, and furthers activism within the industry. MFA Yale School of Drama, proud member of United Scenic Artists Local 829. Instagram @alexanderwoodwarddesign and at alexanderwoodward.com.

KINDALL HOUSTON ALMOND

(Costumes) is a multidisciplinary designer and stylist in Brooklyn, New York, pursuing the telling of a deeper visual story through the art of costume and production design. They feel most fulfilled in team collaboration, working alongside other designers and artistic minds. Recent theater works include Life is a Dream dir. Stevie Walker-Webb (Baltimore Center Stage), black odyssey dir. Stevie Walker-Webb (Classic Stage Company), Our Town dir. Stevie WalkerWebb (Baltimore Center Stage) The Seagull dir. Jacob Sexton (The Schapiro Theatre) King Charles III dir. Mark WingDavey (NYU Atlas Theatre) ‘Tis a Pity She’s a Housewife/Real Housewives

WHO’S WHO: ARTISTIC STAFF

of the Restoration dir. Stevie WalkerWebb (NYU Atlas Theatre, NYU Shubert Theatre, co/design), as well as recent choreography works by Yin Yue Dance Company and Trisha Brown Dance Company. Recent film works include collaboration with The New Red Order’s installation works “The Worlds Unfair,” F*ck That Guy dir. Hanna Gray Organschi, Burn dir. José Manuel Velez, Love Taps dir. Derrick Woodyard, and Nosferasta dir. Adam Khalil and Bayley Sweitzer. kindall is a Fiber Arts adjunct professor at MICA, holds a B.F.A. in Fashion Design from Pratt Institute, and an M.F.A. from NYU Tisch in Costume Design.

MARY LOUISE GEIGER (Lighting) Mint: Conflict, Becomes A Woman. Broadway: The Constant Wife (American Airlines Theatre). Off-Broadway: Halfway Bitches Go Straight to Heaven, Good Television, The New York Idea (Atlantic Theatre), Until the Flood (Rattlestick); X, Or Betty Shabazz v. The Nation (Acting Company); Nat Turner in Jerusalem, Forever, Oedipus at Palm Springs (New York Theatre Workshop); Kindness, Blue Door, The Busy World is Hushed (Playwrights Horizons); Mabou Mines Dollhouse, Red Beads (Mabou Mines). Regional: ACT, 5th Avenue, Goodman, Huntington, Steppenwolf, Milwaukee Rep, Guthrie, Pioneer, Cleveland Playhouse, Repertory Theatre of St. Louis, Center Theatre Group, LA Opera among others. Training: Yale School of Drama, Faculty: NYU Tisch. www.mlgeiger.com

DANIEL BAKER & CO (Sound) is a sound designer/audio producer, entrepreneur, and educator living in New City,

NY. He is a founding member of Daniel Baker & Co., an audio production company that creates sound designs and music for theater, film, dance and other endeavors across the media spectrum. He also teaches sound design at Barnard College and Fordham University at Lincoln Center. Broadway credits are The Parisian Woman, Eclipsed, American Son (asst. sound design) and Purlie Victorious (asst. sound design). Selected Off-Broadway credits include Toni Stone at Roundabout Theatre Company; The Lying Lesson, The Great Leap, The Jammer , and These Paper Bullets! at the Atlantic; The Four of Us and When We Were Young and Unafraid at MTC; Bull in a China Shop at LCT3; The Good Negro and Eclipsed at The Public; A Winter’s Tale at TFANA. Daniel has designed sound for over 25 regional theaters across the country. Daniel Baker & Co. associates for this production are Eden Segbefia and Marisa Conroy.

CHRIS FIELDS (Props Design) is excited and proud to be joining the gang at the Mint Theater for a sixth time ( Conflict, The Price of Thomas Scott, The Mountains Look Different, Chains, Becomes A Woman). He was previously Props Master at Shakespeare & Co., Barrington Stage Company, Flat Rock Playhouse, Contemporary American Theater Festival, several Off-Broadway shows, and the musical Anna Karenina at Circle in the Square. He was the Associate Props Master at the Public Theater for several years. As a craftsperson he helped create the original costumes for The Lion King and Beauty and the Beast, as well as the goat for the original production

WHO’S WHO: ARTISTIC STAFF

of Edward Albee’s The Goat, or Who is Sylvia?. Among his proudest accomplishments is six arrests and an Obie Award as a member of ACTUP. (If you haven’t heard of them, Google it.) So much thanks to my family and friends who make this crazy life in the theater possible!

