MINT THEATER COMPANY
JONATHAN
BANK, Artistic Director presents
by ELIZABETH BAKER
with JONATHAN CHAMPION, GINA DANIELS, JOSHUA ECHEBIRI, GENE GILLETTE, OLIVIA GILLIATT, SARA HAIDER, CHRISTIANE NOLL, TOM PATTERSON, MADELINE SEIDMAN, AND AHDREAM SMITH
ALEXANDER WOODWARD
Costumes KINDALL ALMOND Set
Props
CHRIS FIELDS
Production Stage Manager JEFF MEYERS
Lights MARY LOUISE GEIGER
Sound DANIEL BAKER & CO
Casting STEPHANIE KLAPPER
Assistant Stage Manager ARTHUR ATKINSON
Dialects & Dramaturgy AMY STOLLER
Assistant Stage Manager MIRIAM HYFLER
Production Management
INTUITIVE PRODUCTION MANAGEMENT
Producing Director
MATTHEW McVEY-LEE
Illustration STEFANO IMBERT Graphics HEY JUDE DESIGN, INC
Publicity DAVID GERSTEN & ASSOCIATES
Directed by JACKSON GRACE GAY
Special thanks to the following for providing multi-year support for the MEET MISS BAKER PROJECT (2019-2023): The Royal Little Family Foundation, The Jean and Louis Dreyfus Foundation, The Mental Insight Foundation
THIS PRODUCTION IS SUPPORTED IN PART BY:
The New York State Council on the Arts with the support of the Governor and the New York State Legislature.
AT THEATRE ROW STAGE 4
MEET MISS BAKER
THE PRICE OF THOMAS SCOTT
January 19, 2019 – March 17, 2019
EDITH & MISS TASSEY
March 3, 2019
CHAINS
June 7, 2022 – July 23, 2022
PENELOPE FORGIVES
June 29, 2022
PARTNERSHIP
September 30, 2023 – November 12, 2023
Our online Production Archives are organized by author making it easy to see how often I’ve picked a second (or a third) play by an author. Crothers, Granville Barker, Hankin, Schnitzler, Milne, Lawrence, Kelly, Malleson and most recently Elizabeth Baker.
Why? I believe Mint can be much more effective in creating attention for an author and their plays if we prove they are not a flash-in-the-pan. The best example of this would be Teresa Deevy.
When I first came across Deevy’s plays (in 2009) I read everything I could find. I loved WIFE TO JAMES WHELAN and TEMPORAL POWERS equally and I was torn as to which one I should do. They were different in ways that I found remarkable. Then it struck me—I should do them both. I knew if I announced them both at once I might really be able to get some attention for Deevy. And that proved to be true, leading to a 1,000-word feature story in the New York Times and a Sunday Times story in Ireland.
Ultimately, we did four productions of Deevy plays, one per year in 2010, 2011 2013, and 2017. We published those plays and a few more in two volumes. Our activity over a long period of time had a real impact in terms of creating attention for Deevy, inspiring production, dissertations, conferences, feature stories and a recent RTE documentary, in which I have a bit part. And it proved my thesis. If I had only ever produced the one play, I have no doubt that the memory of it would have faded and Deevy would have been forgotten again, just as she had been several times before.
The “Teresa Deevy Project” was the inspiration for “Meet Miss Baker” a three-play project announced in 2018, featuring the work of another woman playwright, long forgotten, and deserving of attention, Elizabeth Baker. “Meet Miss Baker” began with our production of THE PRICE OF THOMAS SCOTT in January 2019.
MEET MISS BAKER
WICKSTEED: What is the difference between a good strong prejudice and a conviction?
ANNIE: A man would sacrifice things —even his life—for a conviction.
WICKSTEED: And wouldn’t he, if he were mad enough, do it for a prejudice? Read your history and see how many of so-called martyrs have not been bigoted fools.
The plan was to follow THOMAS SCOTT… with two plays running simultaneously in two spaces at Theater Row over the summer of 2020. The illustration featured here was created (by Stefano Imbert) for our two-show flyer, inspired by a photo of Baker sitting outside her hut during the time she lived on the Cook Islands. However, Covid came along and changed everything—except for my belief in Elizabeth Baker and my desire to bring her some attention.
We staged CHAINS last summer. This turned out to be one of my all-time favorite productions and reaffirmed my respect for Miss Baker and my determination to follow through on our commitment to presenting PARTNERSHIP, which I hope you will find as inspiring as I do.
We have made recordings of all our Baker productions, as well as the reading of PENELOPE FORGIVES and we are planning on sharing a virtual Baker festival with the world in the future.
— Jonathan Bank
CHARLEY: People like us are just cowards. We seize on the first soft job—and there we stick, like whipped dogs. We’re afraid to ask for anything, afraid to ask for a rise even— we wait till it comes. And when the boss says he won’t give you one—do we up and say, “Then I’ll go somewhere where I can get more.” Not a bit of it! What’s the good of sticking on here all our lives? Why shouldn’t somebody risk something sometimes?
Mark Kenneth Smaltz and Emma Geer in THE PRICE OF THOMAS SCOTT 2019 photo by Todd Cerveris
Laakan McHardy & Olivia Gilliatt in CHAINS 2022 photo by Todd Cerveris
ABOUT THE AUTHOR
“Going Roaming:” Elizabeth Baker’s Comic Holiday
by Maya Cantu
Vaulting in 1909 from office typist to “one of the most widely discussed playwrights in England,”1 Elizabeth Baker (1876-1962) wrote thirteen produced plays marked by their originality, social perception and “uncompromising truth of treatment” (The Era). Between her first play, the realist landmark Chains, and One of the Spicers (1932), Baker gave unprecedented voice to the frustrations, aspirations, and wanderlusts of suburban London’s clerks and shopgirls. Throughout a versatile body of work, Baker critically portrayed the constrictions of modern industrial capitalism as much as she celebrated the liberations of women in the work force. Partnership (1917), too, explores these tensions while showing Baker at her most ebullient, on holiday with a prismatic comedy exploring the relationships of romance, marriage, work and leisure to a fulfilled life.
Born Gertrude Elizabeth Baker in Paddington, London on or around August 20th, 1876, the playwright grew up in a religious, Puritan family that worked in the garment trade. When Baker was an infant, her father, draper John Alexander Baker, died, leaving her widowed mother Elizabeth to find work as a shop assistant in Bishop’s Stortford, Hertfordshire. After remarrying master draper George Robert Collett, Elizabeth assumed a new role running her second husband’s shop. The family, including Baker’s four stepsisters, moved from Islington to Hammersmith before settling on Esmond Road in the West London “garden suburb” of Bedford Park. While the Colletts kept their noses to the grindstone, the teenaged Baker wrote stories and verses in her spare hours while working as an assistant in the family business. Although the family shunned dancing, music and the theater, the Bard might have provided an exception. As protagonist Annie Scott relates in Baker’s autobiographical 1913 play The Price of Thomas Scott, her father never lets her go to dramatic recitals, “unless it’s Shakespeare.”
