Mint Production History
Partnership, 2024 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 & 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 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
JULIA BROTHERS, ANDREW GOMBAS, TRACI HOVEL, LUKEY KLEIN, RICHARD LEAR, MARIAH LEE, MIKE MASTERS, LEON PINTEL, BUZZ RODDY, LINDSEY STEINERT, JOY AVIGAIL SUDDUTH
Set JUNGHYUN
GEORGIA LEE
Props
CHRIS FIELDS
Production Manager
ROB REESE
Illustration
Costumes
EMILEE MCVEY-LEE
Casting STEPHANIE KLAPPER
STEFANO IMBERT
Production Stage Manager
JEFF MEYERS
Lights ISABELLA GILL-GOMEZ
Dialects & Dramaturgy AMY STOLLER
Assistant Stage Manager
ARTHUR ATKINSON
Graphics HEY JUDE DESIGN, INC
Sound SEAN HAGERTY
Intimacy Director LEANA GARDELLA
Assistant Stage Manager
MIRIAM HYFLER
Publicity
DAVID GERSTEN & ASSOCIATES
Special thanks to the Staff, Board, and Founders of the Claremore Museum of History especially, Steve Robinson, Paula Davis, Lou Flanagan, Susan Kirtley, Bobbie Cary, and John H. Cary as well as Jessica Castaño at the Department of Special Collections and University Archives, McFarlin Library, The University of Tulsa
ABOUT THE AUTHOR
A “Curiously Irreconcilable Inheritance”: The Oklahoma
Plays of Lynn Riggs
by Jesse Marchese, Dramaturgical Advisor
“I believe that what a dramatist is—the curious cellular synthesis that is the man— determines nearly everything about his work… There on the lighted boards or on the open page is the man.” - Lynn Riggs, 1931
Lynn Riggs (1899-1954) was an American playwright who wrote nearly 30 plays and has been referred to as “the nation’s greatest playwright of folk life in the Southwest.”1 He was also a poet, teacher, painter, folk musician, and screenwriter. Riggs is best remembered for Green Grow the Lilacs (1931), which served as the basis for the groundbreaking 1943 musical Oklahoma!—but his output is far more prolific. Around half of the plays written by Riggs take place in Oklahoma, mostly in or around the town of Claremore, where he was born and raised. As Lynn explained, “I know more about the people I knew in childhood and youth than any others… I wanted to give voice and a dignified existence to people who found themselves, most pitiably, without a voice, when there was so much to be cried out against.”2 Indeed, Lynn’s Oklahoma-set plays wrestle with the difficult realities of life in Indian Territory before and after statehood, revealing it as a land both bursting with great potential and burdened by historical traumas—a microcosm of the best and worst of the American experience.
Rollie Lynn Riggs was born in 1899 in a farmhouse outside of Claremore in northeast Indian Territory. Statehood was fast approaching at the time of his birth, and was finally made official in 1907. Lynn’s father, William Grant Riggs, was born in Missouri and came from Appalachian ancestry. His mother, Rosie Buster, who died of typhoid fever when Riggs was only two, was an enrolled Cherokee of mixed heritage—a descendant of those forced by the American government to migrate from the Southeast to Indian Territory along the Trail of Tears. Rosie ensured that Lynn was listed on the Dawes Rolls, the mandated lists of individuals who were eligible for tribal membership and therefore could inherit land allotments (which Lynn later mortgaged to fund his writing career). Masked as a form of benevolence, the allotting of land to Native individuals allowed the federal government to wrest the land from tribal governance and assimilate Native Americans into white settler culture.
Rollie Lynn Riggs
ABOUT THE AUTHOR
Several of Lynn’s plays contend with the complicated and conflicted nature of existing as part Cherokee in a country whose policies aimed at either annihilating or assimilating Native peoples. As Lynn wrote, describing his experimental 1932 play The Cherokee Night:
The play will concern itself with that night, that darkness (with whatever flashes of light allowably splinter through) which has come to the Cherokees and their descendants. An absorbed race has its curiously irreconcilable inheritance. It seems to me the best grade of absorbed Indian might be an intellectual Hamlet, buffeted, harassed, victimized, split, baffled.3
The Cherokee Night, which Lynn often referenced as his favorite of his plays, unfolds near and around the Claremore Mound where the last battle between the Cherokee and Osage Nations took place—a haunting reminder of the violences inflicted upon indigenous communities and the tribal warfare resulted from displaced peoples forced onto others’ ancestral lands. Told through a series of seven loosely-woven, non-chronological vignettes, the play reveals a people struggling to connect with their indigenous heritage while being swept up and implicated in white settler culture. A chilling scene in which three boys visit the scene of the murder of a Black man serves as a stark reminder that Cherokee people inherited anti-Black racism and slavery from the Antebellum South. Another scene references the murders and theft of Osage people in the 1920s after oil was discovered on tribal land—a story that went largely unheard until David Grann’s 2017 non-fiction book Killers of the Flower Moon and Martin Scorsese’s acclaimed 2023 film adaptation.
