Mint Production History
Sump’n Like Wings, 2024 by Lynn Riggs
Partnership, 2023 By Elizabeth Baker
Becomes A Woman, 2023 By Betty Smith
The Rat Trap, 2022 By Noël Coward
Chains, 2022 By Elizabeth Baker
The Daughter-In-Law 2022, 2003 By D.H. Lawrence
Chekhov/Tolstoy
Love Stories, 2020 By Miles Malleson
The Mountains Look Different, 2019 By Micheal Mac Liammoir
The Price of Thomas Scott, 2019 By Elizabeth Baker
Days to Come, 2018 By Lillian Hellman
Conflict, 2018 By Miles Malleson
Hindle Wakes, 2018 By Stanley Houghton
The Suitcase Under the Bed, 2017 By Teresa Deevy
The Lucky One, 2017 By A.A. Milne
Yours Unfaithfully, 2017 By Miles Malleson
A Day by the Sea, 2016 By N.C. Hunter
Women Without Men, 2016 By Hazel Ellis
The New Morality, 2015 By Harold Chapin
Fashions for Men, 2015 By Ferenc Molnár
The Fatal Weakness, 2014 By George Kelly
Donogoo, 2014 By Jules Romains
London Wall, 2014 By John Van Druten
Philip Goes Forth, 2013 By George Kelly
A Picture of Autumn, 2013 By N.C. Hunter
Katie Roche, 2013 By Teresa Deevy
Mary Broome, 2012 By Allan Monkhouse
Love Goes to Press, 2012 By Martha Gellhorn & Virginia Cowles
Rutherford & Son, 2012 By Githa Sowerby
Temporal Powers, 2011 By Teresa Deevy
A Little Journey, 2011 By Rachel Crothers
What the Public Wants, 2011 By Arnold Bennett
Wife to James Whelan, 2010 By Teresa Deevy
Doctor Knock, 2010 By Jules Romains
So Help Me God!, 2009 By Maurine Dallas Watkins
Is Life Worth Living?, 2009 By Lennox Robinson
The Widow, 2009 By D.H. Lawrence
The Glass Cage, 2008 By J.B. Priestley
The Fifth Column, 2008 By Ernest Hemingway
The Power of Darkness, 2007 By Leo Tolstoy
The Return of the Prodigal, 2007 By St. John Hankin
The Madras House, 2007 By Harley Granville-Barker
John Ferguson, 2006 By St. John Ervine
Susan and God, 2006 By Rachel Crothers
Soldier’s Wife, 2006 By Rose Franken
Walking Down Broadway, 2005 By Dawn Powell
The Skin Game, 2005 By John Galsworthy
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 Schnitzler
The Charity That Began at Home, 2002 By St. John Hankin
No Time for Comedy, 2002 By S.N. Behrman
Rutherford & Son, 2001 By Githa Sowerby
Diana of Dobson’s, 2001 By Cicely Hamilton
The Flattering Word By George Kelly & A Farewell to the Theater By Harley Granville-Barker, 2000
Welcome to Our City, 2000 By Thomas Wolfe
Miss Lulu Bett, 2000 By Zona Gale
The Voysey Inheritance, 1999 By Harley Granville-Barker
Alison’s House, 1999 By Susan Glaspell
The House of Mirth, 1998 By Edith Wharton & Clyde Fitch
Mr. Pim Passes By, 1997 By A.A. Milne
Uncle Tom’s Cabin, 1997 By George Aiken
Quality Street, 1995 By J.M. Barrie
MINT THEATER COMPANY
JONATHAN BANK, Artistic Director
MATTHEW MCVEY-LEE, Producing Director presents with ERIK GRATTON, SARA HAIDER, DANIEL MARCONI, MELISSA MAXWELL, PAUL NIEBANCK, MICHAEL SCHANTZ, MADELINE SEIDMAN, AMELIA WHITE, AVERY WHITTED
Set
CHRISTOPHER SWADER & JUSTIN SWADER
Props
Costumes KINDALL ALMOND
CHRIS FIELDS Casting STEPHANIE KLAPPER
Production Manager ROB REESE
Illustration
STEFANO IMBERT
Lights YIYUAN LI
Dialects & Dramaturgy AMY STOLLER
Production Stage Manager
JEFF MEYERS
Graphics HEY JUDE DESIGN, INC
Directed by Matt Dickson
Sound CARSEN JOENK
Music Director é boylan
Assistant Stage Manager TERYSA MALOOTIAN
Publicity
DAVID GERSTEN & ASSOCIATES
AT THEATRE ROW STAGE 4
Thank you to our leading foundation sponsors for supporting our work: Howard Gilman Foundation, The Shubert Foundation.
Supported in part by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
ABOUT THE AUTHOR
More than a “Regional Writer”: The Life & Work of Harold Brighouse
by Jesse Marchese, Dramaturgical Advisor
Harold Brighouse (1882 – 1958) was “one of prewar northern England’s most respected but neglected playwrights” (The Guardian) who, alongside Allan Monkhouse (author of MARY BROOME, produced by the Mint in 2012) and Stanley Houghton (author of HINDLE WAKES, produced by the Mint in 2017), began his career at Annie Horniman’s storied Manchester repertory company, The Gaiety Theatre. He wrote over 30 plays, including his most famous work, HOBSON’S CHOICE, which premiered on Broadway in 1915 and was adapted multiple times for film and television.
Brighouse was born in Eccles, Lancashire on July 27, 1882. His father, John Southworth Brighouse, was a manager for a cotton-spinning business and prominent Liberal who influenced his son’s more politically charged plays. His mother, Charlotte Amelia (née Harrison), was a schoolteacher and headmistress; and his uncle – Charlotte’s beloved brother – was a brilliant scholar, writer, and poet. After he died young, poor, and unfulfilled, Charlotte made it her mission to see that her son might match his uncle’s academic prowess. Sensitive, stubborn and practical, Brighouse reacted against the pressure and rejected the chance to go to university. Although he had won a scholarship to Manchester Grammar School, he left at seventeen to, instead, work as a textile buyer in a shipping merchant’s warehouse. Growing up in the hardscrabble environment of industrial Northern England, Brighouse quickly learned the value of hard work and the necessity of economic security – a lesson that resonates throughout his plays.
