Hindle Wakes - Program

PRODUCING ARTISTIC DIRECTOR

JONATHAN BANK

by Stanley Houghton

- DIRECTED BY GUS KAIKKONEN -

DecEMBER 23, 2017 - THROUGH FebRUARY 17, 2018

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MINT THEATER COMPANY Jonathan Bank, Producing Artistic Director presents

Hindle Wakes by

STANLEY HOUGHTON with

JEREMY BECK, REBECCA NOELLE BRINKLEY, EMMA GEER, JONATHAN HOGAN, SARA CAROLYNN KENNEDY, KEN MARKS, BRIAN REDDY, SANDRA SHIPLEY, JILL TANNER L i g h ts CHRISTIAN DEANGELIS

C o s tu m e s SAM F L E MI N G

S ets CHA RLE S MO R G AN Ca st ing STEP HA NIE K L APPER , C SA P rod u ctio n M anage r ROB R EESE

P ro p s JOSHUA YOCOM

Sound & Original Music J A N E S H AW

D i a l e c ts & D ra m a t u r g y A MY S T O L L E R

P ro d u c ti o n S ta g e Ma n a g e r JE F F ME Y E R S

Hair & Wigs G ER AR D KEL LY

Stage Manager EL IZAB ET H AN N G O O D M AN

I llu stra tio n G r ap h i c s A d v e rti s i n g & Ma rk e ti n g STEFA NO IMBERT H EY J UD E DE S I G N , I N C .

THE PEKOE GROUP

Press Rep D AV I D G E R S T E N & A S S O C I AT E S

Directed by

GUS KAIKKONEN THEATRE ROW, THE CLURMAN THEATRE HINDLE WAKES is supported in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

THE ACTORS AND STAGE MANAGERS EMPLOYED IN THIS PRODUCTION ARE MEMEBERS OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.

Characters Mrs. Hawthorn......................................................................................... Sandra Shipley Christopher Hawthorn....................................................................................Ken Marks Fanny Hawthorn....................................................................... Rebecca Noelle Brinkley Mrs. Jeffcote.....................................................................................................Jill Tanner Nathaniel Jeffcote................................................................................... Jonathan Hogan Alan Jeffcote..................................................................................................Jeremy Beck Sir Timothy Farrar....................................................................................... Brian Reddy Beatrice Farrar...............................................................................................Emma Geer Ada............................................................................................. Sara Carolynn Kennedy Act I, Scene 1.................. Kitchen of the Hawthorns’ house, 137, Burnley Road, Hindle.

Bank Holiday, Monday, August 6th. 9pm.

Act I, Scene 2................. Breakfast-room of the Jeffcotes’ house, Bank Top, Hindle Vale.

The same night. 10:30pm.

Act I, Scene 3................................................................. Breakfast-room at the Jeffcotes’.

The same night. 1am.

Intermission Act II, Scene 1......................Breakfast-room at the Jeffcotes’. Tuesday, August 7th. 8pm.

Act II, Scene 2......................Breakfast-room at the Jeffcotes’. Tuesday, August 7th. 9pm.

JEREMY BECK

REBECCA NOELLE BRINKLEY

EMMA GEER

JONATHAN HOGAN

SARA CAROLYNN KENNEDY

KEN MARKS

BRIAN REDDY

SANDRA SHIPLEY

JILL TANNER

dramaturgical note Who is Hindle, and

Why is he Waking Up?

By Amy Stoller

Knowing one’s places The name of our mill-town, Hindle, may have been inspired by a common local surname, or the Lancashire town of Hindley. Wakes, or Wakes Weeks, began as religious festivals, sometimes in conjunction with local fairs. They evolved into secular holidays, particularly in the industrial North, where each manufacturing town had its own Wakes Week (Bolton’s at the end of June; Wigan’s the beginning of July, and so forth). During Wakes Week, until very recently, all a town’s mills and factories shut down completely, allowing workers a vacation of up to ten days. Those who could afford it decamped to local seaside resorts.

Blackpool (something like New York’s Coney Island) was the most popular, with three pleasure piers and a host of other attractions. Rival resorts, including the Welsh Llandudno (the “British Naples”), were easily reached from Blackpool by excursion steamer.

Stanley Houghton was born near Manchester, the city at the heart of Lancashire’s chief industry: spinning, weaving, buying, and selling cotton— selling not just to home markets but to foreign ones, particularly India, the Jewel in the Empire’s Crown. His first job was as office-boy in his father’s Manchester firm, one of many businesses supporting the cotton trade.

Speaking the speech This play is about Lancashire people. In the smaller Lancashire towns it is quite usual for well to-do persons, and for persons who have received good educations at grammar schools and technical schools, to drop more or less into dialect when familiar, or when excited, or to

point a joke. It is even usual for them to mix their speech with perfect naturalness. “ You” and “thou” may jostle one another in the same sentence, as, for instance: “ You can’t catch it, I tell thee.” As a general rule they will miss out a good many “h’s,” and will pronounce vowels with an open or flat sound.

—Stanley Houghton, Hindle Wakes, “Note on the Lancashire Dialect” Houghton grew up with local dialect, and learned to modify it where “Lanky” wasn’t widely “spokken.” For Hindle Wakes, he made similar modifications, deciding when some characters express themselves in strong dialect (“talkin’ broad”), and when in standard Northern English (“talkin’ bang”). He avoided cotton-trade jargon, saving a reference to “a bundle of greycloth” (cotton fabric in its raw state), and a mention or two of a shed (the weaving room of a cotton mill, typically housing 1200 power-looms).

He also used very few dialect words: Hearken (listen) and dost (do you), like thou and thee, are Lancashire holdovers from Middle English. Also owt and nowt (anything and nothing; still used in the North today); mun (must); and summat (something; still used throughout England).

On the other hand, our characters’ grammar and pronunciation is mostly characteristic of Lanky—as used at home, not at school.

Perhaps the most “insider” aspect of Hindle Wakes is its title, but Houghton hadn’t meant to be obscure. It’s a name as redolent of time and place as State Fair.

biographical note A Delightful Realist:

Stanley Houghton

By Maya Cantu

An industrious playwright from Manchester, Stanley Houghton (1881-1913) “startled England with the brilliant originality of his comedies of Lancashire life” (The New York Times), as well as with the sensational 1912 debut of his enduring Hindle Wakes. Blending truthfully observed, dialect-driven realism with shrewd comic grit and “supremely sophisticated dexterities” (The Manchester Guardian), Houghton wrote over a dozen plays, many of which called for women’s sexual and economic freedom.

Stanley Houghton (1881 - 1913) Born on February 22, 1881 in the town of Ashton-upon-Mersey, Cheshire, William Stanley Houghton moved as a child to bustling Manchester, where his father prospered as a cotton merchant. After graduating from Manchester Grammar School—where he distinguished himself, despite delicate health, as a prize-winning student—Houghton entered his father’s business as a commercial clerk. However, he devoted most of his spare hours to the theater.

As an amateur actor, Houghton appeared in dozens of roles with the Manchester Athenaeum Dramatic Society, while writing one-act plays. In 1905, he was hired to

write stage reviews for The Manchester City News, soon after becoming assistant drama critic for The Manchester Guardian.

Under the aegis of theater manager Annie Horniman, who pulled his one-act comedy The Dear Departed (1908) from out of “a fearsome pile of manuscripts” (The Stage), Houghton professionally picked up his playwright’s pen. He soon became the most popular resident playwright at the Gaiety Theatre, Manchester, founded by Horniman as Great Britain’s first repertory theatre.

