A WOMAN OF
INDEPENDENT MEANS

A once-scandalous play receives a
glorious revival, with a captivating
leading lady and a first-rate ensemble

Playwright Cicely Hamilton distrusted convention, challenged inherited assumptions, and refused to mistake tradition for truth, which may explain why her play Phyl was originally banned and branded “scandalous!” Hamilton died in 1952 at the age of 80, but imagine how gratifying it would have been for her to know that her play would receive a glorious revival 113 years after its premiere. It would have been a fitting gift for decades of advocacy on behalf of women’s rights across the worlds of art, journalism, and politics. And what a tribute director Britt Berke has bestowed on Hamilton with this solid, gripping production of a woman’s pursuit of romance, independence, and happiness.

Mint Theater Company’s Phyl, which recently opened at Theatre Row, tells the story of Phyllis Chester (Lily Ganser), a young governess desperate to break through the barriers confining her. Matters aren’t helped by the two privileged little hellions in her charge (Tessa Bilmes and Charlotte van Ledtje). Their mother, Mrs. Ponsonby (Katie Firth), is determined to match her daughter Mabel (Livvy Marcus) with the handsome, well-to-do Jack Folliott (Anthony Michaele Martinez). There’s just one complication: Jack has eyes for Phyl, captivated by her feisty spirit and determination to break free of her circumstances.

When Mrs. Ponsonby accuses Phyl of interfering with her daughter’s romantic prospects, Phyl vehemently denies the charge but is fired nonetheless. Faced with the prospect of returning to London to live with her working-class sister, Cathy Chester (Jennifer Blood), Phyl receives an unexpected offer from Jack, who invites her to travel abroad with him, promising a taste of excitement, pleasure, and happiness. She carefully weighs the consequences of traveling with a man as an unmarried woman, but ultimately accepts, declaring, “I’d just as soon be looked down upon for being wicked as be looked down upon for being poor.” A few weeks later, Act II reveals the pleasures and privileges her new life affords—until tragedy strikes and everything changes.

From the moment Ganser steps onstage as Phyl, she conveys a young woman whose inner life is in turmoil, struggling to find her footing in a world determined to keep her in her place. You won’t be able to take your eyes off her as she fights to keep her head above water. Her leading man, Martinez, is equally captivating as Jack, making you root for a romance that dares to bridge the divide between the upper and working classes. It’s a welcome relief to discover that Jack isn’t a grifter or some more sinister figure. Instead, his heart of gold offers a refreshing alternative to the familiar trope of a man who exploits a woman’s vulnerability.

Equally powerful is Jennifer Blood as Phyl’s sister, Cathy. A transformative performer, Blood embodies the exhaustion, convictions, and hard-won ideals of a working-class woman so completely that I barely recognized her from previous roles. Her physicality and vocal choices make Cathy feel like an entirely different person, a testament to Blood’s great range as an actress.

The play also comes from an era when supporting characters might appear in only a scene or two—yet still serve a meaningful purpose. Casting director Stephanie Klapper has assembled a stellar company whose performers make the most of every entrance, regardless of the size of their roles. Betsy Hogg brings a welcome presence to her brief appearances as a member of the staff, while Marcus makes her mark as Mabel in the opening scene. And the seasoned Curzon Dobell is outstanding as Mr. Westmacott in two short scenes in the second act.

The performances are only part of what makes this revival so rewarding. The designers have created a world every bit as compelling as the characters who inhabit it. Alicia J. Austin’s costumes help distinguish the worlds of privilege and working-class restraint. In Act II, Phyl’s Paris gown looks every bit as expensive as the story suggests, while the iridescent cape Jack gives her is simply gorgeous. Brittany Vasta’s drab schoolroom setting in Act I establishes an effective contrast with Act II’s elegant hotel room abroad. When the curtain opened, the transformation was so striking, it earned spontaneous applause. Lighting designer Mary Louise Geiger works her own theatrical magic, illuminating the action beautifully and making particularly lovely use of the large white curtain draped across the back wall.

With so much working in harmony, credit must go to director Britt Berke for guiding the cast and creative team toward such a rewarding revival. More than a century after Phyl first provoked outrage, Hamilton’s story of a woman challenging the limits imposed on her remains thoroughly engaging. I can only imagine her delight at seeing her once-scandalous play reclaim the spotlight and shine so brightly in 2026.

 

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photos by Todd Cerveris

Phyl
Mint Theater Company
Theatre Row, 410 W. 42nd St. in New York City
2 hours and 15 minutes, including one intermission
ends on November 7, 2026
for tickets (from $39), call 212.714.2442 ext. 2 or visit Mint Theater

for more shows, visit Theatre in New York

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