Flowers for Mrs. Harris
Book by Rachel Wagstaff, Music and Lyrics by Richard Taylor
Show Information
The Ruth & Nathan Hale Theater
PROUDLY PRESENTS
Based on the Novel by
Paul Gallico
A Musical by
Richard Taylor and Rachel Wagstaff
Book by
Rachel Wagstaff
Music & Lyrics by
Richard Taylor
Starring
Paul Gallico
Richard Taylor and Rachel Wagstaff
Rachel Wagstaff
Richard Taylor
Dianna Graham, Erica Hansen, Ben Henderson, Luone Ingram, David Morley-Walker, Lauren Pope, Janae Koralewski Thomas, Neena Warburton
Supporting
Daniel Clegg, James Duncan, Eric Gourley, Emily Hawkes, Marcie Jacobsen, Melanie Muranaka, Brittni Smith, Mary Jane Smith, Tanner Sumens, Jeff Thompson, Tatem Trotter, and James Wakeland
Featuring
Collette Astle, Sabrina Astle, Taylor McKay Barnes, Alli Cloward, Annie Ethington, Aubrey Fisher, Isabelle Hase, Merci Hase, Naomi Lin-Anderson, Reese Riley, Richelle Rindlisbacher, Jessica Salter, Emily Ward, and Kate Weeks
DIRECTOR
Barta Heiner
Music Director
Anne Puzey
Choreographer
Sayoko Knode Peterson
ASSISTANT CHOREOGRAPHER
Mike Romney
SET DESIGN
Carter Thompson
COSTUME DESIGN
Dennis Wright
LIGHTING DESIGN
Mark Ohran
HAIR & MAKEUP DESIGN
Emilie Ronhaar
SOUND DESIGN
Tim Riggs
PROP DESIGN
Megan Heaps
Dialect Coach
Dianna Graham
PRODUCTION STAGE MANAGER
Anna Birch
Flowers for Mrs. Harris is presented by arrangement with Concord Theatricals.
wwww.ConcordTheatricals.com
The video or audio recording of this performance by any means is strictly prohibited.
Cast List
Ada Harris
Dianna Graham MON, WED, FRI
Erica Hansen TUE, THU, SAT
Mr. Harris
David Morley-Walker MON, WED, FRI
Ben Henderson TUE, THU, SAT
Violet Butterfield / French Char Lady
Janae Koralewski Thomas MON, WED, FRI
Luone Ingram TUE, THU, SAT
Bob Smith / Andre Fauvel
James Duncan MON, WED, FRI
Tanner Sumens TUE, THU, SAT
Pamela Penrose / Natasha Raimbault
Neena Warburton MON, WED, FRI
Lauren Pope TUE, THU, SAT
Major Wallace / Monsieur Armand / French Waiter / Customs Officer
Jeff Thompson MON, WED, FRI
Daniel Clegg TUE, THU, SAT
Countess Wyszcinska / Dame Sybil Sullivan / Seamstress
Marcie Jacobsen MON, WED, FRI
Mary Jane Smith TUE, THU, SAT
Lady Dant / Madame Colbert
Melanie Muranaka MON, WED, FRI
Brittni Smith TUE, THU, SAT
Terry / Wireless Commentator / Dior Dress Maker / Terence
Eric Gourley MON, WED, FRI
James Wakeland TUE, THU, SAT
Flower Seller / French Flower Seller / Dior Model (The Hydrangea) / Dior Dress Maker
Emily Hawkes MON, WED, FRI
Tatem Trotter TUE, THU, SAT
Dior Model (The Petunia)
Alli Cloward MON, WED, FRI
Taylor McKay Barnes TUE, THU, SAT
Dior Model (The Foxglove)
Collette Astle MON, WED, FRI
Aubrey Fisher TUE, THU, SAT
Dior Model (The Bluebell)
Sabrina Astle MON, WED, FRI
Reese Riley TUE, THU, SAT
Dior Model (The Petal)
Isabelle Hase MON, WED, FRI
Kate Weeks TUE, THU, SAT
Dior Model (The Daisy)
Richelle Rindlisbacher MON, THU, FRI
Naomi Lin-Anderson TUE, WED, SAT
Dior Model (The Black Lily)
