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
KATHRYN SWINTEK
JONATHAN BANK
JOHN YARMICK
MARY CRAWFORD JOHN P. HARRINGTON
In Memoriam
CIRO A. GAMBONI
MINT STAFF Producing Artistic Director......Jonathan Bank Associate Producer...........Matthew McVey-Lee Financial Services........................Arts Financial Management Services, Andrea Nellis & Lucy Mallett Dramaturgical Advisor…...............Maya Cantu Publicity….............David Gersten & Associates David J. Gersten Auditor…......................Lutz & Carr, CPA’s, LLP PRODUCTION STAFF Production Managers......................Jeff Harris, Maggie Snell Associate Sound Designer…............ien DeNio Assistant Costume Designer....Sera Bourgeau Assistant Light Designer/Programmer…........ Scott Monnin Set Construction….....Hillbolic Arts & Carpentry Master Carpenter…....................Wayne Yeager Master Electrician…...................John Anselmo Production Audio…...........................Liz Weber Wardrobe Supervisor…...................Alex Allred Costume Construction…...Emilee McVey-Lee, Mia Mooney
Production Assistant…..............Paul Birtwistle Electricians...........Evan Roby, Chris Robinson, Chris DiNapoli, Jack Bebinger, Jeff D’Ambrosio, Duncan, Davies, Sam Eisner, Emma Sheehan, Evan Kerr Audio Crew.............TJ O’Leary, Rob McGarrity Covid Compliance Supervisor…......John Lant Casting Director..............….Stephanie Klapper Casting Associate…...................Lacey Davies Casting Assistant…….............Kate McMorran SPECIAL THANKS Fender Studio, TDF Costume Collection, EverythingProps. Extra Special Thanks to New York City Center, which has played a defining role in the cultural life of the city since 1943.
MINT THEATER COMPANY JONATHAN BANK, Producing Artistic Director presents
with AMY BLACKMAN, CIARAN BOWLING, SETH ANDREW BRIDGES, TOM COINER, KATIE FANNING, POLLY MCKIE, SANDRA SHIPLEY, TINA STAFFORD Sets BILL CLARKE
Costumes HOLLY POE DURBIN
Props JOSHUA LARRINAGA-YOCOM
Lights JEFF NELLIS
Dialects & Dramaturgy AMY STOLLER
Production Stage Manager JEFF MEYERS
Original Music & Sound LINDSAY JONES Casting STEPHANIE KLAPPER, CSA
Assistant Stage Manager ARTHUR ATKINSON
Illustration STEFANO IMBERT
Graphics HEY JUDE DESIGN, INC
Associate Producer MATTHEW McVEY-LEE
Publicity DAVID GERSTEN & ASSOCIATES
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.
By public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
CAST & SCENES Mrs. Gascoyne…....…....…....…....…....…....…....…....…....….SANDRA SHIPLEY Joe, her son…....…....…....…....….........…....…....…....…....…CIARAN BOWLING Luther, her son…....…....….............…....…....…....…....…....…....…TOM COINER Minnie, Luther’s wife…....…....…....…....…....…....…....…....….AMY BLACKMAN Mrs. Purdy, a neighbor…....…....…....…....…....…....…....…......….POLLY MCKIE Cabman..........................…....…....…....…....…....…….SETH ANDREW BRIDGES UNDERSTUDIES Understudies never substitute for the listed performers unless a specific announcement is made at the time of the appearance. Joe, Luther - SETH ANDREW BRIDGES; Minnie - KATIE FANNING; Mrs. Purdy, Mrs. Gascoyne - TINA STAFFORD
ACT I (90 minutes) Scene 1: Mrs. Gascoyne’s kitchen. About 2:30pm on a Tuesday in winter. Scene 2: The kitchen of Luther Gascoyne’s new home. Towards 5:00pm, same day. Scene 3: The same evening, around 11:00pm. ACT II (45 minutes) Scene 1: A fortnight later, afternoon. Scene 2: The following morning about 5am.
ABOUT THE DIALECT STRIFE AND SPEECH IN THE DAUGHTER-IN-LAW by Amy Stoller, Dialect Designer & Dramaturg The Daughter-in-Law takes place during the Great Unrest, in the coal-mining district of the Erewash Valley, which straddles the shared border of Nottinghamshire and Derbyshire; more specifically in Eastwood, the town where D.H. Lawrence was born and raised. As Act I begins, rising dissatisfaction among coal-miners has resulted in a national strike vote, the walkout to begin in six days’ time. The national tension is mirrored in the personal tension between newlyweds Luther and Minnie. Like “the mesters and the men,” both are from Eastwood, and yet from different worlds. Our play is written largely in an East Midlands dialect known as Ilson (from Ilkeston, a town near Eastwood). It is a language rich in Old English holdovers and a lingering Norse influence from the centuries when this part of England was under the rule of Vikings. It is the language of Lawrence’s father, a barely literate miner, shared by the Gascoynes and Mrs Purdy. In contrast, while Minnie’s accent is local, her language reflects the more standard grammar and vocabulary of Lawrence’s mother, who— like Minnie—was better educated than her husband and cherished middle-class aspirations.
GLOSSARY Our play includes local mining terms, references to English “old money,” and some dialect vocabulary. Here is an abbreviated guide to some terms. MINING Blackleg Strike breaker; scab labor. Butty A subcontractor who hires a small team of four or five day men to work the coalface. The butty contracted to procure a set amount of coal for the mine owners, using his own crew. Butties earned substantially more than day men like Luther and Joe. Club money A type of miners’ insurance. Clunch Hard clay found in the mines. Day men Workers who mined the coal in teams, working for the butties. Pick heft Pick handle. Road An underground roadway/tunnel in the mines. Road can also mean way, as in one road or t’other (one way or another). Snap time Meal time. A miner’s lunch or break-time snack is called his snap. Stall, Stint The yardage assigned to each day man; usually 10–15 yards/day. Wringer A crowbar, such as the one Joe broke his arm with. MONEY Bob Slang for a shilling (worth 12 pence). Bob is both singular and plural, like sheep. Guinea An amount equal to one pound plus one shilling. Day men like Luther and Joe earn two guineas for a six-day work week, while road-workers like Mr Purdy only one. In the Coal Strike of 1912, colliers struck for a standard minimum wage across their industry. Pound 20 shillings (240 pence). Minnie’s nest egg of £120 is more than Luther earns in a year. The mine owner’s annual £1200 salary is worth about $154,000 today. DIALECT Chelp Cheek, sass, talking back. Chuntering Grumbling. Clat-Fart Gossip. Mard Spoil, make soft (from mardy: childish, cowardly). Morm Wander about aimlessly. Orts and slarts Leftovers, scraps.