With his first full-length play, Independent Means (1908), Houghton introduced the free-thinking “woman of ideas” animating his work. He also stimulated the Gaiety’s audiences with The Younger Generation (1910), a portrait of youth in gentle revolt, as well as the Wildean one-act comedy Fancy Free (1911). The Guardian called The Younger Generation (to be presented as a Mint Further Reading on February 5th) “a veracious and highly amusing piece of social satire” in which “the realism is delightful.”

As produced by Horniman, the controversial 1912 London premiere of Hindle Wakes at the Incorporated Stage Society, and then Coronet and Playhouse Theatres, launched Houghton as one of his generation’s preeminent young dramatists. Although many critics proclaimed Hindle Wakes the year’s best play, its themes of female sexuality provoked letters of outrage (the play, wrote “Another Playgoer” in the Pall Mall Gazette, “produced in me the sensation as if someone had spat in my face”), while the Vice-Chancellor of Oxford University attempted to put the play “out of bounds.” Although a commercial failure on Broadway, Hindle Wakes played to sold-out audiences at Chicago’s Fine Arts Theatre in 1913, and earned praise from American critics. The New York Times’ Lucian Cary observed, “Mr. Houghton has written the freshest drama in a long time.”

Now able to quit the Manchester cotton trade, Houghton embraced newfound fame in London. Despite the failure of two full-length plays contracted by West End managers, The Perfect Cure and Trust the People (1913), many critics considered his prospects undimmed. The British Review’s Edward Storer urged Houghton to create “an artistic representation of metropolitan life” away from the “fertile but savage North.”

Instead, Houghton fled to Paris, where he applied his wry and attentive eye to an (unfinished) first novel, Life. In the novel, heroine Maggie Heywood longs to escape provincial “Salchester,” and to “see all sorts of life. I only see such a little narrow side of it now.”

Tragically, Houghton fell seriously ill while staying in Venice. After a series of complications from viral pneumonia, he died in Manchester of meningitis on December 11, 1913, at the age of thirty-two. The New York Press’s Robert Allerton Parker memorialized the Manchester playwright: “The death of Stanley Houghton has taken away a real force in making the English drama cosmopolitan rather than insular, in widening its appeal while deepening its insight.” On February 15, 1915, the woman with whom Houghton’s work was so closely intertwined—producer Annie Horniman—unveiled a memorial tablet at Manchester’s Central Reference Library, inscribed with lines from his 1910 play: “The younger generation is bound to win. That’s how the world goes on.”

From the Abbey to the Gaiety: The Shocking Miss Horniman In the midst of Hindle Wakes’ controversy, its producer described herself to the censorious Vice Chancellor of Oxford as a “London suburban dissenting middle-aged middleclass spinster.” Annie Horniman (1860-1937) never married and frequently dissented, as she pioneered the English repertory theatre with her passion for new plays drawn from

real life. In her varied establishing roles with the Abbey Theatre and, then, the Gaiety Theatre, “Miss Horniman” was, according to George Bernard Shaw, “the lady who really started the modern movement.”

Annie Horniman (1860 - 1937) Raised in a prominent family with Quaker roots, Annie Elizabeth Fredericka Horniman was born in Forest Hill, London, on October 3, 1860. Her father, the tea merchant, museum founder, and politician Frederick John Horniman, encouraged Annie’s independent spirit and devotion to women’s suffrage. Starting in 1882 as a student at London’s Slade School of Art, “Tabbie” flamboyantly embodied the New Woman: “she smoked, she bicycled, she went to theaters, she belonged to a secret mystical society, she studied astrology,” according to biographer Sheila Gooddie. Belonging to the Hermetic Order of the Golden Dawn, she befriended fellow member William Butler Yeats.1 That close friendship, as well as her continental travels, pivoted Horniman to the stage. In Germany, she admired a culture of municipal theatre, and, as Rex Pogson notes, “the natural ways in which the theatre was treated as an integral part of ordinary daily

life.”2 Awakened to the new realist drama of Ibsen and Shaw, Horniman anonymously financed an 1894 London season at the Avenue Theatre that included Yeats’s The Land of Heart’s Desire and Shaw’s Arms and the Man (the latter’s commercial breakthrough). In 1904, she accompanied Yeats to Dublin to sew costumes for his The King’s Threshold, and to support the emerging Irish National Theatre Society of Yeats, Lady Gregory, and J.M. Synge.

Here, Horniman transformed the modern stage with her funding of the Abbey Theatre.

She not only commissioned an all-Irish architecture and design team but pledged the company a generous annual subsidy.

However, Horniman received little credit for her work with the Abbey. Self-conscious about her Englishness, Horniman declined to appear at the playhouse’s opening night on December 27, 1904; she later permitted her name to be excluded from the Abbey’s board of directors. As the Abbey shaped itself into a beacon of Irish nationalist drama, with increasingly little welcome for Horniman’s input, she withdrew from the company.

Wounded by her experience with the Abbey, yet inspired by its example, Horniman returned to more familiar English grounds. She resettled not in London but in Manchester: a thriving industrial and cultural hub also on the vanguard of suffrage, labor, and social reform movements. Teaming in 1908 with B. Iden Payne as the company’s founding Artistic Director, Horniman converted the Gaiety music hall into Great Britain’s first repertory theatre. Horniman became synonymous with the Gaiety, dazzling opening-night theatergoers in her high-necked, brocade gowns. Yet she led the theater with collaborative openness and practical expertise, symbolized by the sailing ship above the Gaiety’s stage.

Over the course of nine years, the Gaiety presented an eclectic rotation of classics and topical new plays. Horniman also cultivated the “Manchester School” of regional playwrights, led by Stanley Houghton,

Harold Brighouse, and Allan Monkhouse, whose Mary Broome premiered in 1911.

The Gaiety’s renown soon inspired the formation of repertory companies in Glasgow, Liverpool, and Birmingham.

Following several visits to Canada and the United States (where visits by the Gaiety nurtured the development of the Little Theatre Movement in Chicago), the Gaiety produced the spectacular 1912 London premiere of Houghton’s Hindle Wakes.

Ironically, Hindle Wakes’s success played a role in dispersing the Gaiety’s famous ensemble, as the company moved increasingly “from a single city’s delight into a universal provider of intelligent drama” (The Manchester Courier). After the theater’s permanent closure in 1920, Horniman retired from active theater production.

She received a Champion of Honour distinction in 1936, and died at her home in Surrey, on August 6, 1937. According to Gooddie, “the letters that appeared in the press after her death suggested that Miss Horniman would be remembered more for her distinctive style of dressing than for her pioneer work for British drama.”

In recent years, Annie Horniman’s legacy has drawn increasing recognition for what Edward Garnett anticipated, in 1909, as her “potent and far-reaching influence:” as a nurturer of new plays, a trailblazer of the repertory theatre and Little Theatre movements, and a theater manager of exemplary inspiration. The playwright Eden Phillpotts observed in 1912: “….

You are emphatically a great artist and the weird power to make your fellow artists greater than they would have been had they not known you, is creative.” As a close collaborator with Stanley Houghton, Annie Horniman’s less visible but no less distinctive artistry and vision contributed greatly to the vitality of Hindle Wakes.