AMY STOLLER (Dialect Design & Dramaturgy) recently received the League of Professional Theatre Women’s Ruth Morley Design Award for outstanding work in the field of theatrical design. She is proud to have helped Mint casts suit words to actions for 40+ productions— most recently last season’s Becomes a Woman and The Rat Trap . Also last season: Twilight: Los Angeles, 1992 at American Repertory Theater. Earlier this season: Love All at La Jolla Playhouse (premiere). Amy works frequently with Anna Deavere Smith; projects to date include Notes from the Field and Let Me Down Easy (each on stage and screen) among others. Film & television credits include Zola (Colman Domingo as X), Selma (Carmen Ejogo as Coretta Scott King), and Dora the Explorer . Coming in December: The Night of the Iguana, directed by Emily Mann for La Femme Theatre Productions at Signature Center. www.stollersystem.com.

ROBERT SIGNOM III (Production Manager) has been working in production for over twenty years. As Production Manager, he has worked for Boston Lyric Opera, Heartbeat Opera, Opera Naples, Tri-Cities Opera, Signature Theatre, Gotham Chamber Opera, Aspen Opera Theatre Center, Ensemble Studio Theatre, HERE Arts Center, NJPAC, and others. He is an Eagle Scout, the Curator of America’s Packard Museum, and a graduate of NYU’s Tisch School of the Arts.

SCOTT H. SCHNEIDER (Production Manager) has been Production Manager for Bronx Opera Company for fifteen seasons. Other credits include The Preacher and the Shrink and An Error of the Moon (Beckett Theatre), The Megile of Itzik Manger and KulturefestNYC (National Yiddish Theatre Folksbiene), She Loves Me (Caramoor), Marie Galante (Opera Francais de New York), Darkling (AOP), and Joy (Actors’ Playhouse). Stage Manager for opera and theatre, OffBroadway, regional, and on tour. Former treasurer Stage Managers’ Association; graduate Wesleyan University; Artistic Director Bad Dog Productions.

PRODUCTION MANAGEMENT

INTUITIVE

(Production Management) is a New York-based theatrical production firm specializing in Off-Broadway, opera, dance and live events. Founded by Robert Signom III and Scott H. Schneider, Intuitive brings superior production values and personalized support to each performance. www.intuitiveprodmgmt.com

STEPHANIE KLAPPER (Casting Director). Stephanie’s award-winning work is frequently seen on Broadway, off-Broadway, regionally, on concert stages, film, television, and streaming media. Select recent credits include Becomes a Woman; Chains; The Rat Trap (for Mint); Dig (Primary Stages); The Gospel According to Heather (Off-Broadway); Shout Sister Shout (Ford’s Theatre), Richard III (New York Classical Theatre), Shane (world – premiere Cincinnati

WHO’S WHO: ARTISTIC STAFF

Playhouse in the Park/The Guthrie); Elf Quest, the audio movie, Ranked, the musical/HBO Documentary. SKC is known for their limitless imagination and creativity, as well as connecting creative, caring people to each other to make extraordinary things happen. SKC is committed to expanding diversity, education, equity, and inclusion in the business. Board member of Casting Society Cares and a mentor with Fordham High School for the Arts and NYU Tisch School of the Arts Women’s Mentorship.

ARTS FMS provides outsourced financial management services to nonprofit arts groups, focusing on long-term fiscal health and sustainability and helping organizations focus on mission fulfillment. Arts FMS serves a variety of arts organizations with a particular focus on the performing arts. www.artsfms.com

DAVID GERSTEN & ASSOCIATES (Press Representatives) has served as press representatives and marketing consultants on Broadway and off for over twenty-five years. In addition to Mint (since 1995), current clients include several not-for-profit theaters including Godlight Theatre Company, NAATCO, and Red Bull Theater, among others. David is Vice-

President and a Trustee of ATPAM, the Association of Theatrical Press Agents & Managers (IATSE), where he also serves as the Off-Broadway Steward. He is a member of the Off-Broadway League and co-founder/Vice-President of the Off-Broadway Alliance.