Harold’s playwriting career sprung, unwittingly, out of his experience as a theatergoer. As a cotton fabric salesman, he worked on Whitworth Street, just around the corner from Manchester’s theater district on Oxford Road, where he spent his spare time and income enjoying seasons of Shakespeare at the Royal as well as the city’s top Music Hall acts. In 1902, he was sent to London, by his firm, to run a small office on Broad Street. The work was undemanding, but the pay was good, and Brighouse became a West End theatre “first-nighter” – a member of a young and boisterous crowd who sat, piled up against each other in tight galleries, indulging in heated critical discussions of the productions they attended. As he put it, “Gallery first-nighting had invaluably prepared me for playwriting. The actual impulse, the command to write, came slowly.” That first impulse arrived, amusingly, after watching “an outrageously bad play” and feeling that he could do better. In 1907, Brighouse married another first-nighter, Emily Lynes, and returned with her to Manchester to work at his father’s firm – this time, with the ambition to write for the theater, in tow.
ABOUT THE AUTHOR
Back in Manchester, Brighouse joined an artistic and literary enclave called The Swan Club, which included such distinguished members as actor and writer Basil Dean, writer and publisher Jack Kahane, artist and theater designer Ernest Marriott, and – perhaps, most influentially – critic and playwright Stanley Houghton, who would become Brighouse’s closest mentor, rival, and friend. Brighouse wrote his first play and sent it to a well-known play reader who sent it back suggesting it was too long and that he “try one-acters first” and to “write the life you know.” Harold took the advice and wrote LONESOME-LIKE, a one-act play about a Lancashire woman whose poverty and age demand she move to a workhouse, until a young man takes her in as his “adopted” mother. By 1908, when Houghton’s THE DEAR DEPARTED, was produced by Manchester’s soon-to-be famous repertory company, the Gaiety Theatre, Brighouse also had three short plays to send to the theater’s legendary manager, Annie Horniman: LONESOME-LIKE, THE PRICE OF COAL, and THE DOORWAY – all three of which found charm, humor and heart in bleak, industrial situations.
Brighouse’s first produced play, THE DOORWAY, was presented in 1909 by the Gaiety, and told the story of two down-and-out strangers who meet by chance in the shelter of a factory doorway and find mutual comfort in telling each other of their misfortunes and past adventures as they huddle together in the biting cold of a winter’s morning. However, it would be the Glasgow Repertory that produced Brighouse’s next two plays, the three-act DEALING IN FUTURES and one-act THE PRICE OF COAL, in 1909 – as well as the premiere of LONESOMELIKE in 1911. LONESOME-LIKE introduced a character-type that would feature in Brighouse’s most successful plays – a shy young engineer whose sensitive and unconsciously poetic nature is stunted by the rough atmosphere of factory life. Iden Payne, lead producer of
Harold Brighouse
ABOUT THE AUTHOR
Annie Horniman’s Gaiety Theatre, regretted not producing the play, calling it “a masterpiece in miniature.” These early plays cemented Brighouse’s reputation as a master of the one-act form. In particular, THE PRICE OF COAL later ran for two years, to rave reviews, as a curtain raiser in London.
Brighouse described himself as “essentially a regional writer,” and his most successful and well-known plays, including THE ODD MAN OUT (1912), THE NORTHERNERS (1914), THE GAME (1916), ZACK (1916), and WHAT’S BRED IN THE BONE (1927) are comedies of north-country manners noted for their sophisticated understanding of human nature, deft weaving of drama and comedy, memorable characters, and witty dialogue. However, it was on Broadway in 1915 that Brighouse would premiere his most famous and oft-produced play, HOBSON’S CHOICE. (Although the idiom, meaning “no choice at all,” that gave the play its title originated in the mid-seventeenth century, the play became so famous that many believe it was Brighouse who brought the saying into fashion.) A north-country mashup of KING LEAR, CINDERELLA, and PYGMALION, the play tells the story of a drunken, cantankerous shoemaker, whose eldest daughter marries his most talented yet underpaid bootmaker and tricks her father into selling him the business. HOBSON’S CHOICE ran on Broadway for an impressive 135 performances, before transferring to London’s West End in 1916, where it played for another 246 performances to wartime audiences who braved the possibility of German bomb raids for a chance to take in Brighouse’s charming and hopeful comedy.
Three years after his dear friend and rival, Stanley Houghton, struck theatrical gold with HINDLE WAKES, Brighouse had his own hit on his hands. And like HINDLE WAKES, HOBSON’S CHOICE would be seized on, as source material, by early filmmakers. It was first produced as a silent film in 1920 by Percy Nash and then remade in 1931 by the leading British studio of the time, British International Pictures, as an early talkie staring Sybil Thorndike. However, it was filmmaker David Lean who immortalized Brighouse and his play on celluloid, through a wildly successful movie adaptation that starred Charles Loughton in the title role and won the British Academy Film Award for Best British Film of 1954. In 1966, HOBSON’S CHOICE was adapted into the Broadway musical, WALKING HAPPY with music by Jimmy Van Heusen and lyrics by Sammy Cahn. It was nominated for six Tony Awards, including Best Musical.
Little has been written about Brighouse. Throughout his later life, he would resist any attempts by biographers to write his story, preferring instead to write his own memoir, WHAT I HAVE HAD, in 1953. A loyal friend to the end, he also wrote the biographical introduction to an anthology of Stanley Houghton’s collected works, published after his untimely death in 1913 – as well as a 1927 novelization of his
ABOUT THE AUTHOR
rival’s most famous play, HINDLE WAKES. In 1958, at the age of 75, Brighouse collapsed in the Strand, a major street in London’s West End, and died the next day in Charing Cross Hospital.
Brighouse’s plays began to be rediscovered, in England, in the 1960s and ‘70s and continue to surprise and delight audiences with their craft, humor, and relevance. In 2010, the Finborough Theatre in London produced Brighouse’s THE NORTHERNERS, about a clash between mill owners and cotton workers in 1820s Lancashire. In 2015, Finborough Theatre returned to the well, producing HORNIMAN’S CHOICE – four one-acts from the so-called “Manchester School” of playwrights – including plays by Brighouse, Houghton and Allan Monkhouse. While often grouped together by scholars and critics, Brighouse, himself, rejected the notion that any such thing existed. As he wrote in the preface of a 1920 anthology of his work titled THREE LANCASHIRE PLAYS, “the ‘Manchester School’ was never conscious of itself, as the Irish School was…In Manchester, so far were we from any explicit ambition to create a Lancashire Drama that we denied the fact of its creation. What reputation it had was not home-made in Manchester and exported, but made in London and America.” It’s worth noting, that while the Gaiety gave Brighouse his start, it was elsewhere, such as on Broadway and the West End, that he found his greatest success.