As the “New Woman” charged into the twentieth century, Baker launched into the urban work force. Commuting from Bedford Park, Baker found employment as a London shorthand clerk and typist. Baker also started to break away from her family’s objection to the stage, developing an interest in realist drama. From 1904 to 1907, Harley Granville-Barker and J.E. Vedrenne presented three innovative seasons at the Court Theatre, including eleven plays by George Bernard Shaw. As The London Weekly reported, after an interview with Baker: “She started going to the theater during Granville-Barker’s tenancy at the Court, and was so much inspired by the productions there that she attempted to write a play herself.”
Produced by the independent stage society, the Play Actors, Chains caused a sensation, boosted by the Play Actors’ marketing of Baker as an untutored “girl
ABOUT THE AUTHOR
novice.” In fact, Baker, who had already worked both as a City typist and in the newspaper offices of The Spectator, was thirty-two. First presented for a single performance at the Court Theatre on April 18, 1909, Chains paralleled the stories of clerk Charley Wilson, contemplating emigration to Australia, with his rebellious sister-in-law Maggie, who contemplates trading the drudgery of shop work for a marriage of convenience. Critics received the play rapturously. The New Age’s Cecil Chesterton compared the unknown stenographer favorably to Shaw, while hailing her as a “new playwright of unmistakable dramatic genius.” The critic called Chains “at once the most brilliant and the deepest problem play by a modern British writer that I have seen since Major Barbara.”
Chains’s resounding success reached producer Charles Frohman. The American impresario included Chains in his 1910 season of London repertory at the Duke of York’s Theatre, in an ambitious program that also included Shaw’s Misalliance, Granville-Barker’s The Madras House, and John Galsworthy’s Justice. Still bound to her office work, Baker could only attend “rehearsals during her lunch hour, the only leisure time she had” (The Sun).
Baker’s next plays, the one-acts Miss Tassey (1910) and Edith (1912; presented as a benefit matinee for the Women Writers’ Suffrage League), both unfolded against the world of London retail and commerce while focusing upon working women’s economic vulnerabilities and struggles for emancipation. Miss Tassey unveiled the bleak prospects for a group of women “living in” within the dormitory of a shop. By contrast, Edith offered a scintillating comedy about a rebellious young woman with a sharp head for business (as the creator of the Marie Première fashion line, Edith’s title character reappears briefly as an offstage character in Partnership). Baker, meanwhile, continued her work as a typist. The New Rochelle Pioneer reported, “Chains made a great sensation and not a little money for its author, but Miss Baker continued and still continues in her position as a public stenographer.”
Elizabeth Baker from a reconstructed image published by the Sydney Sun, January 22, 1922
ABOUT THE AUTHOR
Additionally, the autodidactic Baker continued to hone her dramatic craft by copying work in Frohman’s London office, where she transcribed “plays by the foremost English playwrights.”2
London theatrical success proved frustratingly elusive for Baker into the WWI era, despite a critically acclaimed series of productions at England’s innovative repertory theaters. These included 1913’s The Price of Thomas Scott (Gaiety Theatre, Manchester) and 1915’s Over a Garden Wall (Birmingham Repertory Theatre). Theatre historian Rebecca Cameron speculates that “Perhaps in part because of her interest in class issues, Baker had difficulty in finding audiences for her plays after the war, when commercial theater consisted primarily of glamorous, sophisticated comedies and musical extravaganzas.”3
Nevertheless, Partnership also received critical admiration for the realism with which Baker imbued her buoyant Brighton shop. The comedy was produced in March of 1917 by J.T. Grein’s London Repertory Company at the Court Theatre (with a young Ronald Colman among the cast). Partnership earned praise from The Tatler for “show(ing) us a new and just as real aspect of modern life” as Chains: a play with which Partnership shares themes of escaping unfulfilling work. The Graphic also praised Partnership as “one of the very few intelligent, and therefore, really interesting plays of the moment…It grips you precisely because it is not a fairy tale.” Drawing from Baker’s upbringing, Partnership celebrated the smartness, style and industry of the class of shop-keeping women to which her mother belonged.
An unexpected romantic alliance may also have influenced Partnership. In 1915, at the age of thirty-nine, the long-independent Baker married James Edmund Allaway, a widower who worked in the upholstery trade, and the father of two adult daughters. Echoing themes in Chains and Partnership, Baker, with Allaway, followed her “heart’s desire” toward the Pacific island of Rarotonga in January of 1922. As she confided to The London Weekly in 1927: “It is so difficult to get a play produced in London that I ran away to the South Seas for eighteen months and lived in a hut there with my husband…in the Cook Islands.” Baker soon realized she had followed a romantic illusion, writing in The Spectator: “The sunsets were as wonderful as the most fulsome pen of Hibiscus romanticists ever described, but I should have enjoyed the ocean more if it had been not quite so empty.” Still, Baker delighted in her visits to Australia on both legs of her move to the Cook Islands. In 1923, Gregan McMahon’s Sydney Repertory Theatre Society followed up its acclaimed 1921 production of Chains with Baker’s new satire of English suburbia. However, Bert’s Girl failed to provide Baker with a London comeback when the Birmingham Repertory Theatre produced it at the Royal Court Theatre in 1927. Despite declining production prospects in the early 1930s, Baker continued to
ABOUT THE AUTHOR
write challenging and original plays about women breaking bonds of class and gender. With Penelope Forgives (1930), the playwright created a trenchant problem play about the economic perils confronting divorced women. Baker’s final produced play was the one-act comedy One of the Spicers (1932), about a young woman who expresses her desire to “go into the wide world.” Baker herself remained closer to home. Following the death of her husband in 1941, Baker relocated from Bedford Park to Bishop’s Stortford, where she lived with a stepsister. Baker’s later years brought a small measure of renewed recognition. Between 1959 and 1961, ITV Television Playhouse produced adaptations of Chains, Miss Robinson, Over a Garden Wall, and The Price of Thomas Scott (retitled Paris Round the Corner). The Daily Mirror identified Baker as “Mrs. Gertrude Allaway, an eighty-four-year old widow.” The paper quoted her: “It’s a wonderful experience at my age to see one’s work coming to life again and reaching a vast new audience.” Baker died on March 8, 1962, at the age of eighty-five.
Restlessly risk-taking in her movements from suburban London to Australia and the South Seas, and from a sheltered upbringing to a career in the theater, Baker reflected her adventurous and nonconforming life in a versatile body of work. Her works explore what mobility means for working women: whether in terms of social class and professional advancement, or the natural right to “go roaming.” Baker’s plays express the writer’s celebration of potentials for human liberation—individually and in partnership.
With special thanks to Dr. Maggie B. Gale, University of Manchester.
1 “News of the Playhouses,” The Christian Science Monitor, June 10, 1909, p. 8.
2 “Girl Typist Author of Chains, New Play at Criterion Theatre,” The New York Press, December 15, 1912, p. 6.
3 Cameron, Rebecca, “Irreconcilable Differences: Divorce and Women’s Drama Before 1945,” Modern Drama, Vol. 44.4, Winter 2001, p. 484.