MATTHEW McVEY-LEE (Producing Director) is a producer and director. He has worked with Mint Theater Company on Chekov/Tolstoy: Love Stories, The Daughter-in-Law, Chains, The Rat Trap and Becomes A Woman , as well as the streaming of Katie Roche, Conflict, Women Without Men, Hindle Wakes, and many more. Favorite authors featured at Mint Theater are Teresa Deevy, Hazel Ellis, Elizabeth Baker, Miles Malleson, and George Kelly. Previously he was the Associate General Manager with Aaron Grant Theatrical, an off-Broadway general management firm where he worked on many projects including Love for Sale, Van Gogh’s Ear, Mary Shelley’s Frankenstein, Bulldozer the Musical, Stranger Sings!, and others. Select directing credits include the murder mystery Truffles, Cassandra (Theater 3), Eurydice (SCRAP) and the development of Drew Morrison’s Goner

WHO’S WHO: ARTISTIC STAFF

JONATHAN BANK (Artistic Director) has been the artistic director of Mint Theater Company since 1995, where he has unearthed and produced over 50 lost or neglected plays, some of which he has also directed. Some favorites include Wife to James Whelan by Teresa Deevy, Yours Unfaithfully by Miles Malleson, The New Morality by Harold Chapin, Mary Broome by Allan Monkhouse, the American professional Premiere of The Fifth Column by Ernest Hemingway, and Maurine Dallas Watkins’s So Help Me God! starring Emmy Award-winner Kristen Johnston. That production received four Drama Desk nominations, including Outstanding Revival and Outstanding Director. Bank spearheaded Mint’s ambitious fourplay, two-book Teresa Deevy Project, dedicated to reclaiming the lost voice of “one of the most undeservedly neglected and significant Irish playwrights of the 20th century” ( The Irish Times ). In a feature article about the project in America Magazine, Andrew Garavel wrote “Thanks are due to Jonathan Bank and the Mint Theater for bringing such a distinctive voice from the past so satisfyingly into the present.” Under Bank’s leadership the Mint has earned an international reputation as the source for high-quality revivals of forgotten works and has become, in the words of The New York Times’ Jason Zinoman, “the leading New York entrepreneur” of the neglected play business. In his review of Mint’s 2018 production of Conflict by Miles Malleson, Terry Teachout of the Wall Street Journal described Jonathan Bank as “one of a handful of theater artists in America whose name is an absolute guarantee of quality.”

MINT THEATER COMPANY was founded in 1992. Jonathan Bank became artistic director in 1995 and began to shape the company’s mission, focusing on neglected plays from the past. Since then, the Mint has introduced theatergoers to dozens and dozens of terrific forgotten plays, by authors as renowned as Hemingway and Tolstoy, and as obscure as Teresa Deevy and Allan Monkhouse. In the words of New York Times critic Ben Brantley, Mint Theater is the “resurrectionist extraordinaire of forgotten plays.” The Mint takes great pride in the many successful productions, from the first major success in 1999: the American premiere of The Voysey Inheritance by Harley GranvilleBarker, to the four-time Drama Desknominated So Help Me God! by Maurine Dallas Watkins in 2009, to London Wall by John van Druten in 2014 and Fashions for Men by Ferenc Molnár in 2015—both of which were broadcast on WNET Thirteen’s “Theater Close-Up.” Terry Teachout of the Wall Street Journal wrote that Mint has “a near-perfect track record of exhuming forgotten plays of the previous century that deserve a happier fate.” In 202021, Mint offered free streaming from their extensive library of three-camera archival recordings, reaching an international audience of grateful theatergoers stuck at home, while paying union salaries & benefits to over 100 artists.

MINT DONORS

We’re grateful for the ongoing support from our loyal community of donors. This list represents total donations of $250 or more from August 1, 2022 to August 31, 2023. For questions regarding your support or to update your donor listing, please contact the Development Department at giving@minttheater.org.