While The Cherokee Night most explicitly deals with Native identity, the issues of enrollment, land allotment, and Native guardianship appear in several of Riggs’ writings. His characters reflect the diverse makeup of rural Oklahoman society—a place where white settlers, Native Americans, Black Americans, Mexicans and other immigrants lived and worked alongside each other. This might come as a surprise to audiences who largely know Riggs from his connection to the musical Oklahoma! which, while largely staying true to Lynn’s original play, shifted its characters’ ambivalence about statehood to attitudes of excitement—likely due to a groundswell of American nationalism during WWII when the musical premiered. While the musical retained the character of a wandering peddler from the Middle East, its other characters had been largely whitewashed. As Jace Weaver notes, “It seems highly unlikely that the Cherokee playwright would write a play about such a place and time from which the Native voice is totally absent.”4 Riggs, in his original conception of Green Grow the Lilacs, surely imagined a more diverse cast of characters, reflecting the true makeup of Indian Territory at the turn of statehood.
ABOUT THE AUTHOR
Oklahoma society, while diverse, was not without its tensions. As Lynn wrote in 1931, “when I was a child there, the country and the people were very dramatic. A primitive violence was always close to the surface, always apt to break out at any moment.”5 Indeed, Lynn’s plays reveal it as a land boiling with hostility—and the violence enacted in them is often insidiously casual in nature. Take for example, A Lantern to See By (1928), in which Riggs writes perceptively about everyday brutality within a family of farmers. In the play’s opening scene, a farmhand returns home early from working in the hayfield. When his mother spots that his head is bleeding, he reports that his father hit him with an iron crowbar as punishment for shirking his work. (He is, in fact, leaving early to help his mother with chores.) At supper, when his brothers start arguing over the salt and pepper, their father urges them to get up from the kitchen table and fight for it. “Hit him in the nose! Lambaste him one! Make him bleed! Show him who’s a man!” he taunts.6 It’s no wonder that Lynn, the sensitive poet, felt out of place amongst the machismo farmers, ranchers, and cowboys of his home state.
Riggs also wrote frankly about the pervasiveness of sexual violence in the Oklahoma of his youth. In a haunting scene in Out of Dust (1948), in which two cowhands plot the murder of their domineering father and boss, one raises concerns about his previous brush with the law:
KING: I never heard what it was—but I was told you got in a little trouble last summer.
BUD: (Slightly sheepish about it.) Oh, that. Nuthin’ to it.
KING: What was it?
BUD: Aw, you know. Rape they call it… She said I raped her… A week after. Sicked the shuruff onto me. That wasn’t no way to act, King. Little thing like that. She like to got me in trouble.7
The threat of sexual violence is also present in Sump’n Like Wings (1925), in which the young female protagonist’s dreams of freedom are tempered by the dangers of a wild young country and the men who inhabit it. As Daniel Heath Justice writes, “While it’s a firm cliché to say that an artist is ‘before their time,’ it certainly feels applicable to Riggs, whose subject matter and frank explorations of the shadow-side of humanity frequently scandalized his more conservative audiences while being hailed as revolutionary by his admirers.”8 While some critics complained that Riggs’ work was too regional and crude, those that recognized his profound understanding of Oklahomans, their virtues and their vices, heralded him as one of the greatest American playwrights of his time.
Riggs playing guitar
ABOUT THE AUTHOR
It may be that Riggs’ identity as a gay man made him both particularly sensitive to the plight of women and deeply critical of American conceptions of masculinity. (Riggs’ estate remained reluctant, for years, to discuss or allow others to write about his sexuality.) While Riggs lived, discreetly, as a homosexual in a largely unaccepting world, he engaged in a series of serious relationships with other men—notably with Mexican playwright and painter Ramón Naya—and his romantic proclivities were known by those in his closest artistic circles, including movie stars Joan Crawford and Bette Davis. While some of his plays, like The Year of Pilar (1938) and The Cream in the Well (1940) with their suggestions of incest and gay male prostitution, imply the existence of “deviant” sexualities and desires, he rarely wrote explicitly about homosexuality. Instead, his writings reflect the complex realities of marginalized people in a prejudiced yet quickly changing world—and celebrate the rebellious spirit of the outsider while examining their thorny relationships within the larger community.
