The Fatal Weakness tells the story of society woman Ollie Espenshade, who, after 28 years of marriage is still an incurable romantic (her fatal weakness). Perhaps discovering that her husband is a lying cheat will cure her? 

Kristin Griffith, Victoria Mack, and Cliff Bemis.
Photo: Richard Termine


“A smart, polished not-quite-comedy about the high price of adultery whose upper-crust characters are unlikable and whose moral—if you care to call it that—is uncomfortable. Though no one mentions World War II, not even in passing, Mr. Kelly was surely out to show how it triggered a convulsion in American mores, which gives the laughter an astringent sting… As usual at the Mint, the acting and staging are smoothly impeccable…Vicki R. Davis’s sitting-room set looks like the kind of thing you’d see on Broadway if Broadway still did plays like this.”

-The Wall Street Journal 


A workplace drama laced with biting humor, Hazel Ellis’s Women Without Men is set in the teacher’s lounge of a private girls boarding school in Ireland in the 1930’s. Jean Wade is an enthusiastic young teacher new to the school, where she soon finds herself popular with the students and at odds with her quarrelsome colleagues—especially the antagonistic Miss Connor. When Miss Connor’s life’s work—a history of “beautiful acts” through the ages—is found torn to shreds, Jean is the most likely suspect. With the evidence mounting against her and animosity in the air, will Jean fight for her career, or will she be beaten by the pettiness and jealousy that thrives in the school’s cloistered environment?

Mint’s production received five Drama Desk Nominations, including Outstanding Revival, Best Director  (Jenn Thompson) and Outstanding Supporting Actress (Kellie Overbey). 

Kellie Overbey, Emily Walton and Mary Bacon. Photo: Richard Termine.

“How does the Mint do it? Only a couple of years after it resurrected the work of the forgotten Irish playwright Teresa Deevy, the company presentsWomen Without Men, byHazel Ellis, a contemporary of Deevy’s, also seemingly lost to history. And, once again, we have to ask: Who is Hazel Ellis? Why did we not know her? Why has this information been kept from us? This production shows the Mint doing what it does best: finding long-lost works that remain remarkably stageworthy today.”

Lighting and Sound America


Set aboard a houseboat on a fashionable reach of the Thames in 1911, The New Morality tells the story of how the brazen Betty Jones restores dignity to her household and harmony to her marriage, by losing her temper and making a scene.

Brenda Meaney and Michael Frederic. Photo by Richard Termine.


“The script combines a jigger or two of Harley Granville Barker, a measure of Shaw, a dash of Wilde and stirs as needed… The writing is charming and finely observed…The direction, by the Mint’s artistic director, Jonathan Bank, is appealing and apposite. The acting is adept, with particularly impressive turns by Brenda Meaney as Betty and Ned Noyes as the husband of her putative rival.”

The New York Times