CRÈME De LA CRÈME:

$25,000+

Howard Gilman Foundation

Sukenik Family Foundation

The Achelis and Bodman Foundation

The Shubert Foundation

CRÈME DE MINT:

$10,000 - $24,999

Robert Brenner

Virginia Brody

Gail P. Gamboni

Marta Heflin Foundation

Mental Insight Foundation

Blanche & Irving Laurie Foundation

Lorna Power

Jerome Robbins Foundation

Royal Little Family Foundation

The Fan Fox & Leslie R. Samuels Foundation

Wallace Schroeder

Ted Snowdon Foundation

Harold & Mimi Steinberg Charitable Trust

The Michael Tuch Foundation

SILVERMINT:

$5,000 - $9,999

Judith Aisen & Kenneth Vittor

Axe-Houghton Foundation

Mary & Bruce Crawford

Gladys Krieble Delmas Foundation

Nicholas Firth

Charles & Judith Freyer

David L. Klein Jr. Foundation

Barbara & John Lehman

Lucille Lortel Foundation

Southwind Foundation

David Stenn

Kathryn Swintek & Andre Dorra

Steven Williford

John J Yarmick

CHOCOLATEMINT:

$2,500 -$4,999

Anonymous (2)

Louis Alexander

Kenneth & Carole Boudreaux

John & Janet Harrington

Sigrid A. Hess

Paul & Karen Isaac

Elaine & Richard Montag

Mr. Pancks’ Fund at The Chicago Community Trust

Marvin & Janet Rosen

The Petros and Marina Sabatacakis Foundation

SPEARMINT:

$1,500 - $2,499

David & Kim Adler

Jon Clark & Ryan Franco

William Downey

Ruth Friendly

Sarah Jackson

Virginia Josephian

Sarah-Ann Kramarsky

Martin Meisel

Frederick Meyer

John Moroney

Modesto and Linda Oprysko

John Q Smith

Stella Strazdas & Hank Forrest

Mary Ellen & Karl Von Der Heyden

PEPPERMINT:

$750 - $1,499

Anonymous (2)

Steven Allen & Caroline Thompson

Linda & Lloyd Alterman

Judith E Barlow

Barbara Berliner & Sol Rymer

Al Berr

Paul Blackman

John Carley & Pia Lindstrom

Jean Cheever

Julie Connelly

George & Susan Crow

Ellen Curtis

Judy Evnin

Ted Ferrara & Roxanne Gleason

Nicholas Garaufis & Betsy Seidman

Charles & Jane Goldman

Eleanor & Martin Gruber

John Hargraves & Nancy Newcomb

Hickrill Foundation

Jocelyn E Jacknis

William Kable

David & Mary Lambert

The Lambs Foundation

Lianne Lazetera

Claire Lieberwitz & Arthur Grayzel, MD

Douglas Liebhafsky & Wendy Gimbel

Barbara Manning

Lisa Martorella & Summer E Moulton

Pat Mastandrea

Doris & David May

Ann Miner

Mark & Georgia Munsell

Jane Muqaddam

Maria Sarath Ragucci

Cordelia & David Reimers Fund

Sharon Rowlands

Russ & Julie

Benjamin Segal

Michael & Anne Shaw

Robert A. Shivers

Robert Sinclair

Mary Kathleen Smalley

Louis Spitalnick

Gary Stern

Larry Sullivan

Susan Vice

Joan Weingarten & Bob Donnalley

Patricia White

Mary Wight

Sara Zion

DOUBLEMINT:

$250 - $749

Anonymous (16)