1Sheila Gooddie, Annie Horniman: A Pioneer in the Theatre (London: Methuen, 1999).

2 Rex Pogson, Miss Horniman and the Gaiety Theatre, Manchester (London: Rockcliff Publishing, 1952).

Hindle Wakes JEREMY BECK (Alan Jeffcote) London’s West End: Shakespeare’s R&J (Arts Theater). Off-Broadway: The Cocktail Party, Widowers’ Houses, She Stoops, The Gravedigger’s Lullaby (with TACT, company member); Girl Crazy (Encores!); Betrayed (by George Packer, Culture Project); Bury the Dead (Transport Group); Pink (SPF); The President and Her Mistress (Abingdon). Regional: Wittenberg (Peterborough Players) Quartermaine’s Terms, She Loves Me, A Flea In Her Ear (Williamstown); Love’s Labour’s Lost, The Cherry Orchard, She Loves Me (Huntington); Quinnopolis vs. Hamlet (1812); The Notebook of Trigorin; The Field (Keegan). Other/OffOff: Couriers and Contrabands (by Victor Lesniewski); Beowulf – A Thousand Years of Baggage (A.R.T. & U.K. tour with Banana Bag & Bodice); The Ring Cycle; A Dog In The Manger (co-adaptations with David Dalton); Forth (by Tommy Smith); The Second Tosca (by Tom Rowan) Film: “Gods and Generals”; “The Stressful Adventures of Boxhead and Roundhead” (independent animated feature). Television: “Law & Order”; “Person of Interest”; “Unforgettable”.

REBECCA NOELLE BRINKLEY (Fanny) is a New York City based actress and fight choreographer and an alum of the University of North Carolina School of the Arts. Recent credits include “Law and Order SVU” (dir. Alex Chapple) Dead Man Walking (dir. Francesca Zambello) at the Washington National Opera, “Shifting Gears” (dir.

Jason Winn), “The Three Musketeers” (dir.

Jeremy Skidmore), “Street Scene” (dir. Carl Forsman). A huge thank you to everyone involved in the production, and an even bigger thank you to Gus Kaikkonen for all of his time and care.

EMMA GEER (Beatrice Farrar) Off -Broadway: How To Transcend a Happy Marriage (Lincoln Center Theater); Where has Tommy Flowers Gone (Workshop Theater).

Regional Theater: 4,000 Miles (Shakespeare & Company); Up the Hill (The O’Neill); The Diary of Anne Frank (Madison Repertory Theater); Peter and the Starcatcher (Smith-

biographies

town Performing Arts Center). Film: “In The Treetops” (world premiere at the Los Angeles Film Festival, 2015). Graduate of The University of North Carolina School of the Arts, 2016. Website: emma-geer.com

JONATHAN HOGAN (Nathaniel Jeffcote) The Mint: The Madras House, A Picture of Autumn, London Wall. Broadway: Comedians, Otherwise Engaged, Fifth of July, The Caine Mutiny Court Martial, As Is (Tony and Drama Desk nominations for Best Actor), Burn This, Taking Steps, The Homecoming.

Circle Rep: The Hot l Baltimore, The Mound Builders, Balm in Gilead (in collaboration with Steppenwolf – Drama Desk Award for Best Ensemble). Other performances Off-Broadway include Book of Days, Molly Sweeney, Pocatello (2015 Drama Desk nomination for Outstanding Featured Actor), and Kenneth Lonergan’s Hold Onto Me Darling (Lucille Lortel Award nominee for Outstanding Featured Actor). Films and Television: “In Country”, “The House On Carroll Street”, “A Fish In The Bathtub”, “Revolution #9”, several “Movies of the Week”, “L.A. Law”, “Quantum Leap”, all the “Law & Orders”, “House of Cards”, “40 North”, and next year’s “Woody Allen’s Summer Project”. Mr. Hogan is a graduate of The Goodman Theatre and School of Drama.

SARA CAROLYNN KENNEDY (Ada) was born in Kansas City and based in New York City. This is her Off-Broadway Debut!

Other credits include: Wittenberg, Doctors Dilemma (Peterborough Players), Shout!, Quilters (Maples Repertory Theatre), MotherFreakingHood! (Moonshine Variety Co.), A Charlie Brown Christmas (The Coterie Theatre), Hands on a Hardbody, Heathers (Unicorn Theatre), and The Addams Family Musical (New Theatre Restaurant). Special thank you to the Hindle Wakes team for having me and to my amazing family: Mom, Dad, Scott, Bethany, and Vik! Sarackennedy.com @SaraCKenn.

biographies H i n d l e W a k e s KEN MARKS (Christopher Hawthorn) Mint debut. Favorite Off-Broadway credits include The Colonel in Father Comes Home From the War, parts 1,2&3 (Public Theatre), Editor Webb in Our Town directed by David Cromer (Barrow Street), Bethany, written by his wife Laura Marks (Women’s Project), also Orson’s Shadow, Stuff Happens, Stage Kiss, and The Internationalist. Debuted on Broadway in the Tony Award Winning Dancing at Lughnasa, followed by Present Laughter, Mammamia (original company), After the Fall, Spring Awakening, Rock N’Roll, Hairspray (the last Wilbur Turnblad), Uncle Ben in Spider-Man: Turn off the Dark, and Airline Highway. Television: Recurring roles on “The Exorcist” and “Elementary”, and guest starring roles on “The Tick”, “Blue Bloods”, “Billions”, “Royal Pains”, “The Good Wife”, and several “Law & Order”. Film: “Staten Island”, “StepUp 3D”, “Henry’s Crime”, “Side Effects”, and the recently released “Blood Stripe”.

BRIAN REDDY (Sir Timothy Farrar) Broadway: Cat on a Hot Tin Roof (w/ Scarlett Johansson), A Free Man of Color, Finian’s Rainbow, Gypsy (w/ Patti LuPone), The Caine Mutiny Court-Martial, Dinner at Eight, Abe Lincoln in Illinois (Steven Douglas), The Crucible (Rev. Parris), A Little Hotel, Alice in Wonderland, and the nat’l company of M. Butterfly. Off-Broadway: Death Defying Acts (by Woody Allen, Elaine May and David Mamet), Othello (Iago), A Midsummer Night’s Dream (Bottom), The Cradle Will Rock (dir. John Housman), Orchards (w/ the Acting Company). Regional Theatre: Guthrie (World Premiere of Christopher Hampton’s Appomattox, Pygmalion, Ah Wilderness), Alley Theater (World Premiere of Rajiv Joseph’s Monster at the Door), The Liar (Westport Playhouse), Twelfth Night (Sir Toby Belch, Center Stage), Arena Stage, the Goodman, All My Sons - Joe Keller (Guest Artist University of GA), two seasons at Shakespeare DC and three with The Acting Company.

Film: “O Brother Where Art Thou?”, “Envy”, “Lost Souls”, “The Birdcage”, “Casino”, “What About Bob?”. Television: “Madam

Secretary” (recurring), “Elementary”, “House of Cards”, “Person of Interest”, “The Good Wife”, “Numbers”, “Law & Order”, “Ed”, “Gilmore Girls”, “Buffy”, and “Seinfeld” (High-Talker).

