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