Most importantly, Riggs’ plays focus on the resiliency of people who survive—and sometimes even flourish—despite the odds against them. As Aunt Eller says about life’s hardships in Green Grow the Lilacs, “That’s the way life is—cradle to grave. And you c’n stand it. They’s one way. You got to be hearty. You got to be.”9 At a moment when our nation is as fraught and filled with promise as ever, Eller’s guidance remains a beacon—and Lynn Riggs’ plays prove a testament to the enduring heartiness of the American people. Photographs from Lynn
1 Thomas A. Erhard, Lynn Riggs, Southwest Playwright, Southwest Writers Series, 1970
2 Lynn Riggs to Walter S. Campbell, 13 March 1929, Campbell Papers.
3 Lynn Riggs to Barrett H. Clark, March 10, 1929, Clark Papers
4 “Foreword,” The Cherokee Night and Other Plays, University of Oklahoma Press, 2003
5 “When People Say ‘Folk Drama,’” Carolina Playbook, vol. 4, June 1931
6 Act One, Scene One, A Lantern to See By, 1928
7 Act One, Scene Two, Out of Dust, 1948
8 “Preface,” Lynn Riggs: The Indigenous Plays, Broadview Press, 2024
9 Scene Six, Green Grow the Lilacs, 1931
Riggs’s private collection, courtesy of the Claremore Museum of History.
Riggs posing in front of paintings by Ramón Naya
Ramón Naya copying Riggs’ pose
CAST & SCENES
in order of appearance
Osment.........................................................................................MIKE MASTERS
Mr. Clovis.........................................................................................BUZZ RODDY
Mrs. Clovis.......................................................................................TRACI HOVEL
Mrs. Baker................................................................................JULIA BROTHERS
Willie Baker.......................................................................................MARIAH LEE
Uncle Jim Thompson..................................................................RICHARD LEAR
Sheriff Beach..........................................................................ANDREW GOMBAS
Boy Huntington................................................................................LUKEY KLEIN
Elvie Rapp..............................................................................LINDSEY STEINERT
Graden..............................................................................................BUZZ RODDY
Hattie...............................................................................JOY AVIGAIL SUDDUTH
Opalena.............................................................................................LEON PINTEL
Loomis..........................................................................................MIKE MASTERS
Bill Wade.................................................................................ANDREW GOMBAS
A PLAY IN 3 EPISODES:
EPISODE 1:
The dining room of the St. Francis Hotel for Ladies and Gents. Claremont, Oklahoma. Spring morning, 1913
EPISODE 2:
Scene 1
Office of the Hotel, two years later, Summer 1915
Scene 2
The dining room of the St. Francis Hotel, six months later. Mid-Winter 1915.
EPISODE 3:
Scene 1
The upstairs hall over the dining room, about 11 o’clock p.m. Summer 1916.
Scene 2
A light-housekeeping room in Loomis’ Rooming House. Immediately after Scene 1.
There will be a 10 minute intermission between Scenes 1 & 2 of Episode 2.
WHO’S WHO: CAST
JULIA BROTHERS
(Mrs. Baker) has a passion for new works and is so excited to be working on arguably the world premiere of this play published over 90 years ago! Recent credits: Actor 1 in The White Chip at Florida Studio Theatre, directed by Sean Daniels; Ljuba in the world premiere of Sarah Gancher’s comedy Russian Troll Farm , directed by Darko Tresjnak at GEVA Theatre. Other favorite world premieres include playing God in the Kilbanes’ rock opera Weightless at The Public Theatre UTR; The Loading Dock’s A Peregrine Falls by Leegrid Stevens directed by Padraic Lillis at The Wild Project; Carla in George Is Dead, written and directed by Elaine May at Magic Theatre, George Street Theatre and on Broadway titled Relatively Speaking; and her solo piece I Was Right Here, commissioned by SF Playhouse, filmed onstage and running during the pandemic. For fun, Julia used to do standup in clubs around NYC. wwww.juliabrothers.com
ANDREW GOMBAS
(Sheriff Beach & Bill Wade) (he/him) is an actor, musician, and playwright. Select credits include…New York: The Meeting: The Interpreter (u/s, Theatre at St. Clements), Romeo and Juliet, Much Ado About Nothing, Twelfth Night (Bryant Park Shakespeare) Regional: Play That Goes Wrong, Sense and Sensibility (Northern Stage), Sueño, Sweat (Trinity Repertory Company); Tomorrow Will Be Sunday (Chautauqua Theatre Festival); The Late Wedding, The
Dumb Waiter, Macbeth! (Brown/Trinity Rep). Film: The Tomorrow Job (377 Films), The Orb (Animus Studios). Andrew is a proud graduate of Brown University/ Trinity Rep’s MFA Acting program.
TRACI HOVEL (Mrs. Clovis) Off Broadway: American Girls (45th Street Theatre), Luck! (Bank Street Theatre), Best Little Whorehouse in Texas (Bleeker St Theatre). Regional: Miss Firecracker Contest (Queens Theatre in the Park), Comedy of Errors (Stage Center Theatre) TV: “What Would You Do?” (Series Regular), “Blue Bloods,” “Leftovers,” “Lipstick Jungle,” “Happy!,” “30Rock,” “Law & Order,” “Hope and Faith,” “AMC.” Film: Freeheld, We Are What We Are, Stakeland, B’Hurst, Immaculate Misconception . Actors Studio M.F.A. Program New School University. She is so excited to be a part of such an amazing project and endless gratitude to Raelle, Mint Theater Company, Cat, The Collective Talent, my amazing Mom, Juan and Family.
