Kate Rolling, is an independent professional woman happily running a successful business with no interest in marriage. That is, until she receives an offer from her chief competitor proposing a merger… and matrimony.
Partnership is a story of yearning for more, but Kate Rolling and the women she works with in her small but very smart shop are ambitious to sell more, to earn more, to grow. They are not romantics seeking adventure, they are capitalists seeking expansion. When George Pillatt, owner of the biggest shop in Brighton, proposes a merger on favorable terms—including matrimony—Kate sees an irresistible business opportunity. “Oh, don't worry about me,” Kate assures her friends, “I never expected anything great in the way of love.”
Partnership offers a refreshing take on the importance of work-life balance. “One of the very few intelligent and, therefore, really interesting plays of the moment is Partnership at the Court, by Miss Elizabeth Baker, author of the memorable Chains. It is the eternal battle of the spirit over the material: … It grips you precisely because it is not a fairy tale,” wrote The Stage in 1917.
Overall, the audience did not seem overly impressed: There was courtesy clapping at the end of Act I, and the applause only slightly increased in Act II. When it was over, there was sustained appreciation. This kind of period piece just does not warrant a rousing standing ovation.
Directed by Jackson Grace Gay, this Partnership simply doesn’t meet the Mint’s usual high standards. (And I’m not talking about the blatantly obvious stick-on mustache. Although…) It boils down to a glaring lack of chemistry between Haider and Echebiri. And Echebiri’s Fawcett never seems excited by anything, not even his supposedly prized springtime miles-long walks and hillside excursions. (He’s the only character in the play who believes in work-life balance.) So when Kate starts cutting work, forgetting appointments, and prioritizing pleasure over business—taking a mid-morning boat trip instead of doing a fitting with the uppity but influential Lady Smith-Carr-Smith (Christiane Noll, looking splendid in Kindall Almond’s over-the-top frocks)—we can’t help but wonder why? What does she see in him that makes it worth risking her reputation as a businesswoman? “If I choose to lose my clients that is my affair,” Kate shrugs. Maisie is incredulous, and she’s not the only one. Snap out of it, girl!
2023 | Off-Broadway |
Mint Theater Off-Broadway Production Off-Broadway |
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