Though specific to their time and place, Brighouse’s plays transcend their regional charm through their incisive accounts of the uneasy relations between laborers and capital, the precarious lure of fame and success, as well as the human drive to carve out a happy and meaningful life in the face of great hardships. Indeed, more than just a “regional writer,” Brighouse is a playwright for our, and all, times.
JESSE
MARCHESE (Dramaturgical Advisor) is a theater administrator, scholar, historian, director, and dramaturg who currently serves as Mint Theater Company’s Dramaturgical Advisor and formerly served as Associate Director from 2012 to 2017. In that time, he helped to produce fifteen Mint productions, two of which he also directed: THE LUCKY ONE by A.A. Milne and THE FATAL WEAKNESS by George Kelly (nominated for two 2015 Drama Desk Awards). He also serves as Director of Development and Resident Dramaturg at Diversionary Theatre, the nation’s third-oldest LGBTQIA+ theater, located in San Diego, California. He currently teaches a course in Shakespeare play analysis for the MFA acting students at The Old Globe and University of San Diego Shiley Graduate Theatre Program. Jesse received his BA in Theatre Arts at Marymount Manhattan College and his MA in Theatre at CUNY Hunter College.
CAST & SCENES
in order of appearance
Mrs. Garside..................................................................................AMELIA WHITE
Margaret Shawcross..........................................................MADELINE SEIDMAN
Peter Garside...........................................................................DANIEL MARCONI
Denis O’Callaghan.......................................................................ERIK GRATTON
Karl Marx Jones..................................................................MICHAEL SCHANTZ
Ned Applegarth..........................................................................PAUL NIEBANCK
Gladys Mottram..............................................................................SARA HAIDER
Freddie Mottram.........................................................................AVERY WHITTED
Lady Mottram.......................................................................MELISSA MAXWELL
Timson...........................................................................................ERIK GRATTON
ACT I
Midlanton cottage of Mrs. Garside and her son, Peter. 7:00 on a June evening.
ACT II
Drawing room of Sir Jasper Mottram’s House, a few weeks later.
ACT III
Peter’s rooms, Temple district, London. Six months later.
ACT IV
Same as Act I.
“Your time’s ours, we pay for it.”
A Note on how Members of Parliament (M.P.’s) were compensated when Garside’s Career was first produced in 1914.
By Amy Stoller, Production Dramaturg
In 1909, British labor unions were prevented (by a legal ruling called the Osborne Judgment) from providing financial support to political candidates or Members of Parliament (MPs). That restriction was lifted by the Trades Union Act of 1913. In the winter of 1914, following Peter’s election, the Amalgamated Society of Engineers (ASE), could legally provide supplementary funds to Peter, who would also be making an MP’s annual salary of £400—more than four times as much as he could make as a skilled mechanic (“engineer”). The salary was paid by the British government as a whole.
Salaries for MPs were an innovation; they were part of the Liberal Reform package of 1911. Before then, members of the House of Commons were assumed to have independent means, which tended to limit the social and financial class of people who could stand for and hold office.
WHO’S WHO: CAST
ERIK GRATTON
(Denis O’Callaghan, Timson) is making his Mint Theater Company debut (something he’s hoped to do since bartending across the street 20 years ago)!
Previous NY: Buddy the Elf in Elf the Musical at Madison Square Garden; Rosalind in As You Like It at HERE, dir. Moritz von Stuelpnagel; Andrew Cuomo in A Turtle on a Fence Post at Theatre 555, dir. Gabriel Barre; The 11am Girl Says Goodnight, dir. Taibi Magar; The Committee, dir. Oliver Butler. Favorite regional roles include Hamlet, Billy Pilgrim, Homer Simpson, Shrek, and Wilbur the Pig. Also a fight director, Erik most recently designed violence for Lonny Price’s Fiddler on the Roof starring Jason Alexander at La Mirada Theatre. Other recent fights: West Side Story World Tour, dir. Lonny Price; Camelot at MUNY, dir. Matthew Kunkel. Howdy, Krista, my love!
SARA HAIDER
(Gladys Mottram) is an actor, singer, and songwriter from Karachi, Pakistan. The first Pakistani at The Juilliard School, Sara’s stage credits include The Who and The What (Zarina, dir. Aneesha Kudtarkar, Juilliard School), Wait Until Dark (Susan, dir. Jackson Gay, Dorset Theatre Festival), Partnership (Kate, dir. Jackson Gay, Mint Theater) and Draupadi (Mahira Kakkar & Danilo Gambini, Huntington Theater). MFA Acting. On screen, Sara has appeared in Major Barbara (Barbara, dir. Jay Craven), Khemain Mein Matt (lead, dir. Shahbaz Sumar), and NBC’s “Law & Order” (Attorney Wendy Stratford, dir. Michael
Pressman). As a musician, Sara gained fame on Pakistan’s “Coke Studio,” performing in multiple seasons, and has headlined at “Velo Pakistan,” “Pepsi Battle of the Bands” and the “Lux Style Awards.” Fluent in English, Urdu, and Hindi, she is a mezzo-soprano and songwriter. Sara is honored to be back at the Mint! Gratitude always to Mark, Steve and Katie Buchwald/PrincipalLA. Here at the behest of the fabulous women and queer folks of Pakistan. Guided by my Zohra.
DANIEL MARCONI (Peter Garside) is extremely grateful to be returning to the Mint Theater Company and unearthing another hidden gem alongside this brilliant group of artists. Select Broadway/Off: Sweeney Todd, The Mountains Look Different, The Butcher Boy, Mary Poppins. Select Regional: The Outsiders (La Jolla), Tick, Tick… Boom! (George Street), Newsies (Stages St. Louis). TV/Film: “Bull,” “The Blacklist,” “Boardwalk Empire,” “Law and Order.” Huge thanks to his dreamy team at DGRW and his relentlessly supportive family. Thank you for continuing to support live theatre.