Sawney Simpleton. Scraight Cry, weep, scream. Slorm Flatter obsequiously. Sluther To idle, drag one’s feet, or dawdle. Wallit Clumsy; from wallick- or walit-handed, meaning left-handed.
Heartfelt thanks to the Eastwood natives who have generously shared their speech, stories, and other resources with us: David Amos, former coal miner and current local historian, and David Coleman, the Eastwood Pitman, former coal miner and mines rescue, current Historical Coal Mining Entertainer and poet.
ABOUT THE AUTHOR “The Sweat of Life In It:” D.H. Lawrence as Dramatist by Maya Cantu Although excelling in a wide range of literary forms, David Herbert Lawrence (1885-1930) made a late entrance onto the stages of popular acclaim. Though critically championed for novels like Sons and Lovers, only at the end of his life did Lawrence create a bestselling sensation with Lady Chatterley’s Lover. The book’s censorship-blasting 1960 trial prompted Philip Larkin’s famous verse: “Sexual intercourse began/In nineteen sixty-three/(which was rather late for me)/Between the end of the Chatterley ban/And the Beatles’ first LP.” During his lifetime, Lawrence’s frankness about bodily desires scandalized late-Edwardian society and his contradictions baffled the London literary establishment, in which Lawrence considered himself “infinitely an outsider.” As biographer John Worthen observes: “He had been ‘nowhere’ in the middle-class literary world of early twentieth-century England; but he was equally out of place in Eastwood, the colliery village in the English Midlands where he had been born.” Yet, the most delayed reaction came to Lawrence as dramatist. In the 1960s, in the era of the “Angry Young Men” playwrights at the Royal Court and “Coronation Street” on British televisions, audiences discovered the accomplishments of Lawrence as playwright. In 1968, three of Lawrence’s eight complete plays were staged by Peter Gill as the “Eastwood Trilogy” at the Royal Court, where they were hailed as realist masterpieces of English working-class life. Critics echoed the prescient 1934 words of Irish playwright Seán O’Casey, writing of A Collier’s Friday Night: “Had Lawrence got the encouragement the play called for and deserved, England might have had a great dramatist…there is the sweat of life in it.” The story of Lawrence as playwright is one of unlucky timing and missed cues, as much as keen dramatic instinct and steady application to the craft of playwriting. Only two of his plays, The Widowing of Mrs. Holroyd (produced by Mint Theater in 2009) and David, made it to the stage during Lawrence’s lifetime, in amateur or small-scale professional productions. In this, Lawrence defied the roles available for him as dramatist. As Sir Richard Eyre noted, “Lawrence wrote for a theatre that didn’t exist—more national, more regional and less middle-class than even [Harley Granville] Barker or [George Bernard] Shaw imagined.” Even in the midst of the groundbreaking realist problem plays written by his contemporaries, Lawrence’s dramas offered elements largely unfamiliar to West End stages. Lawrence filled his plays with the heavy dialect and unvarnished slang of the English Midlands. At the same time, Lawrence delved into the complex humanity of characters working in mining communities, rather than conforming to sentimentalized abstractions of poverty and virtue.
ABOUT THE AUTHOR Both complex family dynamics and “undiminished fascination with the theatre” rooted Lawrence’s gravitation to playwriting. Born on September 11, 1885, as the fourth of five children in Eastwood, a mining community in Nottinghamshire, Lawrence grew up viewing stage melodramas performed by Teddy Rayner’s traveling “Star Theatre” troupe. In 1908, he recorded his intense emotional experience watching Sarah Bernhardt star in La Dame aux Camélias at the Theatre Royal Nottingham: “I could love such a woman myself, love her to madness; all for the pure, wild passion of it.” From an early age, Lawrence also steeped himself in Shakespeare’s plays. As author D.H. Lawrence in 1912, around the time James Moran observes, Lawrence partiche wrote The Daughter-in-Law. ularly gravitated to the plays driven by their “mother-son dynamic,” including Coriolanus and Hamlet—and he later gave the name Gertrude to the mother in Sons and Lovers. For Lawrence, these plays reflected his own relationship with his frustrated and devoted mother, Lydia Beardsall. As a child, Lawrence observed Lydia struggling to connect across divides of class and education with Lawrence’s father Arthur, a miner. In a 1912 letter, Lawrence characterized the marriage: “My mother was a clever, ironical delicately moulded woman, of good, old burgher descent. She married below her. My father was dark, ruddy, with a fine laugh…. He was one of the sanguine temperament, warm and hearty but unstable…. She despised him – he drank.” After the death of her beloved second son Ernest from tuberculosis, Lydia transferred a fiercely protective love—and her social ambition—onto young David. As the young writer grew up, he also ascended into the middle class, progressing from a clerk at a surgical appliance factory to student at University College Nottingham, and from 1908 to 1912 as an elementary teacher at Davidson Road School in Croydon, outside London. In Croydon, Lawrence simultaneously nurtured his literary ambitions as a writer of fiction and a playwright. Yet, he struggled to move his dramatic work into production. Lawrence approached companies associated with the innovative English independent theatre movement, which flourished regionally, and as fueled by the famous London Royal Court Theatre seasons presented between 1904 and 1907 by Granville Barker and J.E. Vedrenne. However, the former turned down The Widowing of Mrs. Holroyd. “Read it with much interest but afraid I don’t want
ABOUT THE AUTHOR it,” wrote Granville Barker in a 1911 note, while London’s Stage Society recoiled from the same play’s shocking conclusion: the onstage washing of a dead miner’s body by his widow. In 1912, the Manchester Gaiety Theatre’s Ben Iden Payne turned down A Collier’s Friday Night and The Married Man, in part because of a breakdown in communication about revisions. In 1925, the Theatre Guild rejected Lawrence’s biblical verse drama David for an American production. When the Stage Society finally gave The Widowing of Mrs. Holroyd its first professional British production in 1926, Shaw conveyed his admiration, “I wish I could write such dialogue…With mine I always hear the sound of the typewriter.” Neither published nor produced during his lifetime, Lawrence wrote The Daughterin-Law soon after completing his novel Sons and Lovers, an autobiographical bildungsroman exploring the relationships of painter Paul Morel. Both demonstrating an influence by Sigmund Freud, the two works from 1912-1913 dramatize the battles between mothers and lovers for a young man’s emotional loyalty. By then Lawrence could look back more critically at the “peculiar fusion of soul” he had felt with Lydia, who died of cancer in 1910. He reflected in a letter to a friend that year: “We have loved each other, almost with a husband and wife love, as well as filial and maternal. We knew each other by instinct…. It has been rather terrible, and has made me, in some respects, abnormal.” As Worthen observes, “In January 1913, he wrote his best play, The Daughter-in-Law, wholly in the Notts-Derby dialect of his youth, and a kind of savage commentary on the mother and son in Sons and Lovers.” Lawrence himself wrote of the play: “It is neither a comedy nor a tragedy—just ordinary.” The period in which Lawrence wrote Sons and Lovers and The Daughter-in-Law overlapped with the relationship that defined much of his literary output after his mother’s death. In 1912, Lawrence launched his passionate affair with the uninhibited—and already married—German-born aristocrat Frieda Weekley. Their turbulent elopement, and its challenge to the English class system, inspired Lawrence’s 1912 play The Fight for Barbara. At the same time, the marriage of Frieda and her “Lorenzo” urged Lawrence to seek the flexibility of fiction-writing. Over the next decade and a half, the couple migrated to Cornwall, Italy, Australia, Taos (New Mexico, residing at Mabel Dodge Luhan’s famous artists’ colony), Mexico, and back to Italy. Lawrence’s peregrinations inspired much of the subject matter in his controversial, often banned, novels, including Women in Love, The Rainbow, The Kangaroo and The Plumed Serpent. In 1928, Lawrence’s succès de scandale with the privately printed, heavily pirated Lady Chatterley’s Lover finally established him as the writer of a literary blockbuster. He died of tuberculosis in 1930, by which time his novels, short stories, and poems had come to overshadow his considerable achievements as a playwright.