LUKEY KLEIN (Boy Huntington) is thrilled to be making their OffBroadway debut with Mint Theatre Company in Sump’n Like Wings. Lukey is an actor and theatre maker based in NYC, hailing from Michigan. They’ve worked with Director Raelle MyrickHodges on Sean San José’s adaptation of Coriolanus at UNCSA where they received their BFA in Acting. Lukey is an alumn of Interlochen Arts Academy and was a YoungArts Winner in Theatre. They want to thank all of his former teachers
WHO’S WHO: CAST
and Eddie at G&G Talent for their support. They want to thank their former teachers and Eddie at G&G Talent for their support. All their gratitude to Raelle, Stephanie, Mom, Delaney & their chosen family. IG: lukey.klein
RICHARD LEAR
(Uncle Jim Thompson)
Born and raised in Fayetteville, Arkansas, Richard is thrilled to work with Mint Theater Company on Sump’n
Like Wings . He is a multi-hyphenate actor-director-writer-producer-teacher. He is currently producing a thriller film he wrote called Stranger. He was recently the assistant director for a new Off-Broadway musical 44 Lights as well as The Orchard, starring Mikhail Baryshnikov and Jessica Hecht. His writing has been produced by Theater Breaking Through Barriers and he teaches at the du Cret Center of Art. Some previous work includes God of Carnage with Christiane Noll and David Burtka (Off-Broadway Revival), The Full Monty, Romeo and Juliet, The Normal Heart, Julius Caesar with Merle Louise, and The Dybbuk with Gerald Freedman to name a few. Richard organizes scuba diving trips around the world, is an avid gardener, and thinks he’s a DIY’er, with which his spouse might disagree.
MARIAH LEE (Willie Baker) Broadway and National Tour: To Kill a Mockingbird. New York: I’m Sorry (Ensemble Studio Theatre); Kenny’s Tavern, Interior (59E59 Theaters); Horse Girls (‘the cell’); H20 Pool Bar… (New Light Theater Project);
The White Castle (Samuel French Off-Off Broadway Fest). Regionally: Okoboji Summer Theatre, Southwest Shakespeare Company, and Williamstown Theatre Festival. Television: NBC, CBS, SHOWTIME. Film: Darya Zhuk’s The Real American. Upcoming: “Long Bright River” on PEACOCK. Training: William Esper Studio; BFA, Stephens College.
MIKE MASTERS
(Osment & Loomis) Mint debut. National: The 101 Dalmatians Musical (MSG), Irving Berlin’s White Christmas (4 seasonsSan Francisco, Detroit, Toronto, Minneapolis/St. Paul companies), I Say Tomato, You Say Shut Up! Off-Broadway: An Evening At The Carlyle (Algonquin), Face The Music (Encores!). Regional: Selected credits include Catch Me If You Can (The REV); The Foreigner, South Pacific, The Man Who Came To Dinner, The Big Bang, Beauty and the Beast (Flat Rock Playhouse); A Christmas Carol (Alliance Theatre); Night and Her Stars (Jewish Theater of the South); Twelfth Night (ATL Shakespeare). Film/TV: Includes “The Resident,” “Madam Secretary,” “Maniac,” “Blue Bloods,” “The Good Fight,” “House of Cards,” “Blindspot,” “The Blacklist,” “Elementary,” “Love Monkey,” “Mama Flora’s Family,” and others.
LEON PINTEL
(Opalena) is a Caribbean American actress, singer and musician and she’s beyond delighted to join this talented company! Some of her favorite credits include Cory in HBO Max’s re-
WHO’S WHO: CAST
boot of “Gossip Girl,” Cora/Edna in the AEA reading of HENRY JOHNSON: Ballad of A Forgotten Hero at the Capital Rep Theater, and Mack in Pace University’s production of Peter and the Starcatcher. She has a BFA in Acting from Pace University and she loves spending time with her 5 sisters!