MELISSA MAXWELL (Lady Mottram) Theater: Great River Shakespeare Festival (company member and Co-Associate Artistic Director), Guthrie Theater, George Street Playhouse, Public Theatre of Maine, Capital Rep, Alabama Shakespeare Festival, Pearl Theatre Company, Cincinnati Playhouse,
WHO’S WHO: CAST
Crossroads Theatre, Kennedy Center. Film & TV: “FBI: Most Wanted,” “Manifest,” “Mrs. Fletcher,” “Madam Secretary,” “Hostages, Law & Order,” The Thomas Crown Affair, “The Sopranos.” Directing credits: Utah Shakespeare Festival (upcoming: Steel Magnolias June 2025), Playmakers Rep, George Street Playhouse, Repertory Theatre of St. Louis, Kitchen Theatre/Civic Ensemble, Pearl Theatre Company, Soho Playhouse. Playwriting credits: Imbroglio (GRSF World Premiere), Salt in a Wound (ETA Creative Arts Center). Unrequited Love (New Perspectives Theater). Fetus Envy (manhattantheatre). Teaching: Director of Professional Development at the Stella Adler Studio of Acting NYC. Speaking Engagements: TEDx Talks: TEDxMosesBrownSchool: “Taking Ownership” and TEDx BarnardCollegeWomen: “On Courage.” www.melissamaxwell.com.
PAUL NIEBANCK
(Ned Applegarth) has also been seen at the Mint in Picture of Autumn . His New York theater credits include: Jelly’s Last Jam (City Center); Richard III (Shakespeare in the Park); Barbecue, Plenty (The Public); Blood and Gifts, In the Next Room or the vibrator play (Lincoln Center Theater); Las Borinqueñas (EST); A Walk in the Woods (Keen); American Clock (Signature); Much Ado About Nothing (TFANA); The Seagull (Pearl); Leaving Queens (WP); TV/Film: West Side Story; Neighbors Window; Manhattan Romance; “Madam Secretary;” “Blacklist;” “Person of Interest;” “Burn Notice.” MFA Yale.
MICHAEL SCHANTZ (Karl Marx Jones) Fashions for Men (Mint Theater Company). Film: The History of Sound (upcoming). TV: “FBI” (CBS), “Raising Kannan” (Starz), “City on a Hill” (Showtime), “Three Women” (Starz), “The Blacklist” (NBC), “Wu-Tang: An American Saga” (Hulu). Theater: Othello (New York Theater Workshop), You Got Older (Page 73), Life Sucks (Wheelhouse Theater Company), Love and the Wars (Bard SummerScape at The Fischer Center), Doll’s House (Denver Center), Arms and the Man (Guthrie), A Few Good Men (Alley), Beyond Therapy (TACT), The Great Gatsby (Virginia Stage), The Invisible Hand (New York Stage and Film), Coriolanus (Shakespeare Theater of New Jersey), As You Like It (Villa La Pietra), The Winter’s Tale (Chautauqua Theater Company). New York Theater Workshop Usual Suspect. MFA NYU Tisch School of the Arts.
MADELINE SEIDMAN
(Margaret Shawcross) Off-Broadway: Partnership, Becomes a Woman (Mint Theater Company). Regional: Love, Love, Love (Studio Theatre D.C.); Who’s Afraid of Virginia Woolf, One Man Two Guvnors, The Christians (Chautauqua); Kitchen of Truth (Yale Cabaret). New play development with The O’Neill, Fault Line, Rattlestick, and NYTW. TV: “Elsbeth,” “A League of Their Own.” BA: Williams College. MFA: Yale School of Drama.
WHO’S WHO: CAST/ARTISTIC STAFF
AMELIA WHITE (Mrs. Garside) Previous Mint productions: Chains, Conflict, Women Without Men. Broadway credits include Crazy for You and The Heiress. She’s worked Off-Broadway at the Atlantic Theater Company, Ground-Up Productions, and received a Theatre World Award for her work in The Accrington Pals at the Hudson Guild. Los Angeles appearances include The Matrix (Fremont Centre Theatre) and many shows at The Antaeus Company. Her extensive regional theatre credits include Silent Sky and A Christmas Carol at South Coast Rep, Cleveland Playhouse, Old Globe, Studio Arena Theatre, Hartford Stage, Caldwell Theatre, two seasons at Cincinnati Playhouse in The Park, Guthrie Theater, GeVa Theatre, Denver Center, Weston Playhouse, and three seasons at the Dorset Theatre Festival. Film and television include The Tulse Luper Suitcases, The Bastard, The Siege of Golden Hill, Three Ways to the Sea, “Judging Amy” and “The Young and The Restless.” She works on radio with the California Artists Radio Theatre. Amelia was born in Nottingham, trained at the Central School of Speech and Drama in London, and is married to Geoffrey Wade. Proud AEA member.
AVERY WHITTED
(Freddie Mottram) OffBroadway: Chains (Mint Theater Company), Candida (Gingold Theatrical Group), Against The Hillside (Ensemble Studio Theatre). Regional: A Sherlock Carol
(Capital Repertory Theater), Henry IV Part 1 (Folger Theater), Jazz (Baltimore Center Stage). Television: “FBI: Most Wanted,” “Magnum P.I.” Film: The Vanishing of Sydney Hall (2017), In the Tall Grass (2019).
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 eighteen Mint productions including Sump’n Like Wings, Partnership, Becomes A Woman, Chains, Days To Come, Conflict, Hindle Wakes, Yours Unfaithfully, Fashions For Men and Ernest Hemingway’s The Fifth Column. His NYC highlights also include Beyond Therapy and Happy Birthday (TACT), Marry Me A Little and Painting Churches (Keen Company), Amazons and their Men (Clubbed Thumb), Orange Flower Water and Adam Rapp’s 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 Ozark Actors Theater (2023), Red (Schoolhouse Theater), Dracula (Triad Stage) and The Theater at Monmouth (2005-15). His union of choice is AEA, and he dedicates this and every performance to his Mom and Dad.