ABOUT THE AUTHOR In the 1960s, as playwrights like John Osborne, Arnold Wesker, and Shelagh Delaney transformed London stages, English theatregoers embraced Lawrence’s working-class settings and visceral candor. In 1965, his Complete Plays appeared in print, and Gill’s acclaimed 1968 “Eastwood Trilogy” at the Royal Court added The Widowing of Mrs. Holroyd to Gill’s 1965 and 1967 productions of A Collier’s Friday Night and The Daughter-in-Law. Frank Marcus marveled, “It seems hardly credible that a play of the quality of The Daughter-in-Law could have remained unperformed.” Since the 1960s, productions of Lawrence’s plays in the UK have regularly appeared, with many contemporary stagings focusing upon the dynamic female characters who dominate the plays’ narratives. In 2012, Michael Billington hailed The Daughterin-Law (first produced at the Mint in 2003) as “one of the great British dramas of the 20th century.” Lawrence may have anticipated his own late recognition as a great English dramatist. He reflected: “Art is always ahead of the ‘times,’ which themselves are always far in the rear of the living moment.” Drawn to the immediacy of the theatre as much as to the solitary expression of the novel, Lawrence wrote plays that “attempt to represent the detailed nuances of working-class life, and to make an unsentimental version of that life central to the public forum of the theatre stage,” in the words of James Moran. Lawrence’s versatile body of plays distinctly convey the writer’s moral and psychological ambiguity; insistence on human contradiction; and dedication to detailing the experiences and sensations of the body. In the communal exper ence of the audience, in the living moment, Lawrence also identified “the sweat of life in it.” WORKS CITED Moran, James. The Theatre of D.H. Lawrence: Dramatic Modernist and Theatrical Innovator. London: Bloomsbury, 2015. Schwarze, Hans-Wilhelm, and John Worthen. “Introduction.” The Cambridge Edition of the Works of D.H. Lawrence: The Plays. UK: Cambridge University Press, 1999. Worthen, John. D.H. Lawrence: The Life of an Outsider. New York: Counterpoint, 2005.
MAYA CANTU Since 2013, Maya has worked on sixteen 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 on the Drama and Literature faculties at Bennington College, and received her D.F.A. in Dramaturgy and Dramatic Criticism at Yale School of Drama.
WHO’S WHO: CAST AMY BLACKMAN (Minnie) Broadway: Angels in America (Tony Winner for Best Revival). Regional: The Curious Incident of the Dog in the Night-Time (Cincinnati Playhouse & Repertory Theatre of St. Louis), Caroline, Or Change (Tantrum Theater), Skylight (Gulfshore Playhouse), Ken Ludwig’s Sherwood (Cleveland Play House), Love’s Labor’s Lost, Macbeth, The Comedy of Errors, and Twelfth Night (The Old Globe), Titanic (The Muny). TV/ Film: “The Deuce,” “New Amsterdam,” “Madam Secretary,” Can’t Let It Go. Amy is a proud member of Hedgepig Ensemble’s Expand the Canon reading committee 2021 & 2022, and an executive producer at Future Facing Films. Much gratitude to The Mint, Stephanie Klapper, Team BWA, and Leonard. BFA, University of Michigan. MFA, The Old Globe/USD. @amyblackman. CIARAN BOWLING (Joe) Born in London to Irish and American parents, Ciaran moved to NYC in 2011 to study acting at LaGuardia High School and now splits his time between New York and London. Most recently, Ciaran played the role of Grantaire in the new West End production of Les Misérables at the Stephen Sondheim Theatre and previously was the show’s youngest swing at the age of 19. Ciaran can also be seen in Universal Studios filmed
version of the All Star Staged Version of Les Misérables released in 2020. Other credits include, Haemon in The Burial at Thebes for the Irish Repertory Theatre, Liam in Held Momentarily for NYMF and a Rude Elemental in Julie Taymor’s production of A Midsummer Night’s Dream for TFANA. In 2015, Ciaran was a Young Arts Winner. Ciaran is thrilled to be back in New York City and wants to thank his American artistic family Sandy Faison, Todd Susman and Abby Bluestone for their neverending support. SETH ANDREW BRIDGES (Cabman, Understudy Joe, Luther) Mint and Off-Broadway debut! Regional theatre: Alabama Story (Pioneer Theatre Company, world premiere); The Three Musketeers (Alley Theatre); Noises Off, The Three Musketeers, Great Expectations (Syracuse Stage); A Christmas Carol, The Tempest, Sherlock Holmes, Bear Country, Twelfth Night (Alabama Shakespeare Festival); The 39 Steps (Riverside Theatre); 12 Angry Men (Indiana Repertory Theatre); Peter and the Starcatcher (Arkansas Repertory Theatre); Proof, One Man Two Guvnors (TheatreSquared); Hay Fever, The Dingdong (Florida Repertory Theatre); and The Liar (Gulfshore Playhouse). TV: “FBI” (CBS); “Modern Love” (Amazon); “Power Book II: Ghost (Starz); “Only Murders in the Building (Hulu); Interactive: Red Dead Redemption 2. BFA from NYU. Love
WHO’S WHO: CAST and thanks to his family and #tinybae, and in dedication to Sam, Louis, and Jodi - the reason he’s here. www.sethandrewbridges.com TOM COINER (Luther) Tom is thrilled to be joining the Mint for the first time. Recent Theater: God Said This at Primary Stages and the Humana Festival; The Invisible Hand, Milwaukee Rep; The Full Catastrophe, On Clover Road, Wrecked, Support Group for Men, Contemporary American Theater Festival; Good Men Wanted, New York Stage & Film; Silent Sky, Merrimack Rep; Both Your Houses, The Little Foxes, The Great Society, Our Betters, Asolo Rep. Onscreen: “Law & Order SVU,” “Evil,” “Boardwalk Empire,” “The Night Of,” “Person of Interest,” It’s Bruno!, and Red Dead Redemption 2. Tom holds a BA from Kenyon College and an MFA from the National Theatre Conservatory. KATIE FANNING (Understudy Minnie) is thrilled to be working with Mint Theater Company. Originally from Lancashire, England, Katie is a bidialectal BritishAmerican. She performed as Beatrice in Much Ado About Nothing (Alabama Shakespeare Festival), Ulysses in Troilus and Cressida (BOVTS), Rosalind