SANDRA SHIPLEY (Mrs. Hawthorn) Sandra is thrilled to return to Mint where she last appeared in Rutherford and Son. She was most recently seen on Broadway in Present Laughter with Kevin Kline. Other Broadway credits include: The Importance of Being Earnest, Blithe Spirit, Equus, Pygmalion, Retreat from Moscow, Vincent in Brixton, Indiscretions. Off-Broadway she has appeared in Suddenly Last Summer, Arms and the Man, Deep Blue Sea (Roundabout) Stuff Happens, Venus (Public) Kindertransport (MTC) Once Around the City (Second Stage) Phaedra (CSC) The Clearing (Blue Light) Hannah and Martin (Epic) Sandra toured with the first National tours of Anything Goes and Blithe Spirit (with Angela Lansbury). Her extensive regional credits include being a three-year company member of both the American Repertory Theatre and the Boston Shakespeare Company and appearances with the Actors Theatre of Louisville. Dallas Theater Center, Guthrie, Hartford Stage, Huntington, La Jolla Playhouse, Merrimack Rep, Long Wharf, Old Globe, Williamstown Theatre Festival.

United Kingdom: Royal Shakespeare Company, Royal Court, West End. Film: “Monument Ave”, “John Lennon Story”. Television: “Law & Order”, “Law & Order SVU”, “Third Watch”, “Lipstick Jungle”, “All My Children”.

Awards: Elliot Norton Medal for Sustained Theatre Excellence, LA Robbie Award for Best Actress in a Drama. New England IRNE. JILL TANNER (Mrs. Jeffcote) With the Mint Theater: A Day by the Sea, A Picture of Autumn, Mary Broome. Broadway: Dividing the Estate, Enchanted April, Rose, My Fat Friend, No sex Please, We’re British. National Tour: Lettice and Lovage. Off-Broadway: The Travelling Lady at the Cherry Lane Theater; The Golden Bowl with Pilobolus Dance Company.

Hindle Wakes Regional: Enchanted April, Hartford Stage Company; Richard III, Guthrie Theatre; The Rivals, ACT; Coriolanus, You Never Can Tell, Denver Theatre Center; The Importance of Being Earnest, Enemy of the People, Mc Carter Theatre; Premiere of Horton Foote’s Vernon Early, Last Night of Ballyhoo, Ghosts, The Cherry Orchard, Alabama Shakespeare Festival.

Over a hundred books on tape for the Library of Congress and Recorded Books. Training: the Royal Academy of Dramatic Art. GUS KAIKKONEN (Director) is happy to be back at the Mint where he previously directed his own translations of Jules Romains’ Dr. Knock and Donogoo, as well as A Picture of Autumn by N. C. Hunter, three plays by Granville-Barker: The Madras House, The Voysey Inheritance, and Farewell to the Theatre, St. John Hankin’s The Charity that Began at Home and George Kelly’s The Flattering Word. He has acted at the Mint in A Day by the Sea, Mary Broome, and The House of Mirth.

Other Off-Broadway directing credits include The Philanderer, Tartuffe, Arms and the Man, The Gentleman Dancing Master, I Have Been Here Before, and Heartbreak House at the Pearl, People Like Us at NYMF, Janie Condon: Raw and Unchained at St. Luke’s, Antigone (Wall Street Journal Best of 2006) Art for the Phoenix Theatre Ensemble, and Susan Sandler’s Under the Bed at HB. He directed Gordon Clapp in Andy Dolan’s This Verse Business, which was chosen Best Production in Off-Broadway’s 2013 United Solo Festival. In the regions, he has directed at NJPAC (Berlioz’s Lelio for the NJ Symphony), Merrimack Rep, Goodspeed, Ford’s Theatre (Trying with James Whitmore), Geva, the Asolo, the Philadelphia Theatre Company and the Coconut Grove Playhouse (About Time with Theodore Bikel). For 23 years he has been the Artistic Director of New Hampshire’s Peterborough Players. Awards include two NYSCA grants, the Lecomte du Nouys Playwriting Award, a MacDowell Fellowship, eight New Hampshire Theatre Awards for Direction, and the James Thurber Fellowship. www.guskaikkonen.com

biographies

SAM FLEMING (Costumes) Her costume designs have been seen at theatres across the country including the Los Angeles Opera, San Francisco Opera (world premiere of Dead Man Walking, with the international premier at State Opera South Australia), Alley Theatre in Houston, Arizona Theatre Co., Atlanta’s Alliance Theatre Company, Playmaker’s Repertory Company, Hartford Stage Company, Denver Center Theatre Company, Pennsylvania Shakespeare Festival, Center Stage, Peterborough Players, Houston Opera Studio, Skylight Opera Theatre, Texas Opera Theatre, ACT Seattle, Georgia Shakespeare Festival and Berkeley Repertory Theatre (Craig Lucas’s award-winning Reckless). She designed over 50 productions for Milwaukee Repertory Theater during her 14 years with the company. Ms. Fleming received the Los Angeles Drama Critics Circle Award for her designs for the Dr. Seuss-inspired A Midsummer Night’s Dream at Westwood Playhouse.

Off-Broadway, she designed the new musical Prince and the Pauper, and has worked with the Pearl Theatre, Manhattan Class Company, The Women’s Project, and the Mint.

She is the associate costume designer for THe Phantom of the Opera on Broadway.

CHARLES MORGAN (Sets) Mr. Morgan returns to the Mint Theater for his fifth show.

Mr. Morgan most recently designed A Day

by The Sea by N.C. Hunter. Also at the Mint, Mr. Morgan has designed, The Madras House & The Charity That Began at Home. Mr. Morgan has designed scenery for over 200 shows in Chicago, New York, and Boston. Mr. Morgan works extensively with Mr. Kaikkonen at the Peterborough Players in Peterborough NH; collaborating on over 50 shows. Mr. Morgan has also designed for Merrimack Repertory Theater, American Stage Festival, The Nora Theater, Worcester Foothills, and Gloucester Stage Company, among others. Special thanks to KC, Nora, Catherine, and Miles for taking him along for the ride.

biographies H i n d l e W a k e s CHRISTIAN DEANGELIS (Lights) is delighted to be designing for the Mint. Selected Design Credits: Insurrection, All My Sons (Arthur Miller Theatre, Ann Arbor, MI.); Mary Poppins (Village Theatre); Spamalot (5th Avenue Theatre); The Fatal Weakness (Henry Hewes Design Award Nomination), The Lucky One, Philip Goes Forth, Love Goes To Press, The New Morality (Mint Theatre); Through the Night (City Theatre, PA. & Cincinatti Playhouse in the Park, OH.); Don Giovanni (Ash Lawn Opera); Dr. Jekyll & Mr. Hyde, The Brother’s Size (City Theatre, PA.); Lizzie Borden (Living Theatre, NY. Drama Desk Nomination); The Clean House, A Blessing of a Broken Heart (San Diego Rep); Pericles (Old Globe Theatre); Into the Woods, Boy Gets Girl, Trip to Bountiful, Pride & Prejudice, Arabian Nights, Junta High (VCUHodges Theatre). Christian currently teaches at Virginia Commonwealth University.

JANE SHAW (Sound & Original Music) has designed over twenty-five productions for the Mint including The Suitcase Under the Bed, A Day by the Sea, Women Without Men, London Wall, Mary Broome, and The Fifth Column. New York credits include: Measure for Measure (Theatre for a New Audience); Men on Boats (Playwrights Horizons and Clubbed Thumb); Ironbound, (Women’s Project and Rattlestick); Actually (MTC) and Blood at the National Black Theatre. Regional credits: Shakespeare in Love, Cleveland Play House; Seder, Hartford Stage; Milwaukee Rep, Two River Theater, Denver Center. Next: Water by the Spoonful, Mark Taper Forum; El Coqui and the Bottle of Doom, Two River Theatre.