TERYSA MALOOTIAN (Assistant Stage Manager) (she/her) New York City: Irish Arts Center Hothouse (Assistant Stage Manager); Gas (Stage Manager); The Rat Trap (Assistant Stage Manager); Other People’s Dead Dads (Stage Manager); Regional: Elm Shakespeare: Richard III, Merry Wives of Windsor (Stage Manager);
WHO’S WHO: ARTISTIC STAFF
Sharon Playhouse: You’re a Good Man, Charlie Brown, Life Span of a Fact (Assistant Stage Manager); Bay Street Theater: The Grift (Production Stage Manager), Windfall, Camelot (Assistant Stage Manager) Ragtime, Becoming Dr. Ruth (Production Assistant); Hangar Theatre: Phantom Tollbooth, Jack and the Beanstalk, Unicorn Girl (Stage Manager) Little Women (Assistant Stage Manager); Portland Stage: The Last Five Years, The Half-Light (world premiere), A Christmas Carol, Ben Butler (Production Assistant). @terysamalootian
MATT DICKSON (Director) Recent: Where Did We Sit On The Bus? by Brian Quijada (Steppenwolf), The Lonesome West by Martin McDonagh (Playmakers Repertory Company, Ground Floor), The Charioteer by Dan Giles (Juilliard), Step Mom, Step Mom, Step Mom by Jahna Ferron-Smith (InterACT), Smart by Mary Elizabeth Hamilton (Ensemble Studio Theatre), Three Sisters and The Sign In Sidney Brustein’s Window (NYU Grad), A Midsummer Night’s Dream (Queens College), We The People: America Rocks! (Theatreworks, US Tour), Selkie by Krista Knight (Dutch Kills), Disco Pigs by Enda Walsh (Drama League, Sheen Center), Blood Wedding and The Cider House Rules (Rutgers Mason Gross), The Adventures of Minami by Leah Nanako Winkler (The Brick/Dramatists Guild), Kid Prince & Pablo by Brian Quijada (Ars Nova), and Bizet’s Carmen (New York Opera Exchange). His productions of Where Did We Sit On The Bus? with Satya Chávez have been seen across the country at Denver Center, Cleveland Play House, Colorado Springs, and Actors Theatre of Louisville (nominated for Drama League Award). As an actor he has appeared on Broadway in War Horse, The Coast of Utopia (Lincoln
Center Theater), and most recently OffBroadway in Nicky Silver’s Too Much Sun (Vineyard Theatre). He is a Drama League Fellow, a Jonathan Alper Directing Fellow (MTC) and member of Ensemble Studio Theatre. BFA from Boston University. mattjdickson.com
CHRISTOPHER SWADER & JUSTIN
SWADER (Sets) NYC & Off-Broadway credits include Primary Stages, Red Bull Theater, Fiasco Theater, Tectonic Theater Project, The New Victory Theatre, Classical Theatre of Harlem, Lincoln Center Education, York Theatre Company, Trusty Sidekick, Mason Holdings. Regional credits include designs at Goodspeed Musicals, Signature Theatre, Dallas Theater Center, George Street Playhouse, Geva Theatre, Two River Theatre, Alabama Shakespeare Festival, Everyman Theatre, People’s Light, Miami New Drama, Resident Ensemble Players at UD, Dorset Theatre Festival, Weston Theater Company, SpeakEasy Stage Co. Other projects include designs for A$AP Rocky, Sotheby’s, 2020 Summer Olympics, Big Apple Circus, National Geographic. Graduates of Ball State University. www. cjswaderdesign.com
KINDALL ALMOND (Costumes) (she/ they) is a multi-disciplinary designer and stylist living in New York, and is thrilled to be back at the Mint Theater Company for the 2025 season. Recent works include: Off-Broadway: black odyssey, Classic Stage Company (Henry Hewes and Audelco Design nominations), The Vicky Archives, The Tank, Partnership, Mint Theater Company. Regional: Life Is a Dream, Baltimore Center Stage; Our Town, Baltimore Center Stage. Upcoming works include I’m Repeating Myself at The Brick, and Initiative at The Public.
WHO’S WHO: ARTISTIC STAFF
She holds an MFA in Costume Design from NYU Tisch, and a BFA in Fashion Design from Pratt Institute. Queer joy is resistance.
YIYUAN LI (Lights) is a Chinese lighting designer currently based in New York City. Selected credits: Cymbeline (NAATCO), The Heart Sellers (Cape Rep Theatre); Richard II (Mark O’Donnell Theatre); Red Maple (Curtain Call Theatre); Love’s Labour’s Lost (Carroll Park); The Moors (NYU Theatre C); Dancing at Lughnasa (Lenfest Center for the Arts); Story of A Bird (Shanghai Changjiang Black Box Theatre); Second Avenue Dance Company resident lighting designer (2022-2023). Education: MFA, Design for Stage and Film, NYU Tisch. IG: _lyy66xx_
CARSEN JOENK (Sound) is a Brooklynbased sound designer and director. She is the co-artistic director of Rat Queen Theatre Company, co-founder of Sour Milk, an interactive media company, and a current New Georges Jam Member. Select sound: Off by One (People’s Light, Barrymore nominee), The Mountaintop (Weston Theater Company), Usus (Clubbed Thumb), Goldenleaf Ragtime Blues (Shakespeare Theatre Co.), you don’t have to do anything (HERE Arts), Made by God (Irish Rep), Bloom Bloom Pow (ART NY/New Georges), Fiction (600 Highwaymen), Best Life (JACK), A Poem and a Mistake (Australian Centre for Contemporary Art). carsen-joenk.com
CHRIS FIELDS (Props) is excited and proud to be joining the gang at the Mint Theater for the eighth time ( Conflict, The Price of Thomas Scott, The Mountains Look Different, Chains, Becomes A Woman, Partnership, Sump’n
Like Wings ). He was previously Props Master at Shakespeare & Co., Barrington Stage Company, Flat Rock Playhouse, Contemporary American Theater Festival, several Off-Broadway shows, and on Broadway, 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 of Edward Albee’s The Goat, or Who is Sylvia? When in his home state he works in Team Props at Durham Performing Arts Center (DPAC) and donates time to his hometown (Burlington, NC) theater, Studio1, which recently won Best Community Theater in NC. Among his proudest accomplishments are 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 of friends who make all of this possible!
AMY STOLLER (Dialect Design & Dramaturgy) has helped Mint casts suit words to actions for 40+ productions — most recently Sump’n Like Wings . Other recent/current theatre: When Gold Turns Black (Theater for the New City); Dial M for Murder (Two River Theater (NJ); Camino Real (La Femme). With/by Anna Deavere Smith: Let Me Down Easy and Notes from the Field (stage and screen); Love All; Twilight; Fires , others. Film & television credits include Zola (Colman Domingo as X), Selma (Carmen Ejogo as Coretta Scott King), and “Dora the Explorer.” Podcast: “The Saints: Adventures of Faith and Courage.” League of Professional Theatre Women Ruth Morley Design Award for Outstanding Work in the Field of Theatrical Design. www.stollersystem.com.