in As You Like It and Malcolm in Macbeth (Adirondack Shakespeare Company), Titania in A Midsummer Night’s Dream (Hip to Hip), and Margery Pinchwife in The Country Wife (Spicy Witch Productions). Thanks to Martin, Jonathan, and Stephanie for the opportunity, and to John for everything else. MFA: Bristol Old Vic Theatre School. www.katiefanning.com POLLY McKIE (Mrs. Purdy) Previously at The Mint: A Day by The Sea. Other OffBroadway credits: The Streets of New York; A Child’s Christmas in Wales and The Home Place (all at Irish Rep.), A Lovely Sunday for Creve Coeur (St. Clement’s), They Promised Her The Moon (Miranda Theatre Company). Regional: Lost in Yonkers (New Harmony Theatre), Into the Woods (Potsdam Music Theatre). Film: Soderbergh’s Unsane (with Claire Foy), One Second Changes Everything (American Movie Award: Best Supporting Actress), Mouthpiece, The Perfect One. Web Series: Composing Life (a comedic mockumentary). Audiobook for Disney’s Brave. Polly made her Off-Broadway debut at The Mint and is thrilled and extremely grateful to be back for their first production of 2022. Education and training: University of Glasgow, University of Strathclyde, H.B. studio. www.pollymckie.com @pollymckie
WHO’S WHO: CAST SANDRA SHIPLEY (Mrs. Gascoyne) Sandra is thrilled to return to The Mint where she last appeared in Hindle Wakes. 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 Rutherford and Son (Mint Theater Company) 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 threeyear 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”. TV: “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 TINA STAFFORD (Understudy Mrs. Gascoyne, Mrs. Purdy) Tours: Once, 2 years First National, Jolson the Musical First National, Seven Brides for Seven Brothers. New York: York Theatre Company, New York Classical (artistic associate), 59 E. 59th, Prospect Theater Company, Soho Rep. Regional: Paper Mill Playhouse, Goodspeed Musicals, Arena Stage, Barrington Stage Company, Asolo Rep, Shakespeare Theatre of New Jersey, Cleveland Playhouse, Cincinnati Playhouse, La Jolla Playhouse, Milwaukee Rep, Kansas City Rep, PCPA Theatrefest, Geva Theatre Center, Sacramento Theatre Company, Denver Center, Hangar Theatre, the Maine, Texas, and Utah Shakespearean Festivals. Proud AEA Member. MARTIN PLATT (Director) has directed over 150 productions of plays, musicals, and operas in the US, UK, and Europe, including The Daughter-inLaw (2003), John Ferguson, and The Power of Darkness for the Mint. He was the Founding Artistic Director of the Alabama Shakespeare Festival, as well as General Director of Birmingham Opera Theatre. As a producer Mr. Platt has won the Tony Award, Drama Desk Award, NY Critics Circle Award, Off Broadway Alliance Award, Obie Award, and Outer Critics Circle Award for pro-
WHO’S WHO: ARTISTIC STAFF ductions including Vanya and Sonia and Masha and Spike, The Woman in Black, Here Lies Jenny and An Oak Tree. In London he has directed Lady Day At Emerson’s Bar & Grill, The Free State with Janet Suzman, and Miss Evers’ Boys; and produced lend me a tenor the musical, Nixon’s Nixon, Woman In Waiting, and Gumboots. He is currently a partner in Pemberley Perry, a Producing, General Management, and Tour Booking company. Mr. Platt lives on the Upper West Side and is a fan of FC Barcelona. BILL CLARKE (Sets) is happy to return to the Mint after So Help Me God!, The Power of Darkness, John Ferguson and the acclaimed 2003 The Daughter-inLaw. He designed A Walk in the Woods on Broadway, abroad in Moscow and Vilnius, and on television for American Playhouse; at City Center he designed the new musical Abby’s Song. Off-Broadway work includes MsTrial, Lemon Sky (Keen Co), Eccentricities of a Nightingale (TACT), Secret Order (59E59), June Moon (Drama Dept), Ann Magnuson’s You Could Be Home Now (NYSF), Keith Reddin’s The Innocents Crusade (MTC), Alan Havis’ Morocco (WPA), and The Cherry Orchard (Juilliard). He works extensively in regional theaters including Seattle Rep, Old Globe, Alley, Denver Center, Asolo, Huntington, A.R.T., Coconut Grove, St Louis Rep, Pittsburgh Public, Berkshire Theater Group, McCarter, Milwaukee Rep, and Cincinnati Playhouse. He is a graduate of the Yale School of Drama and a recipient of a Hollywood Drama-
Logue Award, a San Diego Theater Critics Circle Award and an IRNE (New England) Award. HOLLY POE DURBIN (Costumes) is based in Los Angeles where she designs for theater, opera, themed entertainment and independent film. Previous designs at the Mint include the original The Daughter-in-Law and the Power of Darkness. Recent designs include Henry IV Parts1 & 2 starring Tom Hanks as Falstaff, Peter and the Starcatcher for Playmakers Repertory, Romeo and Juliet for Shakespeare Center of Los Angeles, All the Way and Death of a Salesman for South Coast Repertory, Opus for Repertory Theater of St Louis and Portland Center Stage, Shipwrecked! for the Cincinnati Playhouse, Top Secret for the New York Theater Workshop Sky Girls for the Old Globe Theater, multiple national tours for LATheaterWorks, Motion Picture Madness, the original gateway attraction for Universal Studios theme park in Japan, and Chekhov’s The Wood Demon for the Mark Taper Forum and the Playhouse Theatre in London. JEFF NELLIS (Lights) Favorite designs for the Mint Theater Company include The Daughter In Law, Fifth Column, John Ferguson, The Power of Darkness, and others. New York designs include Broadway’s Prymate, Off-Broadway’s Tryst (New York Outer Critics Circle Award nomination), The Milliner, Zanna Don’t!, The It Girl and numerous others. He has worked around the country at theaters includ-