MAYA CANTU Since 2013, Maya has worked on nineteen productions at the Mint. She is the author of the book, American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy (Palgrave Macmillan, 2015). For her essay “Beyond the Rue Pigalle: Recovering Ada ‘Bricktop’ Smith as ‘Muse,’ Mentor, and Maker of Transatlantic Musical Theater,” published in Reframing the Musical: Race, Culture and Identity, Maya was selected as the 2020 recipient of the American Theatre and Drama Society’s Vera Mowry Roberts Research and Publication Award. Maya teaches at Bennington College, and received her D.F.A. in Dramaturgy and Dramatic Criticism at Yale School of Drama.
CAST & SCENES
Miss Blagg......................................................................................GINA DANIELS
Lawrence Fawcett..................................................................JOSHUA ECHEBIRI
George Pillatt...............................................................................GENE GILLETTE
Maisie Glow.................................................................................OLIVIA GILLIATT
Kate Rolling.....................................................................................SARA HAIDER
Lady Smith-Carr-Smith..........................................................CHRISTIANE NOLL
Jack Webber & Elliman...........................................................TOM PATTERSON
Miss Gladys Tracey.............................................................MADELINE SEIDMAN
UNDERSTUDIES Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance. Miss Blagg, Maisie Glow, Kate Rolling, Lady Smith-Carr-Smith, Miss Gladys...........................................................................................AHDREAM SMITH
Lawrence Fawcett, George Pillatt, Jack Webber & Elliman........JONATHAN CHAMPION
ACT ONE Private Room at Rolling’s, Brighton.
ACT TWO On the Downs. The next day.
ACT THREE As in Act One. A fortnight later.
Very Special Thanks to James Hart Dyke who generously permitted us to adapt his painting “Winter Evening Light on Windmill, 2021” for our production. The full painting is featured above. Please visit JamesHartDyke.com to learn more about James and to see many more exceptional studies of the South Downs, near where James lives. James currently has an exhibition at Cromwell Place, South Kensington, through October 8th, called “Mont Blanc: The Summit Paintings”.
WHO’S WHO: CAST
JONATHAN CHAMPION
(Understudy) Jonathan is thrilled to be making his Off-Broadway debut in Partnership. Jonathan graduated from Carnegie Mellon University with a BFA in Acting in the spring of 2022. Since then, he was been working in and around New York, be it in film (Re-Entry, dir. Brendan Choisnet), television (“American Rust” dir. Darnell Martin), or theatre helping his friends and colleagues put on productions of their own making. He feels incredibly fortunate to have this opportunity and would like to thank his incredible professional team; Hannah Roth, Scott Manners, and everyone at Framework Entertainment and Artists and Representatives, along with his family and friends for their support. He hopes you enjoy the show!
GINA DANIELS
(Miss Blagg) Mint: Becomes A Woman.
Broadway: Network, All The Way. Selected other theatre (NY, International and Regional): Park Avenue Armory, CSC, New World Stages, Wuzhen Theatre Festival, Paper Mill
Playhouse, Studio Theatre, Arena Stage, Berkeley Repertory Theatre, Repertory Theatre of St. Louis, American Players Theatre, Cincinnati Playhouse in the Park, Milwaukee Repertory Theater, Indiana Repertory Theater, Utah Shakespeare Festival, Syracuse Stage, Portland
Center Stage, Shakespeare Santa Cruz, Arden Theatre, TheaterWorks, Kansas City Repertory Theatre, Lake Tahoe Shakespeare Festival, Delaware Theatre Company, Baltimore Center Stage, Geva Theatre Center, and Pittsburgh Public Theater. In 10 seasons as a company member of the Oregon Shakespeare Festival, Gina appeared in over 30 productions, originated roles in a dozen world premieres and ran Shakespeare’s gamut from Perdita to Portia to Puck. She can be heard in the Next Chapter podcasts of King Lear and The Winter’s Tale as well as the narrator of many an audiobook. Film/television credits include “The First Lady,” “FBI,” “Manifest,” Lapsis, “Orange is the New Black,” “Evil,” and “Law and Order.” www.gina-daniels.com
JOSHUA ECHEBIRI (Lawrence Fawcett)
Theater: We Swim, We Talk, We Go to War (Martha’s Vineyard Playhouse), Henry V (The Old Globe: Globe For All), Lizardly (Media Art Exploration/New York Live Arts), Merry Wives (Public Theater Shakespeare in the Park), A Raisin in the Sun (Williamstown Theatre Festival), Something Happens for Joe (Williamstown Theatre Festival), Soft (Williamstown Theatre Festival);
Television: “Bob Hearts Abishola” Season 4 (CBS), “Dear Edward” (Apple TV+), “The Good Fight” Seasons 5-6 (Paramount+).
BA: Dartmouth College. MFA: NYU Graduate Acting. www.joshuaechebiri.com
WHO’S WHO: CAST
GENE GILLETTE
(George Pillatt)
Broadway: To Kill a Mockingbird.
Broadway National Tours: Ed Boone in The Curious Incident of the Dog in the Night
Time, Ted Narracot in War Horse, both for The National Theatre of Great Britain.
Regional and Off-Broadway: Macbeth with Frances McDormand at Berkeley Rep, Orpheus Descending with Maggie Siff at TFANA, the title role in Hamlet at the Denver Civic, Claudius in both Hamlet and the world premiere of Gertrude and Claudius at Orlando Shakes, Pale in Burn This at Shakespeare Santa Cruz.
International: Artaud in Artaud/Van Gogh at the Karolos Koun Art Theatre in Athens, Greece and he co-developed and performed in A Hymn To Liberty that premiered at The Philippi Theatre Festival in Kavala Greece with his theatre company Spleen Theatre.
Television: “Quantico,” “Elementary,” “The Good Wife,” “Person of Interest,” “The Punisher,” “The Blacklist,” “Law and Order SVU.” MFA: The Shakespeare Theatre’s Academy for Classical Acting.
OLIVIA GILLIATT
(Maisie Glow) is thrilled to return to the Mint, having appeared last year in Elizabeth
Baker’s play Chains
New York and re -
gional: Ken Ludwig’s
MORIARTY: A New Sherlock Holmes Adventure (Cleveland Play House); The 39 Steps (Repertory Theatre of St. Louis);
Mother of the Maid (The Public); Dial M for Murder (Bucks County Playhouse); Pushkin (the american vicarious); Negative Liberty/Positive Liberty (Invisible Dog); Disgraced (Denver Center, Northern Stage); A Doll’s House (Northern Stage); CasablancaBox (Culturemart@HERE); Buried Child (Palm Beach Dramaworks); Tomorrow in the Battle (Stageworks/ Hudson); The Libertine (Fool’s Theatre); Boeing Boeing (Seven Angels); The Country Wife (Odyssey). Film/TV: Rare Objects, directed by Katie Holmes; Ken Burns’ and Lynn Novick’s PBS documentary “Hemingway;” The Bit Player; Tyrel; “The Path;” “The Mysteries of Laura.” Olivia is a member of the multidisciplinary art collective The New Wild, and hosts a devised theater and games gymnasium called Book Club. BA: Dartmouth College, MFA: NYU. www.bookclubtheater.org
SARA HAIDER (Kate Rolling) is thrilled to be making her off-Broadway debut. Sara recently completed a run as Sherlock Holmes in Ms. Holmes & Ms. Watson (Dir. Aneesha Kudtarkar) at the Dorset Theatre Festival, where she previously appeared as Susan in Wait Until Dark (Dir. Jackson Gay). A recent graduate of Juilliard’s Group 52, Sara appeared in numerous productions including: Zarina in The Who & The What (Dir. Aneesha Kudtarkar), Cressida in Troilus And Cressida (Dir. Shaun Patrick Tubbs), and Sara in Stop Kiss (Dir. Adrienne D. Williams). At Juilliard, she was honored with the Harold and Mimi
WHO’S WHO: CAST
Steinberg Award, as well as the Alfred E. Lyon & Dorothy Lyon Award. Originally from Karachi, her most recent credit in Pakistan includes “Chahe Jis Sheher” for Velo Soundstation. Additionally, Sara is an accomplished singer-songwriter having begun her musical career as part of the renowned Pakistani television program, “Coke Studio.” Sara would like to thank her friends and family for their constant support.