Recognition: Bessie Award, Drama Desk, Connecticut Critics Circle, Henry Award, Premios ACE 2012, Meet the Composer grant, Theatre Communication Group’s Career Development Program, and nominations for two Lortels, Henry Hewes and Elliot Norton awards. She was born in Kansas and lives in Brooklyn.

JOSHUA YOCOM (Props) collaborates with the Mint yet again. Joshua has worked as a properties master and freelance artisan with a number of NYC companies, including Roundabout, Keen, Epic Theatre Ensemble, Red Bull, The Pearl, Second Stage, Primary Stages, Theatre for a New Audience, Gotham Chamber Opera, NYC Ballet, Lincoln Center, Queens Theatre, Summerworks, Across the Aisle Productions, Snug Harbor, the Atlantic Theater Co., The New School, and the York Theatre Company. Joshua also props and styles bedding and rooms for print through collaboration with the Mayo photography studios.

AMY STOLLER (Dialects & Dramaturgy) has been helping Mint casts suit words to actions since 1997, most recently with The Suitcase Under the Bed and The Lucky One; her Mint shows with director Gus Kaikkonen include A Picture of Autumn and The Voysey Inheritance. Recent theatre elsewhere includes Ken Urban’s A Guide for the Homesick, directed by Colman Domingo (Huntington Theatre Co., Boston); Horton Foote’s The Traveling Lady, directed by Austin Pendleton (Cherry Lane); and Anna Deavere Smith’s award-winning Notes from the Field, directed by Leonard Foglia (Second Stage).

On Broadway Amy coached Jessie Mueller (Tony Award) as Carole King in Beautiful.

Screen credits include Notes from the Field, premiering on HBO February 24; Selma (Carmen Ejogo as Coretta Scott King); Anna Deavere Smith’s Let Me Down Easy (PBS “Great Performances”); “Mozart in the Jungle”; “Nurse Jackie”; “Power”; and the Mint’s production of London Wall (WNET “Theater Close-Up”). www.stollersystem.com.

MAYA CANTU (Program Note) is Dramaturgical Advisor for the Mint, where Hindle Wakes is her tenth production since 2013’s Philip Goes Forth. Maya is on the Drama faculty at Bennington College, and received her D.F.A. in Dramaturgy and Dramatic Criticism at Yale School of Drama. She is the author of the book, American Cinderellas on the

Hindle Wakes

biographies

Broadway Musical Stage: Imagining the Work- Arcadia (PTP @ Atlantic Stage 2). The View ing Girl from Irene to Gypsy (Palgrave Mac- UpStairs (Invisible Wall Productions), Martin Luther on Trial (FPA), The Total Bent (The millan, 2015).

Public Theater), A Midsummer Night’s Dream ROB REESE (Production Manager), is (CSC). National tours: Pippin. NYC/Rea Production Manager At Large working gional: Camp Rolling Hills, Club Gelbe Stern trough The Lighting Syndicate for such the(NYMF), Happily After Ever (Edinburgh, ater companies as the Mint Theater Com59E59), At The Table (Fault Line), Three Hours pany, Classic Stage Company, and Bay Street (HERE), Caucasian Chalk Circle (Shanghai).

Theater. Rob is also a Director and Writer Upcoming: One Thousand Nights and One Day of plays, operas, and musicals including Mi(Prospect) MFA Columbia University. randa (HERE, Winner of the Innovative Theater Award for Outstanding Musical), STEPHANIE KLAPPER, CSA (Casting)’s Yahweh’s Follies (Godspell for a new millen- work is frequently seen on Broadway, Offnium). He’s currently directing an improv- Broadway, regionally, internationally, on telecomedy revue for Bay Street Theater in Sag vision, film and the internet. Resident CastHarbor, NY which has the distinction of be- ing Director for Primary Stages and contining the premiere professional improv com- ues her long collaborations with numerous pany within 100 miles of New York City, companies such as Mint Theater Company, New York Classical Theatre, The Peccadillo, inclusive.

Hudson Valley Shakespeare Company, MasJEFF MEYERS (Production Stage Manterworks, and Resonance Ensemble as well ager) was in a play once. He played the as others in NYC and in the regions. Cur“Captain” in the Grand Junction, Colorado, rently has a number of very exciting projects high school production of Carousel. He then running and upcoming in NYC, regionturned to stage management. He is very ally and on film. Recent projects include: Red pleased to be continuing his collaboration Roses, Green Gold; Pride and Prejudice (Kate with Mr. Bank and Mint Theater having preHamill); The Suitcase Under The Bed; Romantic viously worked on The Suitcase Under the Bed, Trapezoid; Westside Story (Philadelphia OrThe Lucky One, Yours Unfaithfully, A Day by the chestra); Daniel’s Husband; The Lucky One; Sea, Fashions For Men and Earnest HemingYours Unfaithfully; “Another Dance of Death” way’s The Fifth Column. New York highlights (short film). Member: Casting Society of also include Beyond Therapy and Happy BirthAmerica. day (TACT), Painting Churches and Marry Me A Little (Keen Company), Amazons And DAVID GERSTEN & ASSOC. (PubliTheir Men (Clubbed Thumb), Orange Flower cist) has served as press representatives and Water and Adam Rapp’s Stone Cold Dead Seri- marketing consultants on Broadway and off ous (Edge Theater Company), Hamlet (CSC), for over twenty-five years. In addition to the Critical Darling (The New Group) and Greg Mint, current clients include several not-for Kotis’ Eat The Taste (Barrow St. Theatre). profit theater companies including Ensemble Regional highlights include, The Theater at for the Romantic Century, INTAR, Keen Monmouth’s 2005 through 2015 summer Company, NAATCO, Project Shaw/Ginseasons and The Underpants (Two River The- gold Group, Red Bull Theater, and TACT, ater Company). His union of choice is AEA, among others. David serves on the Board of and he dedicates this and every performance Governors of ATPAM, the Association of Theatrical Press Agents & Managers and is a to his Mom and Dad. member of the Off-Broadway League and a ELIZABETH ANN GOODMAN(Stage founder of the Off-Broadway Alliance.

Manager) Broadway: Misery, Romeo and Juliet, The Testament of Mary. Off-Broadway:

biographies H i n d l e W a k e s MINT THEATER COMPANY finds and produces worthwhile plays from the past that have been lost or forgotten. It is our mission to create new life for these plays through research, dramaturgy, production, publication, readings and a variety of enrichment programs.

Under the leadership of Jonathan Bank as Producing Artistic Director, Mint has secured a place in the crowded theatrical landscape of New York City. We have received Special Obie and Drama Desk Awards recognizing the importance of our mission and our success in fulfilling it. Terry Teachout of The Wall Street Journal writes that the Mint has a “a near-perfect track record of exhuming forgotten plays of the previous century that deserve a happier fate.”

Our process of excavation, reclamation and preservation makes an important contribution to the art form and its enthusiasts. Scholars have the chance to come into contact with historically significant work that they’ve studied on the page but never experienced on the stage.

Local theatergoers have the opportunity to see plays that would otherwise be unavailable to them, while theatergoers elsewhere may also have that opportunity in productions inspired by our success. Important plays with valuable lessons to teach—plays that have been discarded or ignored—are now read, studied, performed, discussed, written about and enjoyed as a result of our work.