WHO’S WHO: ARTISTIC STAFF ing Center Stage Theater, Alley Theatre, Actors Theatre of Louisville, Milwaukee Rep, Cleveland Play House, Bay Street Theater, Walnut Street Theatre, Hartford Stage, Williamstown Theatre Festival, Westport Country Playhouse, Repertory Theatre of St. Louis, North Shore Music Theatre, Los Angeles Opera, Trinity Repertory Company, George Street Playhouse, and others. In addition to his theater work, Jeff is a partner in the lighting firm UVLD, specializing in corporate and broadcast lighting. His numerous television projects include an Emmy nomination for his work on the 2021 Super Bowl Halftime show. LINDSAY JONES (Original Music and Sound Design) Broadway: Slave Play (Tony nominations for Best Score and Best Sound Design of a Play), The Nap, Bronx Bombers and A Time to Kill. Off-Broadway: Privacy (The Public Theater), Bootycandy (Playwrights Horizons), Feeding the Dragon (Primary Stages), Top Secret (New York Theatre Workshop) and many others. Regional: Guthrie Theater, Center Stage, American Conservatory Theater, Hartford Stage, Alliance Theatre, Goodman Theatre, Arena Stage, Old Globe Theatre, Chicago Shakespeare Theater, Steppenwolf Theatre and many others. International: Stratford Festival (Canada), Royal Shakespeare Company (England) and many others. Audio drama: A Streetcar Named Desire for Audible, and the award-winning weekly podcast for children The Imagination Neighborhood. Film/ TV scoring: HBO Films’ A Note of
Triumph (2006 Academy Award for Best Documentary, Short Subject) and over 30 other films. He is the cochair of Theatrical Sound Designers and Composers Association, and teaches Composition For Theatre and Music History at the University Of North Carolina School Of The Arts. www.lindsayjones.com JOSHUA LARRINAGA-YOCOM (Properties) Mint: Love Goes to Press, Women Without Men, Fashions for Men. Broadway: The Humans, The Sound Inside, Hangmen. OffBroadway: The Humans (Roundabout); Hangmen, Halfway Bitches Go Straight to Heaven, Secret Life of Bees, Between Riverside and Crazy, Guards at the Taj, The Night Alive, Marie and Rosetta, Found (Atlantic), Playwrights: Heroes of the Fourth Turning, Tambo and Bones, Collective Rage (MCC), Do You Feel Anger (Vineyard), Lazarus (NYTW), Mary Paige Marlow (Second Stage), For All the Women Who Thought They Were Mad (Soho Rep.), and Sarah Ruhl’s Passion Play. He is eternally grateful for the continued love and support of his husband Roberto. AMY STOLLER (Dialect Design & Dramaturgy) is delighted to be reunited with director Martin Platt and the rest of the design team for the Mint’s revival of The Daughter-in-Law. Amy has helped Mint casts suit words to actions in more than 30 productions including D.H. Lawrence’s The Daughter-inLaw (2003) and The Widowing of Mrs Holroyd, and most recently Elizabeth Baker’s The Price of Thomas Scott and
WHO’S WHO: ARTISTIC STAFF Micheál mac Liammóir’s The Mountains Look Different. Other recent projects include the feature film Zola (Yorùbá (Nigerian) accent for Colman Domingo as X); a streamed reading of The Night of the Iguana starring Dylan McDermott, Phylicia Rashad, and Austin Pendleton, directed by Emily Mann for La Femme Theatre Productions; Anna Deavere Smith’s Fires in the Mirror for Theatrical Outfit (Atlanta, GA); and Ann at Cape May Stage (Gov. Ann Richardson’s idiolect for Kate McCauley Hathaway in the title role). www.stollersystem.com 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 twelve Mint productions including The Mountains Look Different, Conflict, Hindle Wakes, Fashions For Men and Earnest 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 Stone Cold Dead Serious (Edge Theater Company), Hamlet (CSC), Critical Darling (The 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. Jeff dedicates this and every performance to his Mom and Dad.
ARTHUR ATKINSON (Stage Manager) is thrilled to be back with the Mint Theater family and the return of live theatre! Most recent Off-Broadway productions: Brecht on Brecht (TBTB), Paradise Lost (FPA), Cagney - The Musical (Westside Theatre); many shows at the Irish Repertory Theatre, York Theatre, Keen Company, The Directors Company, et al. Prior Mint productions: The Fatal Weakness, The New Morality. 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! STEPHANIE KLAPPER (Casting Director) is elated to return to working with Jonathan Bank, Mint Theatre Company, and longtime collaborator Martin Platt. SKC’s award-winning work is frequently seen on Broadway, Off-Broadway, regionally, on film, television, and streaming media. Stephanie, along with her exceptional team, is dedicated to continuing to expand and champion diversity, equity, and inclusion in the business. Connecting creative, caring people to each other to make extraordinary things happen is amongst her greatest joys. Ms. Klapper is passionate about arts education and working with creative teams to develop and expand the scope of established and new works. Ms. Klapper is a member of the National Board of the Casting Society of America, Casting Society Cares, and New York Women in Film.