WHO’S WHO: ARTISTIC STAFF
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 Sump’n Like Wings (Mint Theater Company); The Night of the Iguana (Signature Theatre Center); Dig (Primary Stages); Henry IV (New York Classical Theatre); The Age of Innocence (Arena Stage); Ahrens and Flaherty’s Knoxville (Clarence Brown);Cape Playhouse Season; Beautiful (Capital Rep); Karen Zacharias’ Shane (world premiere Cincinnati Playhouse in the Park/Guthrie); Elf Quest, 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. Member: Casting Society of America and Board Member: Casting Society Cares, Preliminary judge of the Jimmy Awards. www.klappercasting.com
é boylan (Music Director) (they/them) is a New York City-based director, creator, and composer developing new work towards trans liberation. Selected honors include: New Writer in Residence at Lincoln Center Theater, Musical Theatre Factory Makers Cohort II, 2025-27 Venturous Play List, 2024 MacDowell Fellow, 2022 Jonathan Larson Grant (Finalist), 2022 Relentless Award (Honorable mention), 2023 June Bingham New Playwright Commission (Finalist), 2023/24 NAMT Fall Conferences (Finalist), 2024 Polyphone Artist, 2023
SPACE on Ryder Farm Creative Resident, 2018 & 2021 O’Neill Resident Artist, 2019 Trans Lab Fellow, 2019-20 Manhattan
Theatre Club Directing Fellow, 2021 Johnny Mercer Foundation Songwriter, 2021 Prospect Theater Co. MT Lab, 2022 MTFxR Garage Artist, and 202022 Roundabout Theatre Co. Directors Group. Graduate of The University of Chicago and National Theater Institute. www.eboylan.com
ROB REESE (Production Manager) is thrilled to work on his eighth production with Mint Theater Company. He has worked in production for theaters including Classic Stage Company, Bay Street Theater, Baruch Performing Arts Center, NYSF, The Wooster Group, and many others. Rob is also a director and writer of plays, operas, and performance art, most recently directing and performing in Anthony Braxton Theater Improvisations (Experiments in Opera) and The Slightly Silly Party for Positive Patriotism (Amnesia Wars Productions), which will be hosting an equinox festival of Joy and Hope this spring. Rob Reese is a member of the Indie Theater Hall of Fame.
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 (Publicity), founded in 1995, is a full-service boutique firm, providing effective publicity and marketing for a diverse range of clients through print, broadcast, electronic, and social media. David has worked as press representative, marketing consultant, and producer on Broadway, Off-Broadway, and across
WHO’S WHO: ARTISTIC STAFF
the country. In addition to Mint Theater Company (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/AFL-CIO), 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 OffBroadway Alliance. davidgersten.com
MATTHEW McVEY-LEE (Producing Director) has worked with Mint Theater Company since 2020. He has helped to produce Chekov/Tolstoy: Love Stories, The Daughter-in-Law, Chains, The Rat Trap, Becomes A Woman, Partnership, and Sump’n Like Wings. With the Mint team he helped to launch the Recorded Live series. Favorite authors featured at the Mint include Teresa Deevy, Hazel Ellis, Elizabeth Baker, Betty Smith, 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 Truffles, Cassandra (Theater 3), Eurydice (SCRAP) and the development of Drew Morrison’s Goner.
JONATHAN BANK (Artistic Director) has been the artistic director of Mint Theater Company since 1995, where he has unearthed and produced about 60 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 (also in London, with the Jermyn Street Theatre), 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
The Mint Theater Company, founded in 1992, has carved out a unique space in the New York theater scene by dedicating itself to the rediscovery of lost and neglected plays. Under the leadership of Artistic Director Jonathan Bank since 1995, the Mint has become known for its commitment to producing worthwhile plays from the past that have been forgotten. Bank, described as “the leading New York entrepreneur of the neglected play business,” has led the company in excavating buried theatrical treasures and reclaiming them for contemporary audiences. The Mint’s mission extends beyond production to include research, dramaturgy, publication, and a variety of enrichment programs.
Initially a membership company focused on actor training, the Mint shifted its focus exclusively to producing lost and neglected plays. This change led to the company’s first major success with the American premiere of Harley GranvilleBarker’s THE VOYSEY INHERITANCE in 1999. This production, which ran for ten weeks at 95% capacity, put the Mint on the map and solidified its mission. Since then, the Mint has produced over 60 great lost or neglected plays, earning critical acclaim and numerous awards and nominations, including special Obie and Drama Desk Awards.
The company has a particular interest in plays from the first half of the 20th century, often by authors whose names are unfamiliar but also by well-known writers not known for their playwriting, such as Ernest Hemingway, Leo Tolstoy and A.A. Milne. Mint has also been lauded for its rediscovery of female playwrights, including Elizabeth Baker, Rachel Crothers,
Susan Glaspell, and Zona Gale, along with its deep dive into the works of Irish playwright Teresa Deevy. The Mint’s commitment to Deevy included four full productions, the publication of two books, and led to the establishment of a major archive of her manuscripts in Ireland.
Mint also publishes some of the plays it produces, including anthologies and the “Reclaimed” series, which focuses on the work of single authors. Mint’s publications make these neglected works accessible to audiences and scholars beyond its own productions.
In 2020, the Mint expanded its reach by offering free streaming of past productions. This initiative was not a reaction to the pandemic alone, but the culmination of a long-held vision, dating back to 2008 when the company first recorded a production. Since 2020, over 30,000 viewers have logged onto Mint’s website to watch complete plays, most were seeing a Mint production for the first time. The streaming program has been a great success, with viewers from 50 states and 50 countries logging over 59,214 hours of viewing time. This initiative led to a 150% increase in the number of contributors supporting Mint. Mint’s streaming efforts have not only grown its audience but also provided salaries for artists and made their work accessible to those unable to attend live performances.
The Mint’s commitment to its mission and its innovative approaches have solidified its place as a vital force in the theater world, connecting the past to the present and ensuring that great plays are seen for the first time in generations and not forgotten.
MINT DONORS
We’re grateful for the ongoing support from our loyal community of donors. This list represents totals donations of $250 or more from July 1, 2023 to January 20, 2025. For questions regarding your support or to update your donor listing, please contact us at giving@minttheater.org.