BUZZ RODDY (Mr. Clovis & Graden) A career straddling two millennia! NYC theatre: The Night of The Iguana (La Femme), (A)Loft Modulation (American Vicarious), The ShowOff (Peccadillo). Theatre outside NYC (can you imagine?): Little Shop Of Horrors (Arkansas Rep), Jersey Boys (Capital Rep), Waiting For Lefty (Quintessence), A Christmas Carol (Hartford Stage), Cheers: Live On Stage (national tour). Film/TV: Passing, A Nice Girl Like You, Welcome To Chippendales (Hulu), “Blue Bloods,” “F.B.I.” (CBS), “Awkwafina Is Nora From Queens” (Comedy Central), “Russian Doll,” “Jessica Jones” (Netflix), “Younger” (TV Land), “Search Party,” “The Deuce,” “Flight Of The Conchords” (HBO) and the soon-to-be-released Steamboat Willie horror movie , Screamboat. He and his wife, Laurie Dawn, dwell in the wee hamlet of The Bronx - the only other city besides The Hague and The Vatican that begins with the word “The.” www.buzzroddy.com
LINSEY STEINERT
(Elvie Rapp) Theatre credits include: Upstream Swimming (OffBroadway), Capricorn 29 (The Tank) and The Prince of Providence (Trinity Rep). Lindsey
holds an MFA from Brown University/ Trinity Rep and also studied at the British American Drama Academy. Endless thanks to and appreciation for Raelle. Dedicated to her mentor and beloved Mint Theater actor, George Morfogen. LindseySteinert.com
JOY AVIGAIL
SUDDUTH (Hattie) is honored to be working with Mint Theater Company, and is thrilled to embody a woman such as Hattie! After obtaining her Master Degree in Public Policy (University of Michigan and The Sorbonne), she took the bold step of pursuing her art, she moved to New York 10 years ago. Some of her favorite credits include: TV/Film—“Power” (Starz), “New Amsterdam” (NBC), Ben Stiller’s “Escape at Dannemora” (Showtime), “The Black List” (NBC), “Law and Order: SVU” (NBC), “Gotham” (FOX), Paul (with Seth Rogan). Theater—Waiting for Giovanni (The Flea Theater/TOSOS), Leaving the Blues, (The Flea Theater/TOSOS), The Maids (Hanauer Festival, Frankfurt Ger. Dir: Ron Canada), The Store: One Block East of Jerome (Castillo Theater), Walk Hard (Metropolitan Playhouse), Coffee Will Make You Black (Los Angeles, Ovation award). Joy volunteers with Xavier Mission. Thank you cast and crew of the Mint (with a special thanks to Jonathan Bank!)
ARTHUR ATKINSON (Assistant Stage Manager) is thrilled to be back with the Mint Theater family! Prior Mint productions: Partnership, Becomes A Woman, The Daughter-in-Law, The Fatal Weakness, The New Morality. Recent NYC theatre productions: God
WHO’S WHO: ARTISTIC STAFF
of Carnage (Theatre Breaking Through Barriers), The Year of Magical Thinking (Keen Company), Paradise Lost (FPA), Cagney - The Musical at the Westside Theatre; many shows at the Irish Repertory Theatre, the York Theatre Company, The Directors Company, Cape Playhouse, Gateway 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! Select credits: Partnership, Becomes A Woman, The Rat Trap, Chains (Mint Theater Company), In The Heights, Rock of Ages, Beautiful (The Gateway Playhouse), hang, Time Stands Still (Shakespeare & Company), Shanghai Sonatas (Master Players Concert Series), 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), 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 seventeen Mint productions including 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.
RAELLE MYRICK-HODGES (Director) has had remarkable experiences in theater. Her self-initiative and passion led her to establish a theater in Philadelphia early in her career, setting the stage for a path in directing theater nationally and internationally. Her most current projects have included: Father Comes Home for the Wars: Parts 1, 2, and 3 (Philadelphia Premiere, Quintessence Theater, Philadelphia), Dirty White Teslas Make Me Sad (World Premiere, The Magic Theatre/Campo Santo, San Francisco) and Pearl Cleage’s Flyin’ West (Indiana Repertory Theater, Indianapolis). She has recently been with MaYi Theater Company (NY) working with playwright David Zheng on Kidnapping Jane Doe (a new work in process). She is a member of Under the Radar’s Devised Working Theater Group (2023 season) with her work-in-progress about father/daughter relationships called, He Had the Prettiest Handwriting, which is a collaboration with her father Ray Hodges. She has direct-
WHO’S WHO: ARTISTIC STAFF
ed at Playmakers Repertory Company (NC), Arden Theater Company (PA), Azuka Theater, National Black Theater, California Shakespeare Repertory, The Public Theater, Magic Theater (SF) among others. She is currently the subject of a documentary film called, DAY JOB, looking into the process of a working-class Theater Artist that premieres in 2025. Best attribute: “Ray and Barbara’s kid.”
JUNGHYUN GEORGIA LEE (Sets) has designed for New York Theatre Workshop, Audible Theatre, Atlantic Theatre, Public Theatre, Soho Rep, Ma-Yi, NAATCO, Guthrie Theatre, Alley Theatre, McCarter Theatre, Syracuse Theatre, Indiana Rep, Playmakers Rep, La Jolla Playhouse, and Huntington Theater Company. Nominations include: Drama Desk Awards for Outstanding Set Design (Kristina Wong, Sweatshop Overlord), Henry Hewes Design Award ( Romeo and Juliet ), CT Critics Circle Award ( The Chinese Lady ). MFA: Yale School of Drama; Faculty at Amherst College, MA.