Actors’ Equity Foundation

Arts FMS

Bob Adams

Joan Adams

Carmen Anthony

Stephen Asay

Laure Aubuchon

Stacy Banks

Mary (Robin) Baskett

Jeanne Bergman & Anna Kramarsky

Robert & Ellie Berlin

Nidia Besso

Clinton F. Best

Peter Bien

Joseph Biernat

Andrew Blackman & Susan Buttenweiser

Steven Blier & James Russell

Stephen Bogardus

Dr. & Mrs. Jeffery S. Borer

James Brenner

Bebe & Douglas Broadwater

Diane Broccolino

Jane Burgin

Lois A Burke

Paul & Katie Buttenwieser

Linda Calandra

Peter Cameron

Vincent Carbone

Mary Cargill

Carol Carlton

C. L. Christensen

Toni Coffee

Ira Cohen

Jane Condon & Kenneth Bartels

Catherine Connor

Peggy Correa

Audrey Coughlan

Marina Couloucoundis

Paul Cowan & William Rumancik

Tandy Cronyn

Stuart & Suellen Davidson

Mart Dean & Christie Allair

Ann DeInnocentiis

Carolyn E. Demarest

Clarence J. & Constance Denne

Denny Denniston & Chris Thomas

Thomas Dieterich

Nancy Donahue

PeggyJo Donahue

Caroline Donhauser

Douglas Dooley

Joan Drelich

Samuel Dudley

Kevin Duffy & D.G. Weber-Duffy

Emily T Dunlap

Saralynn Dyme

Judith Eschweiler

Ellen Estes

Barbara Farrar & Tom Evans

William Farris

Linda Feinstone

Howard Feldman

James Feldman & Natalie Wexler

Chris & Robin Fine

Lisa & William Finkelstein

Robert & Helena K. Finn

Barbara G. Fleischman

Charles Forma

Lawrence Franks

Agnes M. Gautier

Mary J Geissman

William Gentry

Susan & David Gerstein

Joseph Goldberg

Gloria Goldenberg

Margaret L Goodman

Marianne Goodman

Greg Gorel

Susan Gottridge

Diane Graham

Kris and Marc Granetz

Antonia and George Grumbach

Stanton Hale

Robert Hall

Lynne Halliday

Carol Hekimian

Reily Hendrickson

Michael Herko & Robert Bennett

Claude Hersh

Claire Hinchcliffe

Dale Hodges

Mary Hoholick

Janet Holwell

Harriet & Elihu Inselbuch

MINT DONORS

Virginia Irwin

James W Jackson

Laura & Gary Jacobs

Wendy Johnston

Robin Jones

Henry & Flora Joy

Gregory & Mary Juedes

Carol Katz

James Kelly

Martin Kesselman & Linda Irenegreene

Richard Kiger

Paul Knieriemen

Lucy Kraus

Leonard Kreynin & Louise R. Radin

Dennis Lalli

Renee Leicht

Albert Leizman

Jay Lesenger

Mary Levine

Stanley & Carol Levy

Eva Lichtenberg & Arnold Tobin

Daniel & Sharon Lowenstein

Paul Lubetkin & Joyce Gordon

Dayna Lucas

Nancy Ludmerer

Bruce Lovett

Jodi Malcom

Tom Mandia

Florence Mannion

Robert Markley

Lorraine Matys

Cheryl & Harris May

Thomas McDonald

Catharine McHugh

John David Metcalfe

Betsy Miller & Stuart Sucherman

Jonathan B Miller

Susan & Joel Mindel

Doreen Morales

Karen Osler Moran

Frank Morra

Patricia Morrill & Ed Riegelhaupt

John & Michelle Morris

Monica Mullin

Virg and Bob Nahas

Daniel A. Napolitano

Asha & Devdutt Nayak

Tricia Newell

Greenway O’Dea

Patricia O’Shea

Tessa Oglesby

Stephanie Olmsted

David C. Olstein

George Osolsobe

Brinton Taylor Parson & Francis C. Parson, Jr

Sally Parry & Bob McLaughlin

James Periconi

Terry Davis Perl

Nancy Pfeiffer

Virginia W Pfeiffer

Steven Phillips & Isabel Swift

Foundation

Mary & Larry Pollack

Isaac Pollak

Judith Quillard

Tom Repasch

George Robb

Peter Robbins & Page Sargisson

Benjamin & Donna Rosen

Mark Rossier

Thomas & Lynn Russo

Win & Mary Rutherfurd

Kathy Moses Salem

Judy Goetz Sanger

Caroline Schimmel

Daphne & Peter Schwab

Maria Schwab

Marilyn & Joseph Schwartz

Ron Shaw

Joe Sherman

David Shields

Zachary & Susan Shimer

Marilyn Singer & Steve Aronson

Anthony L Smith

Barbara Madsen Smith

Alan Sosenko

Sandra & Graham Spanier

Charles J. Sperling

Shondell & Edward Spiegel

Martha S. Sproule

Alec Stais & Elissa Burke

Bob & Sherry Steinberg

Susan Stockton

Pamela Stubing

Craig & Deborah Sutton

Douglas Tarr

Anne Teshima

Janet & Udi Toledano

Mark Tomasko

Charles & Susan Tribbitt

Martha Van Hise

Bob Volin

Jacob Waldman

Daniel & Judith Walkowitz

John Michael Walsh

Richard Watson

George Werner

Anita Wien

Frank Wolf & Stephen Abel

Daniel Marshall Wood

Trudy Wood & Jacob Goldberg

Susan Zappone & Mitchell Bacharach

Jack & Iris Zevin

Every effort is made to ensure its accuracy; please notify us if we have made a mistake.