WHO’S WHO: ARTISTIC STAFF 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 Gingold Theatrical Group, Godlight Theatre Company, Keen Company, NAATCO, and Red Bull Theater, among others. David is VicePresident 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 (Associate Producer) is an arts administrator and director. He joined Mint Theater Company in 2020 first working on Chekov/Tolstoy: Love Stories, before adventuring into streaming, working on Katie Roche, Conflict, Women Without Men, Hindle Wakes, and six other incredible productions. Previously he was the Associate General Manager at Aaron Grant Theatrical an off-Broadway General Management firm where he worked on many projects including Love for Sale, Van Gogh’s Ear, Mary Shelly’s Frankenstein, Bulldozer the Musical, Stranger Sings!, and others. Select directing credits include the murder mystery Truffles, the development of Drew Morrison’s Goner, and Theater 3’s Cassandra.
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.” We take great pride in our many successful productions, from our first major success in 1999, the American premiere of The Voysey Inheritance by Harley Granville-Barker, to the fourtime Drama Desk-nominated So Help Me God! by Maurine Dallas Watkins in 2009, to London Wall by John van Druten in 2014 and Fashions for Men by Ferenc Molnár in 2015—both of which were broadcast for local television on WNET THIRTEEN’s “Theater Close-Up.” Terry Teachout of the Wall Street Journal writes 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 our extensive library of three-camera archival recordings, reaching an international audience of grateful theatergoers stuck at home, while paying union salaries to over 100 artists.
MINT DONORS 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 The Shubert Foundation CRÈME DE MINT: $10,000 - $24,999
Axe-Houghton Foundation Eugene M. Lang Foundation The Jerome Robbins Foundation Lucille Lortel Foundation Mental Insight Foundation Ted Snowdon Foundation The Fan Fox & Leslie R. Samuels Foundation Robert Brenner Virginia Brody Gail P. Gamboni Paul & Karen Isaac Lorna Power Wallace Schroeder John Yarmick SILVERMINT: $5,000 - $9,999
Blanche & Irving Laurie Foundation, Inc. David L. Klein Foundation Frederick R. Koch Foundation Southwind Foundation The Dorothy Strelsin Foundation The Geraldine Stutz Foundation The Gladys Kreible Delmas Foundation The Michael Tuch Foundation Anonymous Mary & Bruce Crawford Nicholas Firth John & Janet Harrington Darlene & Brian Heidtke David Stenn CHOCOLATEMINT: $2,500 -$4,999
Sukenik Family Foundation Anonymous Kenneth & Carole Boudreaux
Jon Clark & Ryan Franco Barbara G. Gottlieb Gemzel Hernandez Christopher Joy & Cathy Velenchik Ellen A. Michelson Dorinda Oliver Maria Sarath Ragucci H-N Raisler Fund Kathryn Swintek & Andre Dorra Mary Ellen & Karl Von Der Heyden SPEARMINT: $1,500 - $2,499
Stagedoor Manor The Lambs Foundation Anonymous David & Kim Adler Joseph Bell & Peter Longo Barbara Berliner & Sol Rymer John Carley & Pia Lindstrom George Crow William Downey Sigrid A. Hess Sandra & Jonathan Landers Frederick Meyer Asha & Devdutt Nayak Linda Oprysko Cordelia & David Reimers John & Karen Smith Stella Strazdas & Hank Forrest Sue & Burt Zwick PEPPERMINT: $750 - $1,499
Actors’ Equity Foundation Anonymous Judith Aisen & Kenneth Vittor Louis Alexander Linda & Lloyd Alterman Judith Barlow Sarah Billinghurst Solomon Jean Cheever Ira Cohen Julie Cushing Connelly Charles Cordray & Shawn Moore Mihaela Cosma Bob Donnalley
Susan C Edwards Judith Eschweiler Ellen & Frank Estes Judy Evnin Ruth Friendly Agnes and Emilio Gautier Virginia & Gary Gerst Wendy Gimbel & Douglas Liebhafsky Charles & Jane Goldman Kris & Marc Granetz Elisabeth Gray John Hargraves & Nancy Newcomb Kim Ima William & Margaret Kable Sarah-Ann Kramarsky David & Mary Lambert Barbara & John Lehman Claire Lieberwitz & Arthur Grayzel, MD Tom Mandia Martin & Maude Meisel John David Metcalfe Mark & Georgia Munsell Mr. Pancks Fund James Periconi George Robb Benjamin & Donna Rosen Kathy Salem Benjamin Segal & Jacqueline Mahal Carole Shaffer-Koros & Robert Koros Michael Shaw Alec Stais & Elissa Burke Mary K. & Gary Stern Susan Vice Scott Warner Anita & Byron Wien Steven Williford DOUBLEMINT: $250 - $749
Arts FMS Denny Denniston & Chris Thomas Epstein Family Foundation Howard & Ellen Brown In honor of Rowan Joseph In memory of Lee Moore Anonymous