EMILEE McVEY-LEE (Costumes) is excited to return to Mint Theater Company after designing Becomes A Women (2023). Select costume design credits include: Tom Sweitzer’s 20 Seconds: A Play with Music (Pershing Square Signature Center), Elixir of Love, Words and Music (Santa Fe Opera Education Department). Chapter Two, Death of a Salesman, Buried Child, Our Town, American Buffalo, Trip to Bountiful, and Rabbit Hole (Iron Weed Productions). Antigone (TheatreWorks). Eurydice (SCRAP Productions). Sound of Music, Crazy for You (Little Theater on the Square). Peter Pan (Tuacahn). Emilee’s costume associate work was seen in 24 productions at Playwrights Horizons, in-
cluding the Pulitzer Prize-winning OffBroadway production of A Strange Loop. Prior to moving to NY Emilee spent 8 years at the Santa Fe Opera as the Costumes Collections Manager. Other Santa Fe Opera credits include: Design Assistant on Don Pasquale (Laurent Pelly Design) and Griselda (Dunya Rumicova design). Emilee would like to thank her daughter Liza and husband Matthew, whom she met stage left in Neverland, for their support.
ISABELLA GILL-GOMEZ (Lights) (she/ they) is a Latina technician, programmer, and light designer based in Philadelphia. Recent Designs; School Pictures (Wilma Theater Company), Meet Me At Dawn (Inis Nua Theatre Company), Media/Medea (Community College of Philadelphia/Bryn Mawr College), Esto No Tiene Nombre (Intercultural Journeys), Rocky Horror Picture Show (Theatre Horizon), Father Comes Home From The Wars Parts 1, 2 & 3 (Quintessence Theatre Group), and Julius Caesar (Delaware Shakespeare). Thank you to the SLW team, Raelle, Jonathan, and MTC. All my love to Vic, Will, Alex, and Henry. For Ben and Jon.
SEAN HAGERTY (Sound & Music Arrangements) is a sound designer, composer, and violinist based in NYC. With Third Rail Projects, he’s created immersive soundtracks for Then She Fell (Bessie Award), Ghost Light (Lincoln Center), Yours to Lose (SXSW), Midsummer: A Banquet (Drama Desk Nom.), Sweet and Lucky (DCPA), The Grand Paradise, and Still, the Sky, a fully underscored audiobook. Other shows include Drift (New World Stages), Hit the Body Alarm (Performing Garage), Around the World in 80 Days (Davenport Theater), The Gospel According to Heather (Theatre 555), The Wild Party
WHO’S WHO: ARTISTIC STAFF
(DCPA), Hound of the Baskervilles (Weston Playhouse, Virginia Stage) and 100 plays with the Actors Studio Drama School. Associate sound designer and sound supervisor for Grief Hotel (Clubbed Thumb / Public Theater) and Jill Sobule’s F*ck 7th Grade (Wild Project). Narrative podcasts include The World to Come, The Girl Who Wasn’t There (Audible Original), and Bite-Sized Broadway. www.seanhagerty.com
CHRIS FIELDS (Props) is excited and proud to be joining the gang at the Mint Theater sixth time (Conflict, The Price of Thomas Scott, The Mountains Look Different, Chains, Becomes A Woman, Partnership). 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 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 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 Partnership . Other re -
cent theatre: The Night of the Iguana (dir. Emily Mann, La Femme, NYC); Duet (Parity Productions, London). 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.
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 Partnership; Becomes a Woman (Mint Theater Company); Dig (Primary Stages); The Night of the Iguana (Off-Broadway); Ahrens and Flaherty’s Knoxville (Clarence Brown); Cape Playhouse Season; Henry IV (New York Classical Theatre), Beautiful (Capital Rep); Shane (world – premiere Cincinnati 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. www.klappercasting.com
JESSE MARCHESE (Dramaturgical Advisor) is a queer theater administrator, scholar, historian, director, and dramaturg who currently serves as Mint’s Dramaturgical Advisor and formerly served as Mint’s Associate Director from
WHO’S WHO: ARTISTIC STAFF
2012 to 2017. In that time, he helped to produce nearly fifteen Mint Theater Company 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. For Diversionary, Jesse served as Production Dramaturg on The Glass Menagerie by Tennessee Williams and The Mystery of Irma Vep by Charles Ludlam. He received his BA in Theatre Arts at Marymount Manhattan College and his MA in Theatre at CUNY Hunter College.
ROB REESE (Production Manager) is thrilled to work again 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). This winter he will design the immersive documentary theater piece Excavating the Rising Star (Infinite Variety Productions). 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 (Press Representatives), 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 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 Off-Broadway Alliance.
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, and Partnership. Favorite authors featured at Mint Theater Company include Teresa Deevy, Hazel Ellis, Elizabeth Baker, Betty Smith, and George Kelly. Previously he was the Associate General Manager with Aaron Grant Theatrical, an OffBroadway 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.
