PRODUCTION PHOTOS

Saturday, December 23, 2017

Reviews - Hindle Wakes


"Fanny, a weaver at the local cotton mill, told her parents that she was vacationing with a female friend — and she was, until she met Alan Jeffcote (the appealing Jeremy Beck), the mill owner’s overindulged son, and went off to have a fling with him."

- Laura Collin's Hughes, The New York Times

"Beck, doing another of his chipper turns as an eligible young gent..."

- Michael Feingold, The Village Voice

"Jeremy Beck is thoroughly credible as the egotistical, obtuse young scion. He protests, but doesn’t over dramatize and is perceptibly shocked when things don’t turn out as assumed."

-Alix Cohen, Woman Around Town 

"Alan, the feckless son, perfectly encapsulated by Jeremy Beck..."

- Beatrice Williams-Rude, Theatre Pizzazz 

"Beck does an excellent job of communicating Alan's fecklessness as well as his moments of self-knowledge and regret, with possibly a step or two toward maturity."

Michael Portantiere, Talkin' Broadway

"Beck gives the finest of his various local performances over the past few years."

Samuel L. Leiter, The Broadway Blog
 

Friday, December 22, 2017

Hindle Wakes - The Mint Theatre

Hindle Wakes
The Mint Theatre
by Stanley Houghton
Directed by Gus Kaikkonen

December 23rd 2017 - February 17th 2018
The Clurman Theatre at Theatre Row
410 West 42nd Street

Cast
Jeremy Beck
Rebecca Noelle Brinkley
Emma Geer
Jonathan Hogan
Sara Carolynn Kennedy
Ken Marks
Brian Reddy
Sandra Shipley
Jill Tanner

Creatives
Artistic Director of the Mint:  Jonathan Bank
Sets: Charles Morgan
Costumes: Sam Fleming
Lights: Christian DeAngelis
Sound & Original Music: Jane Shaw
Props: Joshua Yocom
Hair & Wigs: Gerard Kelly
Dialects & Dramaturgy: Amy Stoller
Casting: Stephanie Klapper, CSA
Production Stage Manager: Jeff Meyers
Assistant Stage Manager: Elizabeth Ann Goodman/Marjorie Ann Wood
Illustration: Stefano Imbert
Graphics: hey jude design, inc.
Advertising: The Pekoe Group
Press: David Gersten & Associates

It’s “Wakes Week” in Hindle; the mill is closed and the workers are idle. Fanny Hawthorn is relaxing at the seashore with a girlfriend when she runs into Alan Jeffcote, the mill owner’s son. Alan takes Fanny to an hotel in Wales for a few days of fun, but the fun stops when their parents find out.
When Hindle Wakes premiered in London in 1912, many critics called it the best play of the year. However, the play’s unsentimental depiction of two young people seeking pleasure without commitment sparked moral outrage, filling England’s newspapers with passionate argument over the play’s controversial subject matter. Of course, controversy was good for business and Hindle Wakes was a hit.

Not seen in the U.S. in nearly a century, Mint Theater Company’s revival of Hindle Wakes “reaffirm[ed] the play as both well worth knowing in itself and particularly resonant in today’s political climate,” (The Village Voice).1  The Wall Street Journal called Hindle Wakes “a study of provincial hypocrisy in Vicwardian England that crackles with a biting candor,” praising Gus Kaikkonen, “one of the deftest directors on the East Coast,” for his direction’s “crisp understatement… letting Houghton make his own stiletto-sharp points instead of ramming them home.”2 Remarking further on Houghton’s skillful storytelling, The New York Times noted that Hindle Wakes “proceeds… gentle as a summer rain until, bam … something electric happens to charge the air.”3