MINT DONORS Joan Adams Carmen Anthony Francis Arcaro Joan Arenstein Laure Aubuchon Rita & Bipin Avashia Linda & Aaron Bacal Bert C. Bach Mitchell Bacharach & Susan Zappone Ruth Bank Stacy Banks & Scott Balogh Robin Baskett Jeanne Bergman & Anna Kramarsky Robert & Elinor Berlin Alvin Berr Nidia Besso Clinton Best Peter & Helena Bienstock Joseph & Susan Biernat Eugene & Joann Bissell Steven Blier & James Russell Zelda & Julian Block Mary Boast Stephen Bogardus Gary Bowden Michael Brecher & Karen Shatzkin Bebe & Douglas Broadwater Lois Burke Thomas Byrne David & Charlotte Calobrisi Christopher Caltieri Peter Cameron Maya Cantu Mark Catalano Aurelie Cavallaro Russell Charlton & Julie Norwell Barbara & Ira Charmoy Steven Coe Toni Coffee Jeffrey Coploff Nealda Corallo Peggy Correa Audrey & Fergus Coughlan Michael Crowley Stuart & Sue Davidson Vicki R. Davis Bill & Donna Dehn Ann DeInnocentiis
Carolyn Demarest Francisco Diaz Katherine & Bernard Dick Thomas Dieterich Robert Disch & Melinda Chandler Nancy M. Donahue Caroline Donhauser Douglas & Diana Dooley Joan Drelich Emily Dunlap Nancy Erlich Sharon Esakoff Sandra Farkas James Feldman & Natalie Wexler Ted Ferrara & Roxanne Gleason Richard Ferrone & Cynthia Darlow William & Lisa Finkelstein Edward Finnegan Robert Flanagan Eva Fleischer Rose Forman Burke & Carol Fossee Jeffrey & Diana Frank Edward & Joan Franklin Lawrence Franks & Ellen Berelson Marilyn Friedland J. Roger & Patricia Friedman Richard Fursland & MJ Territo Dina Gamboni Nicholas Garaufis & Betsy Seidman Mark Gavre Phyllis Gelfman Susan & David Gerstein Betty & Joshua Goldberg Judith & Ron Goodman Margaret L. Goodman Greg Gorel James & Paula Gould Reggie Govan Marty & Eleanor Gruber George & Antonia Grumbach Ronald & Amy Guttman Robert Hall Lynne Halliday Roger Hanna Stephen Hauge Charles Hayman Carol Hekimian Connie Heller Reily Hendrickson
Michael Herko Claude Hersh Barbara Hill Claire Hinchcliffe Louise Hirschfeld Dale Hodges Carol Hoffman Karl Huber Linda Irenegreene & Martin Kesselman Judythe & Martin Isserlis Jocelyn Jacknis James Jackson Wendy & David Johnston Patricia Joseph Virginia Josephian Jerome Jourquin Peter Judd Gregory & Mary Juedes Brian & Roselle Kaltner Jack Kaplan Carol & Barry Katz James Kelly & Lisa Henricksson Tom and Jill King Paul Knieriemen Delos Knight & Peggy L. Day James J. Kolb Jacqueline Koral Sarah & Victor Kovner Stuart & Barbara Kreisberg Leonard Kreynin & Louise R. Radin Saul & Gail Kupferberg Joseph Labenson George Laforest Dennis Lalli Gene Laughorne Eileen M. Lawrence Lianne Lazetera Sheila Leiter Jay Lesenger Michael Lesk Mary Levine Ellen & Barry Levine Eva Lichtenberg & Arnold Tobin Joseph Lombardi & David Koch Paul Lubetkin & Joyce Gordon Dayna Lucas Joan Lufrano Kenneth Lyon Jane & Bill Macan
MINT DONORS Gina MacArthur Joe Mader Mary & Edward Maguire Mary Rose Main Jodi Malcom Cynthia & Michael Maloney Barbara Brooke Manning Christina & Robert Mantz Robert & Jean Markley Lisa Martorella & Sumner Moulton Doris & David May Merlene Mcalevy Patricia A. McCormack Drew McDermott Catharine McHugh Richard Mellor Jr. John Hays Mershon Robert Meth Donald E. Meyers Jeffrey Miller Susan & Joel Mindel Ann Miner Meredith Moore Doreen S. Morales Madelaine Morgan & Michael Hagan Gayle Morgan Donna & John Moroney Frank Morra Ronald & Elaine Morris John & Michelle Morris J. Scott Mullennix & Hilary Wilson Jane & Saleem Muqaddam Robert & Virginia Nahas Robert Netherland Tricia Newell Paula & Alexa Shae Niziak Greenway O’Dea Stephanie & Robert Olmsted
Colleen Orsatti Trisha Ostergaard Marc Ostfield Richard & Dotti Oswald Theresa Perl Genia Peterson Virginia Pfeiffer Steven Phillips & Isabel Swift Mary & Larry Pollack Robert & Carlo Prinsky Judith Quillard Susan Ralston Len & Barbara Rand Susan Read Betty Reardon Richard & Dana Reimer Tom Repasch Peter Robbins & Page Sargisson Gary & Karen Rose Steven Rosenberg Mark Rossier Amy Roth Randall Royka Charles & Meryl Rubin Adrienne Rudge Winthrop & Mary Rutherfurd Richard Safran Vicki Santello in Memory of Estelle Aden Catherine Scaillier Caroline Schimmel Daphne & Pete Schwab Michael Seymour Joseph Sherman David Shields Zachary & Susan Shimer Robert & Nancy Shivers Cynthia & Herb Shultz
Shelley & Joel Siegel Robert Sinclair Barbara Smith Karan Spanard Charles Sperling Shondell & Ed Spiegel Martha Sproule Judy Stahl Bob & Sherry Steinberg Susan Stockton Meryl Stoller Pamela Stubing Stuart Sucherman & Betsy Miller Larry E. Sullivan Dennis & Katharine Swanson Jean Swintek Douglas G. Tarr Vivien Tartter Jane Tate Janet & Udi Toledano David Umbach Patricia & Peter Valenti Martha Van Hise Steve Vineberg Bob & Joan Volin Jacob Waldman Daniel & Judith Walkowitz Gerard & Sheila Walsh John Michael Walsh Kevin & D.G. Weber-Duffy Joan Wendt Patricia & Richard White Mary & John Wight Frank Wolf & Stephen Abel Trudy Wood & Jacob Goldberg Dan Wood Nancy Workman & Jonathan Miller Mary Zulack & Peter Belmont
This list represents donations made from July 1, 2020 to January 27, 2022. Every effort is made to ensure its accuracy; please notify us if we have made a mistake.