Sharing with our audience the context in which a play was originally created and how it was first received is an essential part of what we do. Our “EnrichMINT Events” enhance the experience of our audience and help to foster an ongoing dialogue around a play. These post-performance discussions feature world class scholars discussing complex topics in an accessible way and are always free and open to the general public. Our “Further Readings” program—an ongoing series of concert-

style play readings—offers our audience an opportunity to delve deeper into the work of some of our favorite playwrights.

We not only produce lost plays, but we are also their advocates. We publish our work and distribute our books, free of charge to libraries, theaters and universities. Our catalog of books now includes an anthology of seven plays entitled Worthy but Neglected: Plays of the Mint Theater plus five volumes in our Reclaimed series, each featuring the work of a single author: Teresa Deevy, Harley Granville Barker, St. John Hankin and Arthur Schnitzler.

Mint Theater Company

Producing Artistic Director . . Jonathan Bank Assoc. Producer . . . Rebecca Nell Robertson

Marketing & Devo. Assoc. . . . Karina Mena Development Consultant . Ellen Mittenthal Dramaturgical Advisor . . . . . . . Maya Cantu

Videographer . . . . . . . . . . . . . Mike LoBello

Production Office Asst. . . Catalina Adragna Exploring the Arts Intern . . Flerida Taveras Advertising & Website Design . . . . . . . . . . .

The Pekoe Group/ Amanda Pekoe, Jason K. Murray, Kathryn Zaccarelli, Christopher Lueck, Briana Lynch, Jenny Dorso, Noah Fried, Brittany Mashel Press Rep. . . . . . . . . David Gersten & Assoc David J. Gersten, Daniel DeMello Financial Services . . . . . Nellis Mgt. Services Andrea Nellis & Lucy Mallett Auditor . . . . . . . . Lutz & Carr, CPA’s, LLP

Ciro Gamboni was a long-time friend of the Mint, and a member of our Board of Trustees. Ciro and his wife Gail began attending our performances in 2005 and never missed a play or a reading. Gail continues to attend Mint performances.

Ciro was an esteemed attorney specializing in the complex world of international transactions but he always found time for the theater, which he loved. Before the Mint, Ciro was a Board member of the famed Circle Repertory Company, and he even once dabbled his toe in commercial waters as an associate producer of a revue called “Scrambled Feet”.

Sadly, Ciro passed away last spring, on April 23rd (Shakespeare’s birthday.) Ciro left the Mint a wonderfully generous bequest of $50,000, for which we are deeply thankful.

As an expression of appreciation and gratitude, both for Ciro’s generous gift and for his many years of service and support of the Mint, the Board of Trustees is proud to announce the formation of the Ciro A. and Gail P. Gamboni Legacy Society.

Any planned gift entitles you to join the Legacy Society. If you have provided for the Mint in your estate planning and would like to be listed in future programs, please contact our office: 212.315.9434.

Gretchen Adkins Jonathan Bank Bob Donnalley John P. Harrington

Board of Trustees

Brian Heidtke Eleanor Reissa Kathryn Swintek John Yarmick

Pictured: Ciro and Gail at Mint’s 2012 Spring Benefit

Ciro A. and Gail P. Gamboni Legacy Society

The following generous Individuals, Foundations, & Corporations support the Mint Theater, and we honor their contributions:

Crème de la Crème: $25,000 and above

Howard Gilman Foundation Edith Meiser Foundation The Andrew W. Mellon Foundation New York City Department of Cultural Affairs Royal Little Family Fdn. The Shubert Foundation, Inc.

Crème de Mint: $10,000 - $24,999

Anonymous Barbara Bell Cumming Foundation Cory & Bob Donnalley Charitable Foundation Jean and Louis Dreyfus Foundation Richard Forstmann The Fan Fox & Leslie R. Samuels Foundation The Gladys Krieble Delmas Foundation John & Janet Harrington The Heidtke Foundation Rebecca Kaplan Lucille Lortel Foundation New York State Council on the Arts The Ted Snowdon Fdn. The Harold & Mimi Steinberg Charitable Trust Michael Tuch Foundation John Yarmick

SilverMint: $5,000 to $9,999

Anonymous Gretchen Adkins Axe-Houghton Foundation Robert Brenner Virginia Brody Johanna & Leslie Garfield Marta Heflin Foundation David L. Klein, Jr. Fdn. Blanche & Irving Laurie Foundation Gemzel Hernandez Martinez M.D. Elaine & Richard Montag Lorna H. Power Jerome Robbins Foundation Wallace Schroeder The South Wind Foundation The Dorothy Strelsin Fdn. The Geraldine Stutz Trust, Inc. Kathryn Swintek

ChocolateMint: $2,500 - $4,999

42nd St. Development Corp.

David & Kim Adler Grover Connell William Downey Nicholas & Edmée Firth Charles & Judith Freyer Agnes & Emilio Gautier Paul & Karen Isaac Christopher Joy & Cathy Velenchik Sarah-Ann & Wynn Kramarsky The Dorothy Loudon Foundation Dorinda Oliver The Petros K. & Marina T. Sabatacakis Foundation David Stenn Sukenik Family Foundation Dennis & Katharine Swanson Mary Ellen & Karl von der Heyden

SpearMint: $1,500 - $2,499

Jon Clark & Ryan Franco Mr. & Mrs. Edward W. Franklin Ruth Friendly The Gordon Foundation Robin Jones Mildred Kuner The Lambs Foundation Sandra & Jonathan Landers Frederick Meyer Susan & Zachary Shimer Sarah Billinghurst Solomon Stagedoor Manor Alec Stais & Elissa Burke Michael Thomas Helen S. Tucker, Gramercy Park Fdn. Hilda Wenig & Lisa Renz Jivan Wolf

PepperMint: $750 - $1,499

Actors’ Equity Foundation Judith Aisen & Kenneth Vittor Joseph Bell & Peter Longo John H. & Penelope P. Biggs Lois Burke Ann Butera Ann DeInnocentiis Doreen Morales in memory of Larry Morales W. Leslie Duffy Jennifer & Greg Ezring

Barbara Farrar & Tom Evans Jane & Charles Goldman Marta Gross & Richard Barnes David Herskovits Barbara Hill Hickrill Foundation International Friends of the London Library Frank Lenti Charlene & Gary MacDougal Martin & Maude Meisel John David Metcalf Joseph Morello James J. Periconi Eleanor Reissa Mark Rossier Mary & Winthrop Rutherfurd Drs. Carole M. Shaffer-Koros & Robert M. Koros John Q. & Karen E. Smith Dr. Norman Solomon Charles Sperling Stella Strazdas & Hank Forrest Charitable Fund M. Elisabeth Swerz Susan & Charles Tribbitt Francis Williams Steven Williford Elaine Yaffe

DoubleMint ($250 - $749)