a Program of Building for the Arts NY, Inc.

Nonprofit Building for the Arts expands access to the performing arts by providing creative space, learning opportunities, and hubs for artistic connection.

BFA operates Theatre Row, an Off-Broadway multi-theater complex that serves as an affordable home for performing artist organizations, and a lively, accessible venue for diverse audiences.

Through the American Playwriting Foundation, BFA presents the Relentless Award — the largest annual cash prize in American theater to a playwright in recognition of a new play.

Music and the Brain brings a music literacy curriculum, whole-class keyboard instruction, and ongoing professional development to schools in under-resourced communities, empowering students to succeed academically and in life.

To learn more about Building for the Arts or support our work, visit bfany.org.

THEATRE ROW STAFF

director of theatre oPerations

Cierra Cass

general manager

Brennan Jones

general management associate (finance)

Maggie Hinton

general management associate (contracts)

Rubina Vidal

building and facilities manager

Jack Donoghue

rehearsal studio manager

Scott Pegg

oPerations manager

Matthew Sells

administrative and oPerations associate

Emily Medrano

stage door associates

Noah Grannum

Mary Harriman

Cici Koueth

Lora Margerum

August Sylvester

Production manager

Vacant

dePuty Production and technical manager

Zoë Rubino

assistant technical directors

Connor Gallerani

Killian Coffinet

Chris Wacyra

audience services manager

Maya Kates

house manager

Ritai Su

associate house manager

Eric Scherer

box office coordinator

Alexandra McCall

associate box office coordinators

Riva Brody

Emmarose Campbell

Caitland Winsett

BUILDING FOR THE ARTS EXECUTIVE TEAM

President

David J. Roberts

director of theatre oPerations

Cierra Cass

director, music and the brain

Lisala Beatty

artistic director, american Playwriting foundation

David Bar Katz

director of advancement

Nicole Gardner

director of finance

Ken Shillingford

BUILDING FOR THE ARTS BOARD OF

DIRECTORS

Jeffrey A. Horwitz, Chair

Carmen Bowser, Vice Chair

Joyce Storm, Treasurer

Zachary E. Smith, Secretary

Bruce Geismar

Andrew D. Hamingson

Miriam Harris

David Bar Katz

Lydia Kontos

David J. Roberts

Wendy Rowden

Sarah P. Shen

In the event of fire, please proceed quietly to the nearest exit. Exits are located where you entered the theater complex.

The use of cameras and other recording devices in this theater is prohibited by law.

There is no smoking anywhere in this theater or in the theater complex, including, lobby, stairways and restrooms.

This presentation is not a Theatre Row or Building for the Arts NY, Inc. production, nor does its presentation in this theater imply approval or sanction by either Theatre Row or Building for the Arts.

MINT THEATER COMPANY

MISSION

MINT THEATER COMPANY finds and produces worthwhile plays from the past that have been lost or forgotten. We create new life for these plays and their authors through research, dramaturgy, production, readings, and a variety of enrichment programs. We extend that life by preserving our work—through publication, our online archives, and with broadcast quality video recordings.