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 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 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 Granville-Barker, to the four-time Drama Desk-nominated 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 CloseUp.” 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 2020-21, 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 and benefits to over 100 artists.
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 September 1, 2023 to September 1, 2024. For questions regarding your support or to update your donor listing, please contact us at giving@minttheater.org.
CRÈME De La CRÈME:
$25,000+
Howard Gilman Foundation
Sukenik Family Foundation
The Achelis and Bodman Foundation
The Subert Foundation
CRÈME DE MINT:
$10,000 - $24,999
Anonymous
Elizabeth Gigli
Gail P. Gamboni
Robert Brenner
Royal Little Family Foundation
Ted Snowdon Foundation
The Fan Fox & Leslie R. Samuels Foundation
SILVERMINT:
$5,000 - $9,999
Axe-Houghton Foundation
David L. Klein Jr. Foundation
David Stenn
John & Janet Harrington
John J Yarmick
Marvin & Janet Rosen
Mary & Bruce Crawford
Nicholas Firth
Reily Hendrickson
The South Wind Foundation
Virginia Brody
Wallace Schroeder
CHOCOLATEMINT:
$2,500 -$4,999
Anonymous (2)
Burton & Sue Zwick
H-N Raisler Fund
Kenneth & Carole Boudreaux
Mr. Pancks’ Fund at The Chicago Community Trust
Paul & Karen Isaac
Sigrid A. Hess
Steven Williford
SPEARMINT:
$1,500 - $2,499
Barbara & John Lehman
Barbara Berliner & Sol Rymer
Charles & Judith & Judith Freyer
Christopher Joy & Cathy Velenchik
Cye E. Ross
John Q Smith
Jon Clark & Ryan Franco
Joseph Bell & Peter Longo
Judith Aisen & Kenneth Vittor
Karen & David Gilliatt
Maria Sarath Ragucci
Martin & Maude Meisel
Modesto and Linda Oprysko
Ruth Friendly
Sarah-Ann Kramarsky
William Kable
PEPPERMINT:
$750 - $1,499
Alec Peter Stais & Elissa Burke
Anonymous (2)
Barbara Manning
Benjamin Segal & Jacqueline Mahal
Charles & Jane Goldman
Charles & Susan Tribbitt
Cordelia & David Reimers Fund
David & Mary Lambert
Douglas Liebhafsky & Wendy Gimbel
George & Susan Crow
Gregory & Mary Juedes
Ira Cohen
Jean Cheever
John Moroney
Julie Connelly
Kathryn Swintek & Andre Dorra
Kathy Moses Salem
Lianne Lazetera
Lisa Martorella & Summer E Moulton
Lois A Burke
Louis Alexander
Mark & Georgia Munsell
Martha Van Hise
Nicholas Garaufis & Betsy Seidman
Robert Sinclair
Roberta Jones
Sarah Steinberg
Stagedoor Manor
Stella Strazdas & Hank Forrest
Steven Allen & Caroline Thompson
Thomas Dieterich
Tom Mandia
William Downey
DOUBLEMINT:
$250 - $749
Anonymous (6)
Adele Karig
Alice Perkins
Anita & Byron Wien
Anjali & Arjun Mathrani
Ann DeInnocentiis
Ann Miner
Anna Kramarsky
Anne Teshima
Antonia & George Grumbach
Arts FMS
Asha & Devdutt Nayak
Barbara G.Fleischman
Barbara J. Hill
Barbara Madsen Smith
Beatrice Kerr
Carol & Burke Fossee
Carole Pesner
Carolyn E. Demarest
Charles Forma
Charles J. Sperling
Cheryl & Harris May
Chris & Robin Fine
Christina & Robert Mantz
Claire Hinchcliffe
Clinton F. Best
Craig & Deborah Sutton
Dale Hodges
Daniel & Judith Walkowitz
Daniel & Sharon Lowenstein
Daniel Marshall Wood
Daphne & Peter Schwab
David Shields
Dayna Lucas
Deb Brockway
Dennis & Katharine Swanson
Dennis Lalli
Denny Denniston & Chris Thomas
Doreen Morales
Doris & David May
Douglas & Diane Dooley
Douglas Kruse & Betty Welchel
Douglas Tarr
Edward & Mary Maguire
Eleanor & Martin Gruber
Elizabeth King
Ellen & Frank Estes
Ellen Curtis
Emily T Dunlap
Eric Newman
Eva Lichtenberg & Arnold Tobin
Florence Mannion
Francisco Diaz
Frank Morra
Frank Wolf & Stephen Abel
Gail Clark
Howard Feldman
Jacob Waldman
James Feldman & Natalie Wexler
James Periconi
Jane & Sara Muqaddam
Jane Condon & Kenneth Bartels
Jeannene Hansen
Jeffrey & Diana Frank
Jill Tanner
Joan Adams
Joan Drelich
Jodi Malcom
John & Michelle Morris
John David Metcalfe
John Michael Walsh
Joseph Biernat
Joyce Silver
Judith Quillard
Julie Laitin
Karan Spanard
Katherine Smith
Kerry & Stephen Kowitt
Kevin Duffy & D.G. Weber-Duffy
Kimberly Ritrievi
Kris & Marc Granetz
Laure Aubuchon
Lawrence Franks
Linda & Lloyd Alterman
