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CONFLICT | 2018
Photo by Todd Cerveris
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JONATHAN BANK
“Of all the countless Off-Broadway troupes, none has a more distinctive mission—or a higher artistic batting average—than the Mint Theater Company: I’ve never seen a production there that was a sliver less than superb.” Terry Teachout, The Wall Street Journal
JANUARY 24 THROUGH MARCH 23
JAN 24 THROUGH MAR 23
le b a k a t s i m “Un s” u i n e G c i t Drama ge, 1910 The New A
MINTTHEATER.ORG THIS PRODUCTION IS SUPPORTED IN PART BY: The New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
By public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Meet Miss Baker Elizabeth Baker may have been “one of the most widely discussed playwrights in England” (The Christian Science Monitor). But that didn’t prevent critics from treating her with amazed condescension, as evidenced by this item in the New York Press, which ran when Baker was set to make her American debut in 1912.
Mr. Scott and his wife, son and daughter have long hoped to sell the declining family business so they can pursue dreams now out of reach. When a buyer finally appears and makes a rich offer—Scott hesitates. If he sells, the old shop will become a dance hall—and Thomas Scott believes that dancing is immoral. The Price of Thomas Scott poses probing questions about prejudice, principles, pretense and progress. Whether you find Thomas Scott inspiring or enraging—you’re sure to find Elizabeth Baker’s drama entertaining and provocative. The Price of Thomas Scott was only produced once (at the Gaiety Theatre in Manchester, 1913). The Guardian praised Baker’s “very considerable merits as a dramatist,” and her “careful realism…a minute study of the surface detail of life, leaving the audience to draw what conclusions they liked from what was before them.” The Era agreed, describing the play as a “delightful piece of realistic drama…There is much interest and food for thought in the picture of Thomas Scott.” Spirited and independent, Annie Scott trims hats in her father’s shop, but longs to study fashion in Paris, despite her father’s disapproval. Like Annie, Elizabeth Baker (1876-1962) grew up in a strict, religious household. She described her childhood in a 1927 magazine profile: “I was absolutely ignorant about the theater,” she told the journalist, “but I think I had a feeling for dramatic pictures.” Baker first started going to the theatre at 30, when Granville Barker was producer at the Royal Court, and “was so much inspired by the productions there that she attempted to write a play herself.” Just a few years later, in 1910, Elizabeth Baker’s play, Chains, was sharing the stage with Granville Barker, J.M. Barrie, Shaw and Galsworthy as part of Charles Frohman’s season at the Duke of York’s. “A remarkable play,” the Times declared, “—all the more remarkable if, as we believe, it is the first attempt its author has written.” Baker may have even upstaged her most famous colleague that season. The New Age declared, “there are some respects in which I think Miss Elizabeth Baker might well challenge even Mr. Shaw’s supremacy,” calling her a “new playwright of unmistakable dramatic genius.” With The Price of Thomas Scott, Mint Theater Company will launch our most ambitious undertaking since the inauguration of the Teresa Deevy Project in 2010. “Meet Miss Baker” will bring new attention to this long forgotten, much deserving author. We will follow The Price of Thomas Scott with simultaneous productions of two Baker plays at two theaters in the summer of 2020. Our Theatre Row twin bill will include Baker’s surprising comedy Partnership, about an ambitious professional woman who receives a tempting business proposition, and Baker’s claim to fame, Chains. We’ll offer readings of many of her other plays over the course of the next two years. Publication of Elizabeth Baker Reclaimed will coincide with our Baker twin bill in 2020.
Adding injury to insult, although this article promised that Baker’s first play, Chains, would play at the Criterion the next day, it was actually an American “adaptation” of her work. “There was even ragtime music to drive out all suggestion of Miss Baker out of the play, wrote The New York Sun, “It was not a particularly truthful picture of any kind of life known to our civilization.”
enrichMINT events
All events take place immediately after the performance and usually last about fifty minutes. They are free and open to the public. Speakers and dates subject to change without notice.
“DO YOU REALLY WANT TO GO AWAY?” ELIZABETH BAKER-HER LIFE AND WORK SUNDAY JANUARY 27, after the matinee: MAYA CANTU, BENNINGTON COLLEGE
Maya Cantu is on the Drama Faculty at Bennington and Dramaturgical Advisor to the Mint. She received a D.F.A. in Dramaturgy and Dramatic Criticism at Yale School of Drama. Her book American Cinderellas on the Broadway Stage: Imagining the Working Girl from “Irene” to “Gypsy” is now available through Palgrave Macmillan.
“A RADICAL AFFAIR…” NONCONFORMISTS AND LIBERAL POLITICS SATURDAY FEBRUARY 2, after the matinee: GEORGE ROBB, WILLIAM PATTERSON UNIVERSITY
Professor Robb will talk about Nonconformists (or Dissenters) at the turn of the last century in England. Robb received his PhD in History from Northwestern University. He was a Fulbright Scholar in the United Kingdom. His most recent books are British Culture and the First World War (Palgrave-Macmillan, 2015) and Ladies of the Ticker: Women and Wall Street from the Gilded Age to the Great Depression (University of Illinois Press, 2017).
“I FORGOT, YOU USED TO BE A PURITAN, TOM.” THOMAS SCOTT’S BELIEFS SUNDAY FEBRUARY 3, after the matinee:
J. PATRICK HORNBECK, CHAIR AND PROFESSOR OF THEOLOGY, FORDHAM UNIVERSITY Hornbeck teaches and writes on the history of Christianity, on religion in the contemporary U.S., and on the relationship of religion and law. A frequent commentator in the national press, Hornbeck is author or editor of eight books, including most recently Remembering Wolsey (Fordham University Press). He holds graduate degrees from the University of Oxford and attended Georgetown University as an undergraduate.
“TIMES HAVE CHANGED:” THOMAS SCOTT’S LONDON SUNDAY FEBRUARY 10, after the matinee: JUDITH WALKOWITZ, JOHNS HOPKINS UNIVERSITY (EMERITUS) For more than three decades, Walkowitz, a British historian, has concentrated her research and writing on nineteenth-century political culture and the cultural and social contests over sexuality. Her latest book, Nights Out: Life in Cosmopolitan London extends her interest in the cultural and social history of London to mid-twentieth century.
Donald Corren Andrew Fallaize Emma Geer Josh Goulding Mitchell Greenberg Nick LaMedica Jay Russell Tracy Sallows Mark Kenneth Smaltz Ayana Workman Arielle Yoder
SETS Vicki
R. Davis COSTUMES Hunter Kaczorowski LIGHTS Christian DeAngelis SOUND Jane Shaw PROPS Chris Fields CHOREOGRAPHY Tracy Bersley DIALECTS & DRAMATURGY Amy Stoller CASTING Stephanie Klapper, CSA PRODUCTION STAGE MANAGER Jeff Meyers ASSISTANT STAGE MANAGER Kristi Hess ILLUSTRATION Stefano Imbert GRAPHICS hey jude design, inc. PRESS David Gersten & Associates