Merci Hase MON, WED, FRI
Jessica Salter TUE, THU, SAT
Dior Model (The Peony)
Annie Ethington MON, WED, FRI
Emily Ward TUE, THU, SAT
Production Team
DIRECTOR
Barta Heiner
CHOREOGRAPHER
Sayoko Knode Peterson
ASSISTANT CHOREOGRAPHER
Mike Romney
MUSIC DIRECTOR
Anne Puzey
DIALECT COACH
Dianna Graham
FRENCH LANGUAGE COACH
Daniel Clegg
SET DESIGN BY
Carter Thompson
COSTUME DESIGN BY
Dennis Wright
ASSISTANT COSTUME DESIGNER
Lili Ribeira
LIGHTING DESIGN BY
Mark Ohran
HAIR & MAKEUP DESIGN BY
Emilie Ronhaar
SOUND DESIGN BY
Tim Riggs
A1 OPERATORS
Rachel Carr and Lydia Cox
AUTOMATION OPERATORS
Noah Sheen, Ryder Spotts, and Kaden Wells
PROP DESIGN BY
Megan Heaps
PRODUCTION STAGE MANAGER
Anna Birch
ASSISTANT STAGE MANAGERS
Lex Fabbian and Kara McCarthy
DECK CREW
Sydnie Evans, Gabi Pack, Anina Peacock, and Cheyenne Proctor
HEAD DRESSERS
Danielle Hendrickson and Seneca White
WARDROBE CREW
Astrid Melendez
Scenes and Musical Numbers
Kitchen Orchestra
All I Ever Needed
Mrs. Harris and Mr. Harris
Lady Dant
Violet, Lady Dant, and Mrs. Harris
There is More to Life
Mrs. Harris and Lady Dant
Clients #1 - Look At Me
Bob, Mrs. Harris, Pamela, Countess, and Major
Something to Come Home to
Mrs. Harris and Violet
Rain On Me
Mrs. Harris and Mr. Harris
Clients #2
Bob, Pamela, Countess, Major, and Mrs. Harris
The Pools Win
Mrs. Harris
Mrs Harris Does a Budget
Mrs. Harris and Mr. Harris
Clients #3
Violet, Major, Mrs. Harris, Countess, Pamela, Flower Seller, Bob, and Mr. Harris
Pamela
Pamela
Underscore
Albert: The Watch
Mrs. Harris and Mr. Harris
Rain On Me Reprise
Violet, Mrs. Harris, and Mr. Harris
Intermission
30, Avenue Montaigne
Mrs. Harris, French Cleaner, Madame Colbert, and André
Aside
Every Woman is a Princess
Madame Colbert, André, and Natasha
The Dress-Showing
Mrs. Harris, Monsieur Armand, Madame Colbert
Measuring
Mrs. Harris and Marquis
Seamstress/Natasha
Seamstress and Mrs. Harris
Natasha Exit
Dress-Making #1 / She Kissed Me!
André
The Doorbell
André
The Girl in the Magazine
Natasha and Mrs. Harris
The Sad Story of Madame Colbert
Natasha and André
Dress-Making #2 / The Flower Market
André and French Flower Seller
Dress-Making #3
Madame Colbert, Natasha, André, and French Cleaner
Bistro du Midi Underscore
Dress-Making #4
Seamstress, Madame Colbert, André, Natasha, French Cleaner, and Mrs. Harris
Customs (A Fib, Not a Lie)
Customs Officer
Returning Home / Visiting Pamela
Customs Officer, Madame Colbert, Mrs. Harris, and Pamela
5, Willis Gardens
Mrs. Harris
Flowers (Something For You)
Company
The Garden of Eden
Mrs. Harris, Pamela, Lady Dant, Violet, Countess, Bob, and Major
Playout
Director's Note
By Barta Heiner
It was the late 1940’s, World War II had ended in Europe and the British Isles; but the bullet pock marks and shrapnel scars on the buildings still reminded everyone of the devastation that had recently occurred. Even today, there are buildings that still show evidence of the wounds of war.