CRÈME De La CRÈME:
$25,000+
Robert Brenner
Howard Gilman Foundation
The Shubert Foundation
CRÈME DE MINT:
$10,000 - $24,999
The Achelis and Bodman Foundation
Axe-Houghton Foundation
Virginia Brody
Nicholas Firth
Otto Haas Charitable Fund
Gail P. Gamboni
Gigli Giving Fund
John & Janet Harrington
David L. Klein Jr. Foundation
Blanche & Irving Laurie Foundation, Inc.
Christopher A Li Greci IRR Trust
Royal Little Family Foundation
The Fan Fox & Leslie R. Samuels Foundation
Ted Snowdon Foundation
David Stenn
Amy Stoller
SILVERMINT:
$5,000 - $9,999
Gretchen Adkins
Kenneth & Carole Boudreaux
Mary & Bruce Crawford
Edward & Lori Forstein
The Lehman Foundation
Jerome Robbins Foundation
H-N Raisler Fund
Wallace Schroeder
The South Wind Foundation
Steve & Judy Weinstein
John Yarmick
CHOCOLATEMINT:
$2,500 -$4,999
Anonymous
Barbara Berliner & Sol Rymer
Jon Clark & Ryan Franco
William Downey
Ruth Friendly
Mary Gilliatt Family Fund
Sigrid Hess
Paul J Isaac Charitable Lead (PJI CLAT)
David & Mary Lambert
Mark & Georgia Munsell
Mr. Pancks’ Fund
Maria Sarath Ragucci
Michael Schussler
John & Karen Smith
Stella Strazdas and Henry Forrest
Charitable Fund
Steven Williford
Burton & Sue Zwick
SPEARMINT:
$1,500 - $2,499
Anonymous
David & Kim Adler
Kenneth Vittor & Judith Aisen
Steven Allen & Caroline Thompson
Joseph B. Bell & Peter A. Longo
The Crow Family Charitable Fund
The Kristine and Marc Granetz Charitable Fund
Cathy Harmon
William & Margaret Kable
Sarah-Ann Kramarsky
Douglas Liebhafsky and Wendy Gimbel Charitable Fund
Barbara Brooke Manning Charitable Fund
Lisa Martorella & Sumner E. Moulton
Martin & Maude Meisel
Donna & John Moroney
The Modest and Linda Oprysko Charitable Fund
Judith Quillard
Cordelia & David Reimers
Cye E. Ross
Debra Samuelson
Robert Sinclair
Karan Spanard
Alec Peter Stais & Elissa Burke
Sarah Steinberg Donor Advised Fund
Kathryn Swintek
Anita Wien
PEPPERMINT:
$750 - $1,499
Anonymous
Louis Alexander
Stacy Banks & Scott Balogh
Jeanne Bergman & Anna Kramarsky
Janiece Brown & Thomas Spitzmueller
Lois Burke
Russell Charlton & Julie Norwell
Jean Cheever
C. L. Christensen
Gail Clark
Ira Cohen
Julie Cushing Connelly
Stuart & Suellen Davidson
Ann DeInnocentiis
Thomas Dieterich
Caroline Donhauser
Douglas & Diane Dooley
Joan Drelich
Kevin Duffy & D.G. Weber-Duffy Charitable Fund
Ted Ferrara & Roxanne Gleason
Burke & Carol Fossee
Phyllis T. Gelfman Revocable Trust
Charles & Jane Goldman
Margaret L. Goodman
Susan & Marc Gottridge
Jeannene Hansen
Barbara Hill
Blue Willow Fund
Roberta Jones
Mary and Gregory Juedes Fund
Richard Kayne & Cynthia Pyle
The Lambs Foundation
Lianne Lazetera
Tom Mandia
Robert & Jean Markley
Doris & David May
Merlene McAlevy
Rita McLoughlin
John David Metcalfe
Ann Miner
Jane & Saleem Muqaddam
Robert & Virginia Nahas
Daniel Napolitano
James Periconi
Virginia Pfeiffer
Winthrop & Mary Rutherfurd
Kathy Salem
Richard Sears
Benjamin Segal & Jacqueline Mahal
Betsy Seidman & Nicholas Garaufis
David Shields
Shelley & Joel Siegel
Smalley-Zolt Charitable Fund
Charles Sperling
Jill Tanner
Susan and Charles Tribbitt Fund
Martha Van Hise
Susan Vice
Joan Weingarten
DOUBLEMINT:
$250 - $749
Joan Adams
Bob & Catherine Adams
Linda & Lloyd Alterman
Arts LLC
Laure Aubuchon
Elizabeth Bahlke
Robin Baskett
Dwight Bechtel
Berlin Family Charitable Fund
Alvin Berr
Clinton Best
Peter & Helena Bienstock
The Biernat Family Fund
Marge & Ed Blaine
Steven Blier & James Russell
Frank Boemio
Stephen Bogardus
Debra Brockway
Brooks/Benoit Family Fund
William Burstein
David & Charlotte Calobrisi
Peter Cameron
Mary Cargill
Allan & Carol Carlton
David Carlyon
Russ & Candice Chapman
Carolyn Chave & Robert Hand
Toni Coffee
Jane Condon & Kenneth Bartels
Margaret & Andrew Correa
Paul Cowan & William Rumancik
Tandy Cronyn
Michael Crowley
Ellen Curtis
Vicki R. Davis
Mart Dean & Christie Allair
Carolyn Demarest
Francisco Diaz
Emily Dunlap
Ellen Estes
The William & Carol Farris Family Fund
James Feldman & Natalie Wexler
Howard Feldman
Chris & Robin Fine
William & Lisa Finkelstein
Helena & Robert Finn
James Fleckenstein & Lori Hiatt
Barbara G. Fleischman
George Foote
Charles Forma
Jeffrey & Diana Frank
Lawrence Franks & Ellen Berelson
Dina Gamboni
Mary Geissman
William Gentry
Melvin Greenberg & Pamela Monfried
Susan Greenwald
Marty & Eleanor Gruber
MINT DONORS
Antonia & George Grumbach
Robert Hall
Lynne Halliday
Michael Herko
Claude Hersh
Claire Hinchcliffe
Louise Hirschfeld
Dale Hodges
Robert Huber & Mary Zaremba
Linda Irenegreene
Jocelyn Jacknis
Wendy & David Johnston
Virginia Josephian
Sandra & David Joys
Julia F. Judge
Suzan Kardong-Edgren
Adele Karig
Beatrice Kerr
Elizabeth King
Robert Kirby & Brownlee McKee
Knieriemen and Hoff Family Fund
Kerry & Stephen Kowitt
Lucy Kraus
Stuart & Barbara Kreisberg
Leonard Kreynin
Douglas Kruse & Betty Welchel
Julie Laitin
Dennis Lalli
William & Robert Lang
Renee Leicht
Jay Lesenger
Stanley & Carol Levy
Robert Levy & Susan Larabee