Lisa & William Finkelstein
Lisa Tocci
Lucy Kraus
Lynne Halliday
M F McAlevy
Margaret & Andrew Correa
Margaret L Goodman
MINT DONORS
Mark Rossier
Martin Kesselman & Linda Irenegreene
Mary Cargill
Mary Swartz
Michael Crowley
Michael Herko & Robert Bennett
Monica Mullin
Natasha Rizopoulos
Pamela Stubing
Patricia White
Patty Gelfman
Paul Knieriemen
Paul Lubetkin & Joyce Gordon
Peter Cameron
Peter Robbins & Page Sargisson
Renee Leicht
Robert & Ellie Berlin
Robert & Helena K. Finn
Robert & Jean Markley
Robert A. Shivers
Robert Hall
Russ & Julie
Sandra & Graham Spanier
SE Greenwald
Shelley & Joel Siegel
Sirgay Sanger
Stacy Banks
Stanley & Carol Levy
Stephanie & Robert Olmsted
Stephen Bogardus
Steven Blier & James Russell
Steven Phillips & Isabel Swift Foundation
Stuart & Suellen Davidson
Susan & Joel Mindel
Susan & Marc Gottridge
Susan D. Ralston
Susan Stockton
Susan Vice
Tandy Cronyn
Ted Ferrara & Roxanne Gleason
The Lambs Foundation
Thomas & Lynn Russo
Thomas McDonald
Thomas Spitzmueller
Tom Repasch
Trudy Wood & Jacob Goldberg
Vicki R. Davis
Vicki Williams
Virg and Bob Nahas
Virginia Josephian
Virginia Montgomery
Virginia W Pfeiffer
Wendy Johnston
William & Carol Farris
William Gentry
Win & Mary Rutherfurd
Every effort is made to ensure its accuracy; please notify us if we have made a mistake.
JOIN THE FIRST PRIORITY CLUB Support
Mint Theater Company!
Become a First Priority Club donor with a contribution of $250+ and enjoy:
- Early access to purchase tickets - Discounts on tickets - Exclusive behind-the-scenes newsletters & updates - The satisfaction of supporting Mint Theater Company
Your support matters: We are thrilled to re-introduce Lynn Riggs with the New York City premiere of Sump’n Like Wings a play lost for nearly 100 years. This bold choice exemplifies Mint’s mission but requires significant funding beyond ticket sales.
Help us continue to bring forgotten plays to life. Your donation sustains our ability to make daring choices and bring plays like this one back to the stage!
Donate at MintTheater.org or ask the house manager for more information. Thank you!
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
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 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
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
Social Media & Marketing Manager Breezy Diabo
Dramaturgical Advisor...........Jesse Marchese
Publicity….............David Gersten & Associates
Auditor…......................Lutz & Carr, CPA’s, LLP
PRODUCTION STAFF
Production Manager…....................Rob Reese
Set Construction….....Hillbolic Arts & Carpentry
Lighting Equipment courtesy of Hayden
Production Services
Audio Equipment courtesy of Five OHM Productions
Assistant Costume Designer.....Oliva Zacchia
Wardrobe Supervisor..............Linnea Soderberg
Tailor.......................................Caroline La Porta
Wigs Provided by...........................Ali Pohanka
Production Electricians...........John Anselmo, Jamie Johnson
Assistant Production Electricians
Evan Kerr, Chris DiNapolis
Music Arrangements...................Sean Hagerty
Recording Musicians:
Acoustic Guitar...................... Christian Apuzzo
Violin.............................................Sean Hagerty
Woodwinds..................................Tom Regouski
Audio Supervisor…...............Nathaneal Brown
JOHN YARMICK
In Memoriam CIRO A. GAMBONI
Audio Crew.........Aidan Sturgeon, Ajalon Glover, Nicolas Brennan, Tyler Walkes
Board Operator.........................Ashley Marrero
Production Assistants.....…...Cassidy Hayden Annalisa Myer
Casting Director…......Stephanie Klapper, CSA
Casting Assistants.........................Emma Balk, Joe Piserchio
Assistant to SKC Gracie Guichard
House Manager...............................Grant Allen
Assistant House Manager.......Annabelle Páez
Program Design...................Janice Chaikelson
Mini Doc Producer, Director, & Editor............. Leah Curney
Videographer, Editor .... ...................Dan Shein
SPECIAL THANKS
Evan Aanerund, TDF, Jolly Craft Studios, Brian Owen, and Ken Larson