In England, Ada Harris has actually lived through two world wars. Her husband was killed during the first one and, for a living, she has been cleaning other people’s houses for the last 30 years. By accident, she is introduced to a Christian Dior dress and discovers “a piece of her” that has been missing ever since her husband died…she has to have one.
In Paris, Christian Dior's fashion collection blossoms in 1947, with dresses named after different flowers. It marked a dramatic departure from the frugality and rationing that created the wartime styles of the 1940s. This collection, Dior's first, was a sensation because it was a return to beauty and color and a celebration of life after the austerity of World War II.
As a note of interest, during World War II Dior was designing dresses for the wives of Nazi officers and sympathizers. Before condemning his actions, we should consider his creative choices were made for the safety of his family. And, it’s also important to know that he was supporting his sister Catherine’s work for the French Resistance, by allowing her to hold resistance meetings in his house.
His sister, Catherine was eventually caught, tortured and despite Dior’s attempts to get her release; she was sent to a concentration camp. She was finally liberated in 1945 and arrived in Paris so emaciated that Dior didn’t even recognize her.
After the end of the war, Catherine spent the remainder of her life working with flowers: first as a flower merchant, then as a flower farmer. Christian Dior was also a lover of flowers; however, I would like to think that him giving floral names to his dresses was, in a way, a tribute to the strength and courage of his sister. She, Europe and the British Isles would bloom again and rise from the ashes of war.
Interesting Facts
By Mark Fossen
Mrs. Harris and Christian Dior's 'Flower Women'
A London cleaning lady sees a Dior dress and sets her heart on owning one. This simple story gains unexpected weight when placed in the context of 1957 Britain. What did it mean, in that moment, for a working-class woman to want a couture gown made by the House of Dior? Why that dress, in that year?
To understand what makes Mrs. Harris’s dream so extraordinary, it helps to look at the world she comes from—and the world she steps into when she walks through the doors of 30 Avenue Montaigne.
“We were emerging from the period of war, of uniforms, of women-soldiers built like boxers. I drew women-flowers, soft shoulders, fine waists like liana and wide skirts like corolla.”
Christian Dior
In 1957, Britain was still dusting itself off from the effects of the Second World War. The Blitz had ended over a decade earlier, but its scars remained visible in the cityscape and in people’s daily lives. Bomb sites still dotted London neighborhoods. Many families lived in cramped, temporary prefab homes. And although rationing officially ended in 1954, its legacy endured—especially in working-class households, where food shortages, utility restrictions, and threadbare clothing had been the norm for years.
Life for someone like Mrs. Harris was shaped by modesty, practicality, and routine. Fashion meant mending old garments or sewing one’s own. Department store catalogues and shop windows offered a taste of the aspirational, but luxury was something glimpsed, not owned.
“After women, flowers are the most lovely thing God has given the world.”
Christian Dior
In 1947, as Britain endured postwar austerity, Christian Dior launched a fashion revolution across the Channel in Paris. Dior was already in his 40s when he founded his couture house, having spent years working for other designers and even dabbling in art and architecture. His debut collection, presented just two years after the end of the war, upended the fashion world. Where wartime styles had been utilitarian—boxy shoulders, short skirts, and minimal fabric—Dior’s designs were voluptuous and romantic. They featured tiny waists, padded hips, long flowing skirts, and luxurious textiles. The look was christened “The New Look,” and it made headlines around the world.