CHRISTIANE NOLL (Lady Smith-CarrSmith) Broadway/Tour: Dear Evan Hansen, Elf (MSG), Chaplin (Drama Desk nomination), Ragtime (Tony & Drama Desk nominations), Urinetown, The Mambo Kings, It Ain’t Nothin But the Blues, Jekyll & Hyde, Grease, Miss Saigon, City of Angels, South Pacific (Australia/Thailand). TV/ Film: “Evil,” “Law & Order: Organized Crime,” “Madam Secretary,” “Law & Order: SVU,” “The Bite,” “Sound of Music Live,” “The Good Fight,” “The King & I” (Animated - Singing Anna). Theatre: God of Carnage (Theatre Row), Fun Home, Next to Normal (TheatreWorks), Snow Child (Arena Stage), Follies (Repertory Theatre of St. Louis) 1776 (Encores!), The Cottage (Engeman Theatre), Closer Than Ever (York Theatre), Take Flight (O’Neill Theatre Center), American Songbook Series – Frank Loesser (Lincoln Center). Guest soloist with over 100 symphony orchestras. Opera with Placido Domingo and Hollywood Bowl/O2 Arena London with Julie Andrews. Solo recordings: “Christiane Noll – A Broadway
Love Story,” “Live At the Westbank,” “The Gershwin Album,” “My Personal Property,” “Gifts-Live at 54 Below.”
TOM PATTERSON (Jack Webber & Elliman) Broadway: 1984. Off–Broadway: Three Sisters (Sheen Center), About Love (Culture Project).
Regional: Delmonico (Bay Street Theater); The Last Match, Babel, Hand to God, Cherry Docs, The Hound of the Baskervilles, Shotgun (Florida Studio Theatre); Constellations (Studio Theatre, Helen Hayes Award); Ether Dome (Hartford Stage, Huntington Theatre Company); Sideways (La Jolla Playhouse); Of Mice and Men (Northern Stage); Bedroom Farce, Murder on the Nile (The Barnstormers). Film/TV: Thorp, “The Equalizer.” MFA: UCSD. Instagram: @tommustbestopped, Twitter: @TomNow. He is originally from South Bend, Indiana.
MADELINE SEIDMAN
(Miss Gladys Tracey) is so happy to be returning to the Mint and to be using a British accent, which was, frankly, a career goal. Off-
Broadway: Becomes a Woman (Mint Theater Company).
Regional: Who’s Afraid of Virginia Woolf, The Christians (Chautauqua); Love, Love, Love (upcoming, Studio Theatre DC). TV: “A League of Their Own.” Film: Music for the Requiem Mass, CRAM. She is passionate about collaborating on new plays, and she’s workshopped recent-
WHO’S WHO: CAST & ARTISTIC STAFF
ly at The O’Neill, Rattlestick, Fault Line, and Urban Stages. BA: Williams College.
MFA: Yale School of Drama (Herschel Williams Prize in Acting ‘22).
AHDREAM SMITH
(Understudy) is overjoyed to be making her Off-Broadway debut at Mint Theater Company as a member of the Partnership family! Select Regional: Julius Caesar, As You Like It, Stick Fly, A Wrinkle in Time (PlayMakers Repertory Company)
MFA: UNC-Chapel Hill. BA: Wesleyan University. She is grateful to God, her family, her team, and Gerrard for all of their continuous support. You can find her on the interwebs at ahdreamsmith. com and IG: @chasingahdream
ARTHUR ATKINSON (Assistant Stage Manager) is thrilled to be working once again with the Mint Theater family! Prior Mint productions: Becomes A Woman, The Daughter-in-Law, The Fatal Weakness, The New Morality. Recent NYC theatre productions: God of Carnage (Theatre Breaking Through Barriers), The Year of Magical Thinking (Keen Company), Liz Swados’s Nightclub Cantata at the Cell Theatre, Paradise Lost (FPA), Cagney - The Musical at the Westside Theatre; many shows at the Irish Repertory, the York Theatre, The Directors Company, Cape Playhouse, et al. Toured internationally in Fiddler on the Roof starring Topol, then Harvey Fierstein and Theodore Bikel. A proud member of Actors Equity Association. Love to Lisa.
MIRIAM HYFLER (Assistant Stage Manager) is excited to work with the Mint again! Recent credits: Becomes A Woman, The Rat Trap, Chains (Mint Theater), Twelfth Night (Music Theatre Wichita), hang, Time Stands Still (Shakespeare & Company), Shanghai Sonatas (Master Players Concert Series), In The Heights (Park Playhouse), Death of a Driver (Urban Stages), On Blueberry Hill, Maz and Bricks (Origin Theatre/Fishamble), Three Small Irish Masterpieces, It’s A Wonderful Life, Woman and Scarecrow (Irish Rep), The Dingdong (Pearl Theatre), author Directing author (La Mama), How to Break (HERE), Richard III, Henry V (New York Classical Theatre), Cymbeline, Capsule 33 (Barrow Street Theater), I Call My Brothers, The Sonic Life of a Giant Tortoise, Ludic Proxy (The Play Company), several seasons with Phoenix Theatre Ensemble, Pan Asian Rep, and New Century Theatre. Love to @orangefreddyg.
JEFF MEYERS (Production Stage Manager) was in a play once. He played the Captain in the Grand Junction, Colorado, high school production of Carousel. He then turned to stage management. He is very pleased to be continuing his collaboration with Mr. Bank having previously worked on sixteen Mint productions including Becomes A Woman, Chains, The Daughter-in-Law, Conflict, Hindle Wakes, Fashions For Men and Ernest Hemingway’s The Fifth Column . His New York highlights also include Beyond Therapy and Happy Birthday (TACT), Painting Churches and Marry Me A Little (Keen Company), Amazons and their Men (Clubbed Thumb), Orange Flower Water and Adam Rapp’s
WHO’S WHO: ARTISTIC STAFF
Stone Cold Dead Serious (Edge Theater Company), Hamlet (CSC), Critical Darling (New Group) and Greg Kotis’ Eat The Taste (Barrow St. Theatre). Regional highlights include Dracula (Triad Stage) and ten summer seasons with The Theater at Monmouth. His union of choice is AEA, and he dedicates this and every performance to his Mom and Dad.