Arlene Shuler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . President & CEO James Farkas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VP & CFO Julie Mason Groob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VP & COO Tia Powell Harris . . . . . .VP, Education & Community Engagement Stanford Makishi . . . . . . VP & Artistic Director, Dance Programs Molly Meloy . . . . . . . . . . . . . . . .VP, Marketing & Communications Robert Palm . . . . . . . . . . . . . . . . . . . . . VP, Information Technology Naomi Weinstock . . . . . . . . . . . . . . . . . . . . . . . . . . VP, Development Kristan Bertschmann . . . . . . . . . . . . . . . . Executive Assistant to the President & CEO/Special Events Coordinator PROGRAMMING Lear deBessonet . . . . . . . . . . . . . . . . . . . .Artistic Director, Encores! Rob Berman . . . . . . . . . . . . . . . . . . . . . . . .Music Director, Encores! Clint Ramos . . . . . . . . . . . . Producing Creative Director, Encores! Jenny Gersten . . . . . . . . . . . . . . . . . . . Producer of Musical Theater Josh Clayton . . . . . . . . . . . . . . . Supervisor of Music Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . & Score Restoration Adrian Alea . . . . . . . . . . . . . . . . . . . . . .Creative Associate, Encores! Jeanine Tesori . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creative Advisor Jack Viertel . . . . . . . . . . . Consulting Producer for Musical Theater Cathy Eilers . . . . . . . . . . . . Associate Director of Dance Programs Mia Silvestri . . . . . . . . . . Programming & Administration Assistant Jacquelyn Batten . . . . . . . . . . . . . Dance Programming Apprentice GENERAL MANAGEMENT Jessica Perlmeter Cochrane . . . . . . . . . . . . . . . . . General Manager Amy Eingold . . . . . . . . . . . . . . . . . . . . . . Assistant General Manager Elmes Gomez . . . . . . . . . . . . .Artist Services & Company Manager AUDIENCE ENGAGEMENT Thomas Mygatt . . . . . .Director of Audience Engagement & Sales John Toguville . . . . . . . . . . . . . . . . . . . . . . . . . . .Box Office Treasurer Jon Ferreira . . . . . . . . . . . . . . . . . . . . Assistant Box Office Treasurer Naomi Warner . . . . . . . . . . . . . Customer Care Associate Manager Ashley Vasquez . . . . . . . . . . . . . . . . . . . . . Customer Care Associate Erin McCarthy . . . . . . . . . . . . . . . . . . . . . Customer Care Associate BUILDING MANAGEMENT Jay Dority . . . . . . . . . . . . . Director of Facilities & Capital Planning Gabby Goldstein . . . . . . . . . . . . . . . . . . . . . . . . . . Facilities Manager Maria Cortez . . . . . . . . . . . . . . . . . . . . . . . . . . . Operations Assistant Esme Hurlburt . . . . . . . . . . . . . . . . . . . . . . . . . . . Facilities Assistant DEVELOPMENT Heather Gallagher . . . . . . . . . . . . . . . . . . .Director of Development Benji Railton-Ashe . . . . . . . . . . . . . . . . Director of Individual Giving Susan Strebel . . . . . . . . . . . . . . . . . . . . . . Director of Special Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . & Development Operations Shaun Newport . . . . . . . . . . . . . . . . . . . . . Individual Giving Officer Kelly Knack . . . . . . . . . . . . . . . .Senior Institutional Giving Manager Nicole Zee . . . . . . . . . . . . . . . . . . . . . . Senior Membership Manager Randall Simmons . . . . . . . . . . . . . . . . Individual Giving Coordinator Brian Bizier . . . . . . . . . . . . . . . . . . . . . .Institutional Giving Assistant Theresa Regan . . . . . . . . . . . . . . . . . . . . . Individual Giving Assistant Matt Sanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Research Assistant Camila Escobar Howard . . . . . . . . . . . . . Development Apprentice EDUCATION & COMMUNITY ENGAGEMENT Laura Apruzzese . . . . . . . . . . . . . . . Assistant Director of Education Sarah Kutnowsky . . . . . . Education Manager, Teaching & Learning Shaleah Adkisson . . . . . . . . . . . . . . . . . . . . . . . . Education Associate Cynthia Gonzalez . . . . . . . . . . . . . . . . . . . . . . .Education Apprentice FINANCE Alexander Frenkel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Controller Andrea Williams . . . . . . . . . . . . .Senior Payroll & Benefits Manager Quin Bommer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Finance Manager HUMAN RESOURCES Dejoron Campbell . . . . . . . . . . . . . . Interim Director of HR & DEI Taijah Williams . . . . . . . . . . . . . . . . .Human Resources Coordinator
INFORMATION TECHNOLOGY Tommy Weeks . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Director, Information Technology/Business Applications Rodney Morris . . . . . . . . . . . . . . . . . . . . Desktop Support Specialist MARKETING & COMMUNICATIONS Joe Guttridge . . . . . . . . . . . . Communications & Editorial Director Dorothy Trigg . . . . . . . . . . . . . . . . . . . . . Senior Marketing Manager Ben Miller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Website Manager Jessica Goldschmidt . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Copywriter Jasmine Thorson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Designer Sara Garcia . . . . . . . . . Communications & Marketing Coordinator Caitlin Berg . . . . . . . . . . . . . . . . . . . . . . . . . . .Social Media Associate Lephate Cunningham III . . . . . . . . . . . . . . . . Marketing Apprentice PRODUCTION & VENUE OPERATIONS Carlos Dolan . . . . . . . . Director of Production & Venue Operations Julie Shelton-Grimshaw . . . . . . . . Assistant Director of Production Nadine Love . . . Assistant Director of Rentals & Venue Operations Tim Thistleton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Technical Director John Rodriguez . . . . . . . . . . . . . . . . . . Assistant Production Manager Alison Jaruzelski . . . . . . . . . . . . . . . . Production & Rentals Assistant Gerry Griffin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Head Carpenter Evan Vorono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Head Electrician Justin Malone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Head Properties Caroline Conoly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . House Manager Tia White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Head Usher Stella Ji . . . . . . . . . . . . . . . . . . Production Management Apprentice OUTSIDE SERVICES Kauff McGuire & Margolis LLP . . . . . . . . . . . . . . . . . . . . . . Counsel Shelby Silverman Mulligan Security Corp . . . . . . . . . . . . . . . . . . . . . .Building Security Lutz & Carr, Fred Martens, CPA . . . Certified Public Accountants DeWitt Stern Group . . . . . . . . . . . . . . . . . . . . . . . Insurance Brokers Sweet Hospitality Group . . . . . . . . . . . . . . . . . .Lobby Refreshments SweetHospitalityGroup .com Medical Conslutant . . . . . . . . . . . . . . . . . . . . . Bernard Camins, MD CREDITS D&B Audiotechnik . . . . . . . . . . . . . . . . . . . . . Loudspeaker Systems DIRECTORY OF THEATER SERVICES OFFICES: 212 .247 .0430, Mon – Fri, 10am – 6pm Security Desk, Lost & Found For tickets and performance info, email us at info@NYCityCenter .org or call 212 .581 .1212 Mon – Sat Noon – 8pm, Sun Noon – 7:30pm NYCityCenter.org MAINSTAGE SERVICES BARS: Orch ., Grand Tier level CHECK ROOM, BOUTIQUE: Orch ., Grand Tier level RESTROOMS: every level ELEVATORS: East and West sides of building Gender diversity is welcome at New York City Center. Please use the restroom that best aligns with your personal gender identity or expression. New York City Center is accessible to people with disabilities and has a hearing augmentation system. See the House Manager for assistance. Resuscitation masks and latex gloves are available at the House Manager’s office. New York City Center is a heart safe facility. New York City Center is a fully vaccinated venue. Approved masks must be worn by all audience members, crew, and staff. Visit NYCityCenter.org/PlanYourVisit for our latest and complete health, safety, and ticket policies.