The New Look wasn’t just about silhouette—it was about spectacle. Dior’s designs celebrated femininity in a way that deliberately rejected the rationing-era aesthetic. The effect was immediate and dramatic. Buyers, editors, and socialites clamored for the gowns, and Dior quickly became a name synonymous with glamour, refinement, and excess.
For some, especially in France and America, the New Look symbolized a return to prosperity. For others, particularly in countries like Britain still deep in recovery, it was more complicated. Critics accused Dior of wastefulness. A single dress could require yards and yards of fabric—an affront in a society still adjusting to life after coupons and shortages. But even critics couldn’t ignore the impact. Dior redefined modern fashion and revived the Paris couture industry in the process.
“I have designed flower women.”
Christian Dior
By the time Flowers for Mrs. Harris takes place, a full decade had passed since Dior’s groundbreaking debut. The House of Dior had become an empire, selling not only couture but also ready-to-wear lines, perfumes, and accessories. The designer himself was still at the helm—at least, until October of that same year, when he died unexpectedly of a heart attack at the age of 52.
His death marked the end of an era, but in 1957, Dior was still very much a living legend. A dress from the House of Dior was a statement, a status symbol, and an embodiment of postwar ideals about beauty, class, and femininity.
The House of Dior was an institution with its own rituals, hierarchies, and unspoken codes of class and taste. Inside the atelier, there was a deep reverence for craftsmanship, and each dress was the result of countless hours of labor from skilled seamstresses known as les petites mains.
In 1957 London, the average working-class woman might own a single good coat or make her own clothes from a pattern bought at Woolworth’s. The gulf between the world of couture and everyday life was immense. And yet, fashion news traveled—through magazines, through cinema, and through photographs in shop windows. Even those who could never have hoped to wear Dior knew what it stood for.
“Women, with their sure instincts, realized that my intention was to make them not just more beautiful but also happier.”
Christian Dior
Although class divisions remained strong, postwar Britain saw the beginning of increased social mobility, a slow loosening of the rigid codes that had defined the Edwardian and interwar periods. At the same time, consumer culture was beginning to expand. Mass-produced goods and department store catalogues gave the illusion—if not the reality—of access to luxury.
Haute couture, however, remained outside that reach. The cost of a Dior dress in the 1950s could exceed the average yearly wage of a working-class household. Owning such a garment was not only financially impossible for most—it was socially implausible. But the idea of beauty, of elegance, of something carefully and lovingly made, was still powerful. It represented not only wealth or fashion, but the possibility of being seen.
“Real elegance is everywhere, especially in the things that don't show.”
Christian Dior
In this climate, a Dior gown could serve as a symbol of many things: economic disparity, cultural aspiration, the resilience of beauty, or simply a curiosity from a faraway world. Flowers for Mrs. Harris is situated at this crossroads, where postwar practicality met postwar dreaming.
Watch Dior’s fashion revolution as Mrs. Harris might have experienced it with this playlist of videos from British Pathé.
Meet the Cast
Dianna Graham
Erica Hansen
David Morley-Walker
Ben Henderson
Janae Koralewski Thomas
Luone Ingram
James Duncan
Tanner Sumens
Neena Warburton
Lauren Pope
Jeff Thompson
Daniel Clegg
Marcie Jacobsen
Mary Jane Smith
Melanie Muranaka
Brittni Smith
Eric Gourley
James Wakeland
Emily Hawkes
Tatem Trotter
Alli Cloward
Taylor McKay Barnes
Collette Astle
Aubrey Fisher
Reese Riley
Sabrina Astle
Isabelle Hase
Kate Weeks
Richelle Rindlisbacher
Naomi Lin-Anderson
Merci Hase
Jessica Salter
Annie Ethington
Emily Ward
Meet the Production Team
Barta Heiner
Sayoko Knode Peterson
Mike Romney
Anne Puzey
Dianna Graham
Anna Birch
Carter Thompson
Dennis Wright
Emilie Ronhaar
Mark Ohran
Timothy Riggs
Megan Heaps
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Ryder Spotts
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Morgan Dawn Golightly
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