JACKSON GAY (Director) Mint Theater Company: A Little Journey. Jackson’s recent work: Natural History by Collin Van Son (O’Neill Festival); Christina Anderson’s the ripple, the wave that carried me home (world premiere co-production Berkeley Rep and Goodman Theatre); Endless Loop of Gratitude with New Neighborhood www.newneighborhood.net (New Ohio’s Ice Factory); Lucy Thurber’s Transfers for Audible, MCC, and New York Stage & Film; These Paper Bullets! by Rolin Jones with music by Billie Joe Armstrong (New Neighborhood, Atlantic, Geffen, Yale Rep). Upcoming: workshop of The Yellow Wallpaper 2.0 by Jennifer Maisel (Lucille Lortel); Into the Breeches by George Brant (Gulfshore Playhouse); the new musical Hard Road (book by Willy Holtzman, music by Marty Dodson and David Spangler). MFA Directing Yale School of Drama. www.jacksongracegay.com
ALEXANDER WOODWARD (Sets) is a New York based multi-hyphenate, designer, organizer, and artist focused in scenic and costume design for live performance in theatre, opera, and dance with credits all over, including the world and Broadway premier of The Sound Inside and the world premiere of the
ballet Their Eyes Were Watching God. They are thrilled to make their Mint debut! In addition to their design work, Alexander is a co-founder of “In The Wings a Design/Tech Showcase” for young artists at the Williamstown Theatre Festival and serves as the Area Head of the BFA & MFA Design/Tech program at the University of Connecticut. As a designer and educator Alexander is an avid proponent for advancing arts advocacy, exploring all aspects of our medium as a form for social change and a tool to shape the environment around us. In recent years Alexander has served on the executive board for Wingspace, a non-profit organization that promotes conversation on design, our community, and furthers activism within the industry. MFA Yale School of Drama, proud member of United Scenic Artists Local 829. Instagram @alexanderwoodwarddesign and at alexanderwoodward.com.
KINDALL HOUSTON ALMOND
(Costumes) is a multidisciplinary designer and stylist in Brooklyn, New York, pursuing the telling of a deeper visual story through the art of costume and production design. They feel most fulfilled in team collaboration, working alongside other designers and artistic minds. Recent theater works include Life is a Dream dir. Stevie Walker-Webb (Baltimore Center Stage), black odyssey dir. Stevie Walker-Webb (Classic Stage Company), Our Town dir. Stevie WalkerWebb (Baltimore Center Stage) The Seagull dir. Jacob Sexton (The Schapiro Theatre) King Charles III dir. Mark WingDavey (NYU Atlas Theatre) ‘Tis a Pity She’s a Housewife/Real Housewives
WHO’S WHO: ARTISTIC STAFF
of the Restoration dir. Stevie WalkerWebb (NYU Atlas Theatre, NYU Shubert Theatre, co/design), as well as recent choreography works by Yin Yue Dance Company and Trisha Brown Dance Company. Recent film works include collaboration with The New Red Order’s installation works “The Worlds Unfair,” F*ck That Guy dir. Hanna Gray Organschi, Burn dir. José Manuel Velez, Love Taps dir. Derrick Woodyard, and Nosferasta dir. Adam Khalil and Bayley Sweitzer. kindall is a Fiber Arts adjunct professor at MICA, holds a B.F.A. in Fashion Design from Pratt Institute, and an M.F.A. from NYU Tisch in Costume Design.
MARY LOUISE GEIGER (Lighting) Mint: Conflict, Becomes A Woman. Broadway: The Constant Wife (American Airlines Theatre). Off-Broadway: Halfway Bitches Go Straight to Heaven, Good Television, The New York Idea (Atlantic Theatre), Until the Flood (Rattlestick); X, Or Betty Shabazz v. The Nation (Acting Company); Nat Turner in Jerusalem, Forever, Oedipus at Palm Springs (New York Theatre Workshop); Kindness, Blue Door, The Busy World is Hushed (Playwrights Horizons); Mabou Mines Dollhouse, Red Beads (Mabou Mines). Regional: ACT, 5th Avenue, Goodman, Huntington, Steppenwolf, Milwaukee Rep, Guthrie, Pioneer, Cleveland Playhouse, Repertory Theatre of St. Louis, Center Theatre Group, LA Opera among others. Training: Yale School of Drama, Faculty: NYU Tisch. www.mlgeiger.com
DANIEL BAKER & CO (Sound) is a sound designer/audio producer, entrepreneur, and educator living in New City,
NY. He is a founding member of Daniel Baker & Co., an audio production company that creates sound designs and music for theater, film, dance and other endeavors across the media spectrum. He also teaches sound design at Barnard College and Fordham University at Lincoln Center. Broadway credits are The Parisian Woman, Eclipsed, American Son (asst. sound design) and Purlie Victorious (asst. sound design). Selected Off-Broadway credits include Toni Stone at Roundabout Theatre Company; The Lying Lesson, The Great Leap, The Jammer , and These Paper Bullets! at the Atlantic; The Four of Us and When We Were Young and Unafraid at MTC; Bull in a China Shop at LCT3; The Good Negro and Eclipsed at The Public; A Winter’s Tale at TFANA. Daniel has designed sound for over 25 regional theaters across the country. Daniel Baker & Co. associates for this production are Eden Segbefia and Marisa Conroy.
CHRIS FIELDS (Props Design) is excited and proud to be joining the gang at the Mint Theater for a sixth time ( Conflict, The Price of Thomas Scott, The Mountains Look Different, Chains, Becomes A Woman). He was previously Props Master at Shakespeare & Co., Barrington Stage Company, Flat Rock Playhouse, Contemporary American Theater Festival, several Off-Broadway shows, and the musical Anna Karenina at Circle in the Square. He was the Associate Props Master at the Public Theater for several years. As a craftsperson he helped create the original costumes for The Lion King and Beauty and the Beast, as well as the goat for the original production
WHO’S WHO: ARTISTIC STAFF
of Edward Albee’s The Goat, or Who is Sylvia?. Among his proudest accomplishments is six arrests and an Obie Award as a member of ACTUP. (If you haven’t heard of them, Google it.) So much thanks to my family and friends who make this crazy life in the theater possible!
AMY STOLLER (Dialect Design & Dramaturgy) recently received the League of Professional Theatre Women’s Ruth Morley Design Award for outstanding work in the field of theatrical design. She is proud to have helped Mint casts suit words to actions for 40+ productions— most recently last season’s Becomes a Woman and The Rat Trap . Also last season: Twilight: Los Angeles, 1992 at American Repertory Theater. Earlier this season: Love All at La Jolla Playhouse (premiere). Amy works frequently with Anna Deavere Smith; projects to date include Notes from the Field and Let Me Down Easy (each on stage and screen) among others. Film & television credits include Zola (Colman Domingo as X), Selma (Carmen Ejogo as Coretta Scott King), and Dora the Explorer . Coming in December: The Night of the Iguana, directed by Emily Mann for La Femme Theatre Productions at Signature Center. www.stollersystem.com.