Eva Lichtenberg & Arnold Tobin
Harriet & Daniel Lindblom
Bruce Lovett
Daniel & Sharon Lowenstein
Paul Lubetkin & Joyce Gordon
Dayna Lucas
Mary & Edward Maguire
Jodi Malcom
Florence Mannion
Christina & Robert Mantz
Anjali & Arjun Mathrani
Cheryl & Harris May
Tom McDonald
Susan & Joel Mindel
Virginia & Robert Montgomery
Doreen S. Morales
Frank Morra
John & Michelle Morris
Monica Mullin
Arts FMS
Eric H. Newman Charitable Gift Fund
Stephanie & Robert Olmsted
Alice B. Perkins
Fred & Dolores Perry
Carole Pesner
Steven Phillips & Isabel Swift
Thomas E. Platt
Susan Ralston
Susan Read
Tom Repasch
William Repicci
Herbert & Elizabeth Reynolds
John Ridge
Kimberly Ritrievi
Natasha Rizopoulos
Peter Robbins & Page Sargisson
Mark Rossier
Charles & Meryl Rubin
Thomas & Lynn Russo
Judy & Sirgay Sanger
Caroline Schimmel
Daphne & Peter Schwab
Michael Seymour
Robert & Nancy Shivers
Joyce Silver
Katherine Smith
Anthony & Patricia Smith
Barbara Madsen Smith
Caroline Sorokoff & Peter Stearn
Sandra & Graham Spanier
Susan Stockton
Pamela Stubing
Craig Sutton
Dennis & Katharine Swanson
Mary Swartz
Jean Swintek
Douglas G. Tarr
Derek Tarson
Anne Teshima
Christine L. Thomas & G.H. Denniston
Lisa Tocci
Steve Vineberg
Jacob Waldman
Daniel & Judith Walkowitz
John Michael Walsh
Gerard & Sheila Walsh
Patricia & Richard White
Vicki Williams
Frank Wolf & Stephen Abel
Trudy Wood & Jacob Goldberg
Daniel Wood
Susan Yost
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
ProGraMs and PartnershiPs
Cierra Cass
contracts ManaGer
Sarah Lahue
contracts associatefinance
Maggie Hinton
contracts associate
Rubina Vidal
buildinG and facilities ManaGer
Jack Donoghue
suPerintendent
Douglas Carthens
rehearsal studio ManaGer
Scott Pegg
oPerations ManaGer
Matthew Sells
adMinistrative and oPerations associate
Emily Medrano
staGe door associates
Naima Randolph
A’Lysai Robinson
Natalie Shaw
Nancy Umba
Libby Yowell
Production ManaGer
Justin Hoffman
dePuty Production and technical ManaGer
Zoë Rubino
assistant technical directors
Killian Coffinet
Sydney Martin
Michael Nelson
Chris Wacyra
audience services ManaGer
Maya Kates
house ManaGer
Ritai Su
associate
house ManaGers
Aubrie Ferris
Carolina Teson
box office coordinator
Catherine Sholtis
associate box office coordinators
Anne Amundson
Madison Bailey
Jasmine Maldonado
Cameron Pelache
Caitland Winsett
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.
BUILDING FOR THE ARTS EXECUTIVE TEAM
President
David J. Roberts
director of theatre
ProGraMs and PartnershiPs
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
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
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.
GRETCHEN ADKINS
JONATHAN BANK
MARY CRAWFORD
BOARD OF TRUSTEES
JOHN P.
HARRINGTON
KATHRYN SWINTEK
MINT STAFF
Artistic Director.........................Jonathan Bank
Producing Director...........Matthew McVey-Lee
Financial Management Services.......Arts FMS
Development...............The Fundraising System
Matthew Bergman, Founder Kéyah Doering, Accounts Manager www.thefundraisingsystem.com
Social Media & Marketing Manager Breezy Diabo
Dramaturgical Advisor...........Jesse Marchese
Publicity….............David Gersten & Associates
Auditor…......................Lutz & Carr, CPA’s, LLP
PRODUCTION STAFF
Assistant Director...................Michael Kozloski
Production Manager…....................Rob Reese
Carpenters..............William Adams, Ken Larson, Andy Diaz, Rahim Cobb, Victor Gonzales, Alphonso Taylor
Technical Director.........Emilia Kaczmarkiewicz
Set Construction….....Hillbolic Arts & Carpentry
Lighting Equipment courtesy of.......................
Hayden Production Services
Audio Equipment courtesy of............................
Five OHM Productions
Assistant Costume Designer.....Garvin Hastings
Wig Design......................................Dan Galyon
Drapers.....................Jill DiGiuseppe, Todd Heim, Kehler Welland
JOHN YARMICK
In Memoriam CIRO A. GAMBONI
Wardrobe Supervisor...........................................
Adanne Spencer-Johnson
Assistant Light Designer/Programmer
Paul Marderian-Davis
Production Electrician...............John Anselmo
Electrics Crew........Chris Robinson, Aian Sartori, Will DeJianne, Eric Cagara, Nikeem DeLeon, Toast DiNapoli, Evan Roby, Mack Woods, Devin Sullivan
Assistant Props Designer.............Laura Iseley
Audio Supervisor…...............Nathaneal Brown
Audio Crew..........................Hayden Von Almen
Board Operator.........................Ashley Marrero
Production Assistants.....…...Cassidy Hayden Angelo Cusimano
House Manager...............................Grant Allen
Casting Director…......Stephanie Klapper, CSA
Casting Assistants Emma Balk, Joe Piserchio
Assistant to SKC Gracie Guichard
Videographer, Editor.........................Dan Shein
Program Design...................Janice Chaikelson
SPECIAL THANKS
Erik Colton; Jen Soloway; Evan Aanerund; TDF; Goodspeed, and Ken Larson