Anonymous (14) Stephen Abel & Frank Wolf Barbara & Alan Abrams Richard Abrons Thomas & Mary Adams Dr. Albert Leizman & Ann Harte Louis Alexander Dean Alfange Linda & Lloyd Alterman Laura Altschuler Carmen Anthony Louise L. Arias Jordan Baker & Kevin Kilner Randy & Ruth Bank Judith Barlow Barbara Berliner & Sol Rymer Muriel Bermar Al Berr Nidia Besso Clint Best Peter & Helena Bienstock Judith Bihaly Gene & Joann Bissell Steven Blier & James S. Russell Allison Blinken Julian & Zelda Block

supporters Rose-Marie Boller & Webb Turner Dr. & Mrs. Jeffrey Borer Joan & Seymour Boyers Alice Boyle Nathan Brandt Steven Brauser Bebe & Douglas Broadwater Debra Brockway in memory of Clinton Brockway Dorothy Burke Melinda Bush Albert Butzel Catherine Cahill & William Bernhard Peter Cameron Alice B. Cannon-Perkins & Fred Perkins Fairfid M. Caudle Aurelie Cavallaro Elinor Ceresney Russell Charlton & Julie Norwell Carolyn Chave & Robert Hand Stephen & Elena Chopek C.L. Christensen Steven Coe Toni Coffee Ira Cohen Pamela Coker & John Walls Julie Cushing Connelly Dennis Consumano & Cynthia Appelblatt Jo Ann Corkran Peggy Correa Penelope & Peter Costigan Audrey & Fergus Coughlan Marina Couloucoundis Lorraine Coyle Tandy Cronyn Leslie Crossley George & Susan Crow Michael Crowley John & Ellen Curtis Cynthia Darlow & Richard Ferrone Sue & Stuart Davidson Anthony & Ruth Demarco Denny Denniston & Christine Thomas Katherine & Bernard Dick Ruth & Robert Diefenbach Thomas A. Dieterich Nancy M. Donahue Caroline Donhauser Elizabeth Dooley Suzanne Dowling Joan Drelich James Duffy Catherine N. Dugan Emily Dunlap Don & Sheila Dunphy Kim & William Eckstrom

Herzl Eisenstadt Marjorie Ellenbogen Monte Engler & Joan Mannion Fred & Sara Epstein Judith Eschweiler Elen & Frank Estes H. Read Evans Ronald & Diana Ezring Kathleen Feely Linda Feinstone Howard Feldman James Feldman William Finkelstein Angela T. Fiore James Fleckenstein Eva & Norman Fleischer Barbara Fleischman Charles Forma Carol & Burke Fossee Jeffrey & Diana Frank Roger & Patricia Friedman Dr. Barbara Gaims-Spiegel & Robert M. Spiegel Eugene Gantzhorn Michael Garber Mary J. Geissman Marion & Whitney Gerard Susan & David Gerstein Adrian Gill & Anna L. Hannon Suellen & David Globus Betty & Joshua Goldberg Ryan Goodland & Evan Leslie Margaret Goodman Charles Gordanier & Susan Kornacki Sarah Gordon Minette Gorelik Stanley Gotlin & Barry Waldorf Gordon Gould Anna Grabarits Arnold H. Grossman Georgia & Antonio Grumbach Carol & Steven Gutman Gunilla Haac Lanie Hadden Dr. Ronald & Maria Hagadus Joseph Hardy John Hargraves & Nancy Newcomb Delphi Harrington Cynthia Harris Alvan & Joan Harrison Charles Hayman Carol Hekimian Reily Hendrickson Michael Herko Gabor Herman Sigrid Hess Linda & George Hiltzik

Claire Hinchcliffe Louise Hirschfeld & Lewis B. Cullman Alan Hirsh Eleanor Hodges Carol Hoffman Heather & Bruce Horner Cheryl Hurley Harriet & Elihu Inselbuch Linda Irenegreene & Martin Kesselman Jocelyn Jacknis James W. Jackson Wendy & David Johnston Joseph Family Char. Trust Gerhard Joseph Virginia Josephian Peter Haring Judd Fund Bill & Margaret Kable Dawn Kafcos Elizabeth Kaming Greg & Karin Kayne Joan Kedziora Frances & Carter Keithley Laurie Kennedy Kaori Kitao Frederick Koch James J. Kolb Marlene & Gerald Kolbert Anna Kramarsky & Jeanne Bergman Jean Kroeber Carmel Kuperman Julie Laitin David & Mary Lambert Sybil Landau William & Robert Lang Karl Laub Gordon Leavitt Ira Leeds Laura & Rodney Leinberger Mary Linda Levine Cathie Levine & Josh Isay Gloria & Mitchell Levitas Carol & Stanley Levy Eva Lichtenberg & Arnold Tobin Claire Lieberwitz & Arthur Grayzel, MD Joseph Lombardi Daniel Lowenstein Mary & Boyd Lowry Paul Lubetkin & Joyce Gordon Dayna Lucas Joan M. Lufrano Jon Lukomnik & Lynn Davidson Bette Lyons Edward Maguire & Mary Atwood Mary Rose Main Vivian Majeski

supporters Martin Maleska & Julia McGee Raoul Mancini Barbara Manning Florence Mannion Christina Mantz Jean & Robert Markley Jacqueline Maskey Eileen Mason Michael Massimilla Jill Matichak Lorraine Matys Peggy Mautner Doris & David May Cheryl & Harris May George W. Mayer Pamela Mazur, PhD John McCaskey Patricia A. McCormack Carolyn McGuire Robert McLaughlin & Sally Parry Ilse Melamid Joan & John Mendenhall Radley Metzger Leonard & Ellen Milberg Lusia & Bernard Milch Susan & Joel Mindel Ann Miner George Morfogen Frank Morra Elaine & Ronald Morris John & Michelle Morris Carole & Theodore Mucha Mike & Jane Muchmore Georgia & Mark Munsell Daniel Murnick & Janet George Karol Murov Virg & Bob Nahas Peter & Susan Nitze Alexa Shae Niziak June O’Donnell Stephanie & Robert Olmsted Modest & Linda Oprysko Colleen Orsatti Frances Pandolfi Jeanine Parisier Plottel Jonathan & Deborah Parker Steven Phillips & Isabel Swift Sheila & Irwin Polishook Isaac Pollak Gary Portadin Georgette & David Preston Robert & Carlo Prinsky Barbara & Joe Psotka Robert A. Pugsley Judith Quillard

Judith & Sheldon Raab Susan & Peter Ralston Teresa Ranellone Linda Ray Joe Regan Jacqueline Reich Cordelia & David Reimers Tom Repasch Peter Robbins & Paige Sargisson Phyllis & Earl Roberts Richard V. Robilotti Renee & Seymour Rogoff Brian Rohman & Peggy Herzog Robert & Rhoda Roper Donna & Ben Rosen Saul Rosenthal Charles & Meryl Rubin Marcia & Michael Rubin William Rumancik & Paul Cowan Lynn & Thomas Russo Kathy Salem Rosemarie Salvatore Peter and Mary Jane Sander J.B. Sandler Judy & Sirgay Sanger Mary Ann Scaggs Catherine Scaillier Judy & Dick Schachter Archer & Maxine Scherl Caroline Schimmel Daphne & Peter Schwab Marilyn & Joseph Schwartz Robert Secor Jim & Ann Settel Ronald Shaw George & Marjorie Shea Camille & Richard Sheely Janet & Joseph Sherman Robert Shivers Helen Shufro Herbert Shultz Shelley & Joel Siegel Marion Simon Adrianne & David Singer Frank Skillern Beverly Sloan Janet & Mike Slosberg Anthony Smith & Patricia Bettin Smith Barbara Madsen Smith Bernice Smith Hope Sobie Barbara Solomon Sandra & Graham Spanier Shondell & Ed Spiegel