ROBERT SIGNOM III (Production Manager) has been working in production for over twenty years. As Production Manager, he has worked for Boston Lyric Opera, Heartbeat Opera, Opera Naples, Tri-Cities Opera, Signature Theatre, Gotham Chamber Opera, Aspen Opera Theatre Center, Ensemble Studio Theatre, HERE Arts Center, NJPAC, and others. He is an Eagle Scout, the Curator of America’s Packard Museum, and a graduate of NYU’s Tisch School of the Arts.
SCOTT H. SCHNEIDER (Production Manager) has been Production Manager for Bronx Opera Company for fifteen seasons. Other credits include The Preacher and the Shrink and An Error of the Moon (Beckett Theatre), The Megile of Itzik Manger and KulturefestNYC (National Yiddish Theatre Folksbiene), She Loves Me (Caramoor), Marie Galante (Opera Francais de New York), Darkling (AOP), and Joy (Actors’ Playhouse). Stage Manager for opera and theatre, OffBroadway, regional, and on tour. Former treasurer Stage Managers’ Association; graduate Wesleyan University; Artistic Director Bad Dog Productions.
PRODUCTION MANAGEMENT
INTUITIVE
(Production Management) is a New York-based theatrical production firm specializing in Off-Broadway, opera, dance and live events. Founded by Robert Signom III and Scott H. Schneider, Intuitive brings superior production values and personalized support to each performance. www.intuitiveprodmgmt.com
STEPHANIE KLAPPER (Casting Director). Stephanie’s award-winning work is frequently seen on Broadway, off-Broadway, regionally, on concert stages, film, television, and streaming media. Select recent credits include Becomes a Woman; Chains; The Rat Trap (for Mint); Dig (Primary Stages); The Gospel According to Heather (Off-Broadway); Shout Sister Shout (Ford’s Theatre), Richard III (New York Classical Theatre), Shane (world – premiere Cincinnati
WHO’S WHO: ARTISTIC STAFF
Playhouse in the Park/The Guthrie); Elf Quest, the audio movie, Ranked, the musical/HBO Documentary. SKC is known for their limitless imagination and creativity, as well as connecting creative, caring people to each other to make extraordinary things happen. SKC is committed to expanding diversity, education, equity, and inclusion in the business. Board member of Casting Society Cares and a mentor with Fordham High School for the Arts and NYU Tisch School of the Arts Women’s Mentorship.
ARTS FMS provides outsourced financial management services to nonprofit arts groups, focusing on long-term fiscal health and sustainability and helping organizations focus on mission fulfillment. Arts FMS serves a variety of arts organizations with a particular focus on the performing arts. www.artsfms.com
DAVID GERSTEN & ASSOCIATES (Press Representatives) has served as press representatives and marketing consultants on Broadway and off for over twenty-five years. In addition to Mint (since 1995), current clients include several not-for-profit theaters including Godlight Theatre Company, NAATCO, and Red Bull Theater, among others. David is Vice-
President and a Trustee of ATPAM, the Association of Theatrical Press Agents & Managers (IATSE), where he also serves as the Off-Broadway Steward. He is a member of the Off-Broadway League and co-founder/Vice-President of the Off-Broadway Alliance.
MATTHEW McVEY-LEE (Producing Director) is a producer and director. He has worked with Mint Theater Company on Chekov/Tolstoy: Love Stories, The Daughter-in-Law, Chains, The Rat Trap and Becomes A Woman , as well as the streaming of Katie Roche, Conflict, Women Without Men, Hindle Wakes, and many more. Favorite authors featured at Mint Theater are Teresa Deevy, Hazel Ellis, Elizabeth Baker, Miles Malleson, and George Kelly. Previously he was the Associate General Manager with Aaron Grant Theatrical, an off-Broadway general management firm where he worked on many projects including Love for Sale, Van Gogh’s Ear, Mary Shelley’s Frankenstein, Bulldozer the Musical, Stranger Sings!, and others. Select directing credits include the murder mystery Truffles, Cassandra (Theater 3), Eurydice (SCRAP) and the development of Drew Morrison’s Goner
WHO’S WHO: ARTISTIC STAFF
JONATHAN BANK (Artistic Director) has been the artistic director of Mint Theater Company since 1995, where he has unearthed and produced over 50 lost or neglected plays, some of which he has also directed. Some favorites include Wife to James Whelan by Teresa Deevy, Yours Unfaithfully by Miles Malleson, The New Morality by Harold Chapin, Mary Broome by Allan Monkhouse, the American professional Premiere of The Fifth Column by Ernest Hemingway, and Maurine Dallas Watkins’s So Help Me God! starring Emmy Award-winner Kristen Johnston. That production received four Drama Desk nominations, including Outstanding Revival and Outstanding Director. Bank spearheaded Mint’s ambitious fourplay, two-book Teresa Deevy Project, dedicated to reclaiming the lost voice of “one of the most undeservedly neglected and significant Irish playwrights of the 20th century” ( The Irish Times ). In a feature article about the project in America Magazine, Andrew Garavel wrote “Thanks are due to Jonathan Bank and the Mint Theater for bringing such a distinctive voice from the past so satisfyingly into the present.” Under Bank’s leadership the Mint has earned an international reputation as the source for high-quality revivals of forgotten works and has become, in the words of The New York Times’ Jason Zinoman, “the leading New York entrepreneur” of the neglected play business. In his review of Mint’s 2018 production of Conflict by Miles Malleson, Terry Teachout of the Wall Street Journal described Jonathan Bank as “one of a handful of theater artists in America whose name is an absolute guarantee of quality.”
MINT THEATER COMPANY was founded in 1992. Jonathan Bank became artistic director in 1995 and began to shape the company’s mission, focusing on neglected plays from the past. Since then, the Mint has introduced theatergoers to dozens and dozens of terrific forgotten plays, by authors as renowned as Hemingway and Tolstoy, and as obscure as Teresa Deevy and Allan Monkhouse. In the words of New York Times critic Ben Brantley, Mint Theater is the “resurrectionist extraordinaire of forgotten plays.” The Mint takes great pride in the many successful productions, from the first major success in 1999: the American premiere of The Voysey Inheritance by Harley GranvilleBarker, to the four-time Drama Desknominated So Help Me God! by Maurine Dallas Watkins in 2009, to London Wall by John van Druten in 2014 and Fashions for Men by Ferenc Molnár in 2015—both of which were broadcast on WNET Thirteen’s “Theater Close-Up.” Terry Teachout of the Wall Street Journal wrote that Mint has “a near-perfect track record of exhuming forgotten plays of the previous century that deserve a happier fate.” In 202021, Mint offered free streaming from their extensive library of three-camera archival recordings, reaching an international audience of grateful theatergoers stuck at home, while paying union salaries & benefits to over 100 artists.
MINT DONORS
We’re grateful for the ongoing support from our loyal community of donors. This list represents total donations of $250 or more from August 1, 2022 to August 31, 2023. For questions regarding your support or to update your donor listing, please contact the Development Department at giving@minttheater.org.