BOARD OF TRUSTEES

GRETCHEN ADKINS JONATHAN BANK

MARY CRAWFORD

JOHN P. HARRINGTON

KATHRYN SWINTEK

MINT STAFF

Artistic Director.........................Jonathan Bank

Producing Director...........Matthew McVey-Lee

Financial Management Services.......Arts FMS

Director of Development….........Lauren Siegel

Development Associate

Wendolyn Sims-Rucker

Marketing Associate.................Colton Thomas

Dramaturgical Advisor..................Maya Cantu

Publicity….............David Gersten & Associates

Auditor…......................Lutz & Carr, CPA’s, LLP

PRODUCTION STAFF

Production Management......................Intuitive Production Management

Production Manager….........Robert Signom III

Production Manager Scott H. Schneider

Associate Production Manager

Beth Ann Mastromarino

Assistant Production Manager....Julia Sprung

JOHN YARMICK

In Memoriam

CIRO A. GAMBONI

Props Assistant.............................Rhys Roffey

Assistant Costume Designer.....Lindsey Eifert

Wardrobe Supervisor...............Abigail Lotspeich

Draper........................................Kehler Welland

Milliner....................................Camilla Chuvarsky

Tailor....................................................Todd Heim

Associate Lighting Designer/Programmer

Alex Fatchko

Technical Director….................Sarah Schetter

Associate Sound Designers…......................... Marisa Conroy, Eden Segbefia

Audio Supervisor….....................Tommy Lynch

Production Electrician .....................Tom Dyer

Board Operator................................Roy Chang

Casting Director……...........Stephanie Klapper

Casting Assistants

Hershey Vazquez Millner, Emma Balk

Company Liaison/House Manager

Grant Allen

Brooklyn College Directing Fellowship, Assistant Directors.........Molly Shayna Cohen, Cassidy Kepp, Florence Lebas

SPECIAL THANKS

Set Construction….....Hillbolic Arts & Carpentry

Lighting Equipment courtesy of Hayden

Production Services

Audio Equipment courtesy of Ins & Outs, Inc.

Head Carpenter.........................Ray Rodriguez

Head Rigger...............................Charles Albano

Evan Aanerund, Breezy Diabo, Eric Colton, Daun Fallon, NYU Department for Film and Stage, TDF, Goodspeed Opera House, Ken Larson

Mint Production History

Becomes A Woman, 2023

The Rat Trap, 2022

Chains, 2022

The Daughter-In-Law 2022, 2003

Chekhov/Tolstoy Love Stories, 2020

The Mountains Look Different, 2019

The Price of Thomas Scott,

Days to Come, 2018

Conflict, 2018

Hindle Wakes, 2018

The Suitcase Under the Bed, 2017

The Lucky One, 2017

Yours Unfaithfully, 2017

A Day by the Sea, 2016

Women Without Men, 2016

The New Morality, 2015

Fashions for Men, 2015

The Fatal Weakness, 2014

Donogoo, 2014

London Wall, 2014

Philip Goes Forth, 2013

A Picture of Autumn, 2013

Katie Roche, 2013

Mary Broome, 2012

Love Goes to Press, 2012

Rutherford & Son, 2012

Temporal Powers, 2011

A Little Journey, 2011

What the Public Wants, 2011

Wife to James Whelan, 2010

Doctor Knock, 2010

So Help Me God!, 2009

Is Life Worth Living?, 2009

The Widow, 2009

The Glass Cage, 2008

The Fifth Column, 2008

The Power of Darkness, 2007

The Return of the Prodigal, 2007

The Madras House, 2007

John Ferguson, 2006 By

Susan and God, 2006 By Rachel

Soldier’s Wife, 2006 By Rose

Walking Down Broadway, 2005 By Dawn Powell

The Skin Game, 2005 By John

The Lonely Way, 2005 By Arthur Schnitzler

Echoes of the War, 2004 By J.M. Barrie

Milne at the Mint, 2004 Two Plays by A.A. Milne

Far and Wide, 2003 By Arthur

The Charity That Began at Home, 2002 By St. John

No Time for Comedy, 2002 By S.N.

Rutherford & Son, 2001 By Githa

Diana of Dobson’s, 2001 By Cicely

The Flattering Word & A Farewell to the Theater, 2000 By George Kelly & Harley Granville-Barker

Welcome to Our City, 2000 By Thomas Wolfe

Miss Lulu Bett, 2000 By Zona Gale

The Voysey Inheritance, 1999 By Harley

Alison’s House, 1999 By Susan

The House of Mirth, 1998 By Edith

Mr. Pim Passes By, 1997 By A.A. Milne

Uncle Tom’s Cabin, 1997 By George Aiken

Quality Street, 1995 By J.M. Barrie