Voytek Sporek Emmy & Richard Springer Martha S. Sproule Marcella Ann Stapor Sherry & Bob Steinberg Gary Stern Peter & Wendy Stetson Susan Stockton & William Garvin Mihail & Doina Stoiana Amy Stoller Edna & Robert Straus Elaine Strauss Pamela Stubing Joseph Sturkey Dr. Larry E. Sullivan Richard & Jean Swank Jean Swintek Kelsey Swintek Carol Tambor & Kent Lawson Douglas G. Tarr Brinton Taylor & Francis C. Parson Jr. Elaine Taylor-Gordon Madeline Taylor Deborah & Craig Thompson Caroline Thomson & Steve Allen Joan & Jack Thorne Lee Toole & Kimiko Otsuka Stan & Madelene Towne Linda & Ken Treitel Evelyn Truitt Martha Van Hise Anthony & Elaine Viola Joan & Bob Volin Robert & Janet Wagner John Michael Walsh Robert G. Walsh Steven Warshawsky & Kim Ruska Rob Webb & Pat DeRousie-Webb Kevin & D.G. Weber-Duffy Donna Welensky Patricia & Richard White Anita & Byron Wien Robert & Lillian Williams Constance Wingate Trudy Wood & Jacob Goldberg Daniel Marshall Wood Diana Zoltick Donald & Barbara Zucker Mary Zulack & Peter Belmont Burton & Sue Zwick

This list represents donations made from July 7, 2016 - December 4, 2017.

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

Hindle Wakes Production Staff

Production Manager . . . . . . . . . . Rob Reese Master Carpenter/Set Construction . . Carlo Adinolfi Production Supervisor . . . . . . . The Lighting Syndicate Master Electrician . . . . Desi McCoy-Fischer Asst. Lighting Designer & Programmer . . .

Eric Mitchell Lighting Asst. . . . . . . Benjamin Zasimowich Sound Supervisor . . . . . . . . Newrence Wells Board Operator . . . . . . . . . . . Emma Hogan Wardrobe Supervisor . . . . . Bethany Mullins Hair & Wig Design . . . . . . . . Gerard Kelly Costume Asst . . . . . . . . . . Holly McCaffrey Stage Crew . Stef Buckner, Tristan Harness, Tina Truong Asst Director . . . . . . . . . . . . . Caitlin Davies Production Asst . . . . . . . . . . Tristan Harness Casting Asst . . Lacey Davies, Leah Shapiro Asst. to SKC ��������� Caitlein McCoy, Kat Mc House Management . . . . . Megan Robinson

General Manager...................Erika Feldman Assoc. Gen. Manager........... Shawn Murphy Technical Director................... Keith Adams Asst. Tech Dir........Evan Brubaker, Jamianne Devlin, Andre Sguerra, Luis Payero Box Office Manager...................... Azizi Bell Asst. Box Office Mgr. & Mktg. & Social Media Mgr...........................Drew Overcash Asst. Box Office Mgr........... Amanda Finch, Kelsey Kennedy Box Office Staff................... Michael Dewar, Kiley McDonald, Bailey Reeves House Manager.................... Jack Donoghue Studio Manager........................... Scott Pegg

42SDC Board of Directors Kevin Harrington, Chair Michael Bailkin Daniel Biederman, Treasurer Carmen Bowser, Secretary Miriam Harris Marian Heiskell Jeffrey A. Horwitz William J. Maloney John Peterson THEATRE ROW This theater is oper- Melissa Pianko ated by Theatre Row Studios, a program of Wendy Rowden, President the 42nd Street Development Corporation Zachary Smith (42SDC). 42SDC is a non-profit (501(c)(3)) that champions and funds arts ventures that Executive Team catalyze creative neighborhood development. Wendy Rowden, President Since its founding in 1976, 42SDC has been Bruce Levine, Chief Financial Officer at the forefront of the redevelopment and reSpecial Thanks vitalization of 42nd Street.

In the event of fire, please proceed quietly to Douglas Filomena, Jay Sterkel, and Patrick Dugan of The Lighting Syndicate, LLC. the nearest exit. Exits are located where you Erika Feldman and Shawn Murphy of entered the theater complex.

Theatre Row and the Lucille Lortel Foundation Fellowships in Theatre.

The use of cameras and other recording devices in this theater is prohibited by law. Program Lighting equipment provided There is no smoking anywhere in this theater in part by the ETC Corporate Giving Equipment Grant and the Technical Upgrade or in the theater complex, including, lobby, Project of the Alliance of Resident Theaters/ stairways and restrooms.

New York through the generous support of This presentation is not a Theatre Row Studios the New York City Council and the City of or 42nd Street Development Corporation New York Department of Cultural Affairs. production, nor does its presentation in Mint Theater Company wishes to thank the this theater imply approval or sanction by TDF Costume Collection. nd either Theatre Row Studios or 42 Street Development Corporation”.

Mint Production History The Suitcase Under the Bed, 2017

What the Public Wants, 2011

Echoes of the War, 2004

The Lucky One, 2017

Wife to James Whelan, 2010

Two Plays by A.A. Milne

Yours Unfaithfully, 2017

Doctor Knock, 2010

A Day by the Sea, 2016

So Help Me God!, 2009

By Teresa Deevy

By A.A. Milne

By Miles Malleson

By N.C. Hunter

By Arnold Bennett

By Teresa Deevy

By Jules Romains

By Maurine Dallas Watkins

By J.M. Barrie

Milne at the Mint, 2004 Far and Wide, 2003

By Arthur Schnitzler

The Daughter-In-Law, 2003

By D.H. Lawrence

By Lennox Robinson

The Charity That Began at Home, 2002

The New Morality, 2015

The Widowing of Mrs. Holroyd, 2009

No Time for Comedy, 2002

Fashions for Men, 2015

The Glass Cage, 2008

Rutherford & Son, 2001

The Fatal Weakness, 2014

The Fifth Column, 2008

Diana of Dobson’s, 2001

Donogoo, 2014

The Power of Darkness, 2007

London Wall, 2014

The Return of the Prodigal, 2007

The Flattering Word & A Farewell to the Theater, 2000

Women Without Men, 2016

By Hazel Ellis

By Harold Chapin

By Ferenc Molnár

By George Kelly

By Jules Romains

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

Is Life Worth Living?, 2009

By D.H. Lawrence

By J.B. Priestley

By Ernest Hemingway

By Leo Tolstoy

By St. John Hankin

The Madras House, 2007

By Harley Granville-Barker

John Ferguson, 2006

By St. John Ervine

By St. John Hankin

By S.N. Behrman

By Githa Sowerby

By Cicely Hamilton

By George Kelly & Harley Granville-Barker

Welcome to Our City, 2000

By Thomas Wolfe

Miss Lulu Bett, 2000

By Zona Gale

Susan and God, 2006

The Voysey Inheritance, 1999

Soldier’s Wife, 2006

Alison’s House, 1999

Walking Down Broadway, 2005

By Edith Wharton & Clyde Fitch

By Rachel Crothers

By Rose Franken

By Dawn Powell

The Skin Game, 2005

By John Galsworthy

The Lonely Way, 2005

By Arthur Schnitzler

By Harley Granville-Barker

By Susan Glaspell

The House of Mirth, 1998 Mr. Pim Passes By, 1997

By A.A. Milne

Uncle Tom’s Cabin, 1997

By George Aiken

Quality Street, 1995

By J.M. Barrie