CRÈME De LA CRÈME:
$25,000+
Howard Gilman Foundation
Sukenik Family Foundation
The Achelis and Bodman Foundation
The Shubert Foundation
CRÈME DE MINT:
$10,000 - $24,999
Robert Brenner
Virginia Brody
Gail P. Gamboni
Marta Heflin Foundation
Mental Insight Foundation
Blanche & Irving Laurie Foundation
Lorna Power
Jerome Robbins Foundation
Royal Little Family Foundation
The Fan Fox & Leslie R. Samuels Foundation
Wallace Schroeder
Ted Snowdon Foundation
Harold & Mimi Steinberg Charitable Trust
The Michael Tuch Foundation
SILVERMINT:
$5,000 - $9,999
Judith Aisen & Kenneth Vittor
Axe-Houghton Foundation
Mary & Bruce Crawford
Gladys Krieble Delmas Foundation
Nicholas Firth
Charles & Judith Freyer
David L. Klein Jr. Foundation
Barbara & John Lehman
Lucille Lortel Foundation
Southwind Foundation
David Stenn
Kathryn Swintek & Andre Dorra
Steven Williford
John J Yarmick
CHOCOLATEMINT:
$2,500 -$4,999
Anonymous (2)
Louis Alexander
Kenneth & Carole Boudreaux
John & Janet Harrington
Sigrid A. Hess
Paul & Karen Isaac
Elaine & Richard Montag
Mr. Pancks’ Fund at The Chicago Community Trust
Marvin & Janet Rosen
The Petros and Marina Sabatacakis Foundation
SPEARMINT:
$1,500 - $2,499
David & Kim Adler
Jon Clark & Ryan Franco
William Downey
Ruth Friendly
Sarah Jackson
Virginia Josephian
Sarah-Ann Kramarsky
Martin Meisel
Frederick Meyer
John Moroney
Modesto and Linda Oprysko
John Q Smith
Stella Strazdas & Hank Forrest
Mary Ellen & Karl Von Der Heyden
PEPPERMINT:
$750 - $1,499
Anonymous (2)
Steven Allen & Caroline Thompson
Linda & Lloyd Alterman
Judith E Barlow
Barbara Berliner & Sol Rymer
Al Berr
Paul Blackman
John Carley & Pia Lindstrom
Jean Cheever
Julie Connelly
George & Susan Crow
Ellen Curtis
Judy Evnin
Ted Ferrara & Roxanne Gleason
Nicholas Garaufis & Betsy Seidman
Charles & Jane Goldman
Eleanor & Martin Gruber
John Hargraves & Nancy Newcomb
Hickrill Foundation
Jocelyn E Jacknis
William Kable
David & Mary Lambert
The Lambs Foundation
Lianne Lazetera
Claire Lieberwitz & Arthur Grayzel, MD
Douglas Liebhafsky & Wendy Gimbel
Barbara Manning
Lisa Martorella & Summer E Moulton
Pat Mastandrea
Doris & David May
Ann Miner
Mark & Georgia Munsell
Jane Muqaddam
Maria Sarath Ragucci
Cordelia & David Reimers Fund
Sharon Rowlands
Russ & Julie
Benjamin Segal
Michael & Anne Shaw
Robert A. Shivers
Robert Sinclair
Mary Kathleen Smalley
Louis Spitalnick
Gary Stern
Larry Sullivan
Susan Vice
Joan Weingarten & Bob Donnalley
Patricia White
Mary Wight
Sara Zion
DOUBLEMINT:
$250 - $749
Anonymous (16)
Actors’ Equity Foundation
Arts FMS
Bob Adams
Joan Adams
Carmen Anthony
Stephen Asay
Laure Aubuchon
Stacy Banks
Mary (Robin) Baskett
Jeanne Bergman & Anna Kramarsky
Robert & Ellie Berlin
Nidia Besso
Clinton F. Best
Peter Bien
Joseph Biernat
Andrew Blackman & Susan Buttenweiser
Steven Blier & James Russell
Stephen Bogardus
Dr. & Mrs. Jeffery S. Borer
James Brenner
Bebe & Douglas Broadwater
Diane Broccolino
Jane Burgin
Lois A Burke
Paul & Katie Buttenwieser
Linda Calandra
Peter Cameron
Vincent Carbone
Mary Cargill
Carol Carlton
C. L. Christensen
Toni Coffee
Ira Cohen
Jane Condon & Kenneth Bartels
Catherine Connor
Peggy Correa
Audrey Coughlan
Marina Couloucoundis
Paul Cowan & William Rumancik
Tandy Cronyn
Stuart & Suellen Davidson
Mart Dean & Christie Allair
Ann DeInnocentiis
Carolyn E. Demarest
Clarence J. & Constance Denne
Denny Denniston & Chris Thomas
Thomas Dieterich
Nancy Donahue
PeggyJo Donahue
Caroline Donhauser
Douglas Dooley
Joan Drelich
Samuel Dudley
Kevin Duffy & D.G. Weber-Duffy
Emily T Dunlap
Saralynn Dyme
Judith Eschweiler
Ellen Estes
Barbara Farrar & Tom Evans
William Farris
Linda Feinstone
Howard Feldman
James Feldman & Natalie Wexler
Chris & Robin Fine
Lisa & William Finkelstein
Robert & Helena K. Finn
Barbara G. Fleischman
Charles Forma
Lawrence Franks
Agnes M. Gautier
Mary J Geissman
William Gentry
Susan & David Gerstein
Joseph Goldberg
Gloria Goldenberg
Margaret L Goodman
Marianne Goodman
Greg Gorel
Susan Gottridge
Diane Graham
Kris and Marc Granetz
Antonia and George Grumbach
Stanton Hale
Robert Hall
Lynne Halliday
Carol Hekimian
Reily Hendrickson
Michael Herko & Robert Bennett
Claude Hersh
Claire Hinchcliffe
Dale Hodges
Mary Hoholick
Janet Holwell
Harriet & Elihu Inselbuch
MINT DONORS
Virginia Irwin
James W Jackson
Laura & Gary Jacobs
Wendy Johnston
Robin Jones
Henry & Flora Joy
Gregory & Mary Juedes
Carol Katz
James Kelly
Martin Kesselman & Linda Irenegreene
Richard Kiger
Paul Knieriemen
Lucy Kraus
Leonard Kreynin & Louise R. Radin
Dennis Lalli
Renee Leicht
Albert Leizman
Jay Lesenger
Mary Levine
Stanley & Carol Levy
Eva Lichtenberg & Arnold Tobin
Daniel & Sharon Lowenstein
Paul Lubetkin & Joyce Gordon
Dayna Lucas
Nancy Ludmerer
Bruce Lovett
Jodi Malcom
Tom Mandia
Florence Mannion
Robert Markley
Lorraine Matys
Cheryl & Harris May
Thomas McDonald
Catharine McHugh
John David Metcalfe
Betsy Miller & Stuart Sucherman
Jonathan B Miller
Susan & Joel Mindel
Doreen Morales
Karen Osler Moran
Frank Morra
Patricia Morrill & Ed Riegelhaupt
John & Michelle Morris
Monica Mullin
Virg and Bob Nahas
Daniel A. Napolitano
Asha & Devdutt Nayak
Tricia Newell
Greenway O’Dea
Patricia O’Shea
Tessa Oglesby
Stephanie Olmsted
David C. Olstein
George Osolsobe
Brinton Taylor Parson & Francis C. Parson, Jr
Sally Parry & Bob McLaughlin
James Periconi
Terry Davis Perl
Nancy Pfeiffer
Virginia W Pfeiffer
Steven Phillips & Isabel Swift
Foundation
Mary & Larry Pollack
Isaac Pollak
Judith Quillard
Tom Repasch
George Robb
Peter Robbins & Page Sargisson
Benjamin & Donna Rosen
Mark Rossier
Thomas & Lynn Russo
Win & Mary Rutherfurd
Kathy Moses Salem
Judy Goetz Sanger
Caroline Schimmel
Daphne & Peter Schwab
Maria Schwab
Marilyn & Joseph Schwartz
Ron Shaw
Joe Sherman
David Shields
Zachary & Susan Shimer
Marilyn Singer & Steve Aronson
Anthony L Smith
Barbara Madsen Smith
Alan Sosenko
Sandra & Graham Spanier
Charles J. Sperling
Shondell & Edward Spiegel
Martha S. Sproule
Alec Stais & Elissa Burke
Bob & Sherry Steinberg
Susan Stockton
Pamela Stubing
Craig & Deborah Sutton
Douglas Tarr
Anne Teshima
Janet & Udi Toledano
Mark Tomasko
Charles & Susan Tribbitt
Martha Van Hise
Bob Volin
Jacob Waldman
Daniel & Judith Walkowitz
John Michael Walsh
Richard Watson
George Werner
Anita Wien
Frank Wolf & Stephen Abel
Daniel Marshall Wood
Trudy Wood & Jacob Goldberg
Susan Zappone & Mitchell Bacharach
Jack & Iris Zevin
Every effort is made to ensure its accuracy; please notify us if we have made a mistake.
a Program of Building for the Arts NY, Inc.
Nonprofit Building for the Arts expands access to the performing arts by providing creative space, learning opportunities, and hubs for artistic connection.
BFA operates Theatre Row, an Off-Broadway multi-theater complex that serves as an affordable home for performing artist organizations, and a lively, accessible venue for diverse audiences.
Through the American Playwriting Foundation, BFA presents the Relentless Award — the largest annual cash prize in American theater to a playwright in recognition of a new play.
Music and the Brain brings a music literacy curriculum, whole-class keyboard instruction, and ongoing professional development to schools in under-resourced communities, empowering students to succeed academically and in life.
To learn more about Building for the Arts or support our work, visit bfany.org.
THEATRE ROW STAFF
director of theatre oPerations
Cierra Cass
general manager
Brennan Jones
general management associate (finance)
Maggie Hinton
general management associate (contracts)
Rubina Vidal
building and facilities manager
Jack Donoghue
rehearsal studio manager
Scott Pegg
oPerations manager
Matthew Sells
administrative and oPerations associate
Emily Medrano
stage door associates
Noah Grannum
Mary Harriman
Cici Koueth
Lora Margerum
August Sylvester
Production manager
Vacant
dePuty Production and technical manager
Zoë Rubino
assistant technical directors
Connor Gallerani
Killian Coffinet
Chris Wacyra
audience services manager
Maya Kates
house manager
Ritai Su
associate house manager
Eric Scherer
box office coordinator
Alexandra McCall
associate box office coordinators
Riva Brody
Emmarose Campbell
Caitland Winsett
BUILDING FOR THE ARTS EXECUTIVE TEAM
President
David J. Roberts
director of theatre oPerations
Cierra Cass
director, music and the brain
Lisala Beatty
artistic director, american Playwriting foundation
David Bar Katz
director of advancement
Nicole Gardner
director of finance
Ken Shillingford
BUILDING FOR THE ARTS BOARD OF
DIRECTORS
Jeffrey A. Horwitz, Chair
Carmen Bowser, Vice Chair
Joyce Storm, Treasurer
Zachary E. Smith, Secretary
Bruce Geismar
Andrew D. Hamingson
Miriam Harris
David Bar Katz
Lydia Kontos
David J. Roberts
Wendy Rowden
Sarah P. Shen
In the event of fire, please proceed quietly to the nearest exit. Exits are located where you entered the theater complex.
The use of cameras and other recording devices in this theater is prohibited by law.
There is no smoking anywhere in this theater or in the theater complex, including, lobby, stairways and restrooms.
This presentation is not a Theatre Row or Building for the Arts NY, Inc. production, nor does its presentation in this theater imply approval or sanction by either Theatre Row or Building for the Arts.
MINT THEATER COMPANY
MISSION
MINT THEATER COMPANY finds and produces worthwhile plays from the past that have been lost or forgotten. We create new life for these plays and their authors through research, dramaturgy, production, readings, and a variety of enrichment programs. We extend that life by preserving our work—through publication, our online archives, and with broadcast quality video recordings.
BOARD OF TRUSTEES
GRETCHEN ADKINS JONATHAN BANK
MARY CRAWFORD
JOHN P. HARRINGTON
KATHRYN SWINTEK
MINT STAFF
Artistic Director.........................Jonathan Bank
Producing Director...........Matthew McVey-Lee
Financial Management Services.......Arts FMS
Director of Development….........Lauren Siegel
Development Associate
Wendolyn Sims-Rucker
Marketing Associate.................Colton Thomas
Dramaturgical Advisor..................Maya Cantu
Publicity….............David Gersten & Associates
Auditor…......................Lutz & Carr, CPA’s, LLP
PRODUCTION STAFF
Production Management......................Intuitive Production Management
Production Manager….........Robert Signom III
Production Manager Scott H. Schneider
Associate Production Manager
Beth Ann Mastromarino
Assistant Production Manager....Julia Sprung
JOHN YARMICK
In Memoriam
CIRO A. GAMBONI
Props Assistant.............................Rhys Roffey
Assistant Costume Designer.....Lindsey Eifert
Wardrobe Supervisor...............Abigail Lotspeich
Draper........................................Kehler Welland
Milliner....................................Camilla Chuvarsky
Tailor....................................................Todd Heim
Associate Lighting Designer/Programmer
Alex Fatchko
Technical Director….................Sarah Schetter
Associate Sound Designers…......................... Marisa Conroy, Eden Segbefia
Audio Supervisor….....................Tommy Lynch
Production Electrician .....................Tom Dyer
Board Operator................................Roy Chang
Casting Director……...........Stephanie Klapper
Casting Assistants
Hershey Vazquez Millner, Emma Balk
Company Liaison/House Manager
Grant Allen
Brooklyn College Directing Fellowship, Assistant Directors.........Molly Shayna Cohen, Cassidy Kepp, Florence Lebas
SPECIAL THANKS
Set Construction….....Hillbolic Arts & Carpentry
Lighting Equipment courtesy of Hayden
Production Services
Audio Equipment courtesy of Ins & Outs, Inc.
Head Carpenter.........................Ray Rodriguez
Head Rigger...............................Charles Albano
Evan Aanerund, Breezy Diabo, Eric Colton, Daun Fallon, NYU Department for Film and Stage, TDF, Goodspeed Opera House, Ken Larson
Mint Production History
Becomes A Woman, 2023
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
