TOUR PROGRAM
M.M. HANEY // 2026 TOUR
THE POISONER
Bethlehem, PA // September 17-19, 2026
FALL 2026 // 3 ACTS // 90 MINS
A universal tale, THE POISONER is an unraveling of the deception, abuse of power, and utter negligence of early 2000’s Midwestern water politics. In a neo-noir thriller driven by a determined journalist who returns to his hometown and uncovers more than he bargained for, THE POISONER invites you to question, are we ever safe?
Directed by two-time Obie Award-winning Director and Choreographer Lee Sunday Evans and written by first-time playwright M.M. Haney, THE POISONER premiered at the historic La MaMa Experimental Theatre Club where performances included talkbacks with talented artists, fashion designers, photojournalists and community advocates who have contributed to democracy, water justice, and beauty in Flint and beyond.
THE POISONER is inspired by the Flint water crisis of 2014.
"We know this isn't real. These are actors. That's not whatever that office is. You all know that. And five minutes into THE POISONER, you are the reporter and you are the father of the child. And you are in the nursing home. The friend of somebody who actually did fight."
– Michael Moore, Filmmaker & Activist
PLAYWRIGHT
M. M. Haney (she/her)
Playwright’s Statement
My niece, Carly, was just five years old and living near Flint, Michigan, when the crisis unfolded. Her proximity touched me profoundly, prompting an investigation into the crisis. What I uncovered was not just a single failure but a complex tapestry of deep-seated ideologies that bred the corruption that ended up harming thousands of everyday people.
It was the layers of misconduct that struck me. The adverse incentives in place, as they are in so many parts of our country, that led to the fall of Flint. There were obvious tragedies like the horrific lead poisoning in children. But the cause – the insidious, eroding faith in government and relinquishing of citizen democracy – seemed particularly damning. Growing up in Michigan I witnessed firsthand the shift in our state’s political landscape – from the union-strong days of the 1950s and 1960s, to the capitulation of the unions in the ‘70s and ‘80s, to an angry, reactionary, and intensely conservative ethos by the early 2000s. This dramatic cultural shift, in my opinion, directly influenced the “business oriented” government decisions that culminated in the water crisis.
In THE POISONER I aim to not only recount the events but also explore the fundamental underlying forces in Michigan’s political and social fabric that led to this catastrophe. It’s a story of caution, reflection, and the undeniable impact of governance in everyday lives.
M. M. HANEY (Playwright) is an artist and entrepreneur. She has developed and produced several narrative documentary and independent feature films including WHAT WE FIND ON THE ROAD, CRACKING THE CODE, and JIM ALLISON: BREAKTHROUGH. She is co-founder of Citizen56, a nonprofit focused on the arts, environment and democracy in America, and World Connect, a global nonprofit, as well as several technology companies.
DIRECTOR'S NOTE
Lee Sunday Evans (she/her)
When Maura approached me about THE POISONER, I was inspired by the potential to bridge the gap between a story set in a one small city that has become infamous for a devastating public health crisis and way that we can make connections to our own lives and the cities where we live. My intrigue was particularly piqued by the play's exploration of how economic choices and ideologies profoundly affect all of us who live in the social contract that a city government is supposed to provide the basic safety and infrastructure for our health, our families. As someone who firmly believes in the importance of government and the influence of elected officials, I felt it was crucial to delve into the human aspect of these narratives, where the fundamental contract between people and their government is too often breached. A functioning government forms a bedrock of our societies - but a functioning government is immensely complex, in ways that are over-simplified and misunderstood. The complexity of this narrative, as envisioned by Maura, struck a chord with me. It's rare to find theatrical pieces that aim to engage so rigorously with the political nuances and offer a detailed analysis. I am grateful for THE POISONER creating this public forum where we can grapple with the challenge of these pressing questions and tell a deeply emotional, messy, human story about how seemingly mundane economic ideas can drastically alter the course of people's lives and our cities.
Lee Sunday Evans is a two-time Obie Award-winning director and the Artistic Director of Waterwell, who directed the world premiere of A WRINKLE IN TIME by Lauren Yee, music and lyrics by Heather Christian, at Arena Stage last season. Other notable credits include ORATORIO FOR LIVING THINGS by Heather Christian, THE FORD/HILL PROJECT which she co-created with Elizabeth Marvel, DANCE NATION by Clare Barron, Waterwell’s THE COURTROOM created with Arian Moayed which premiered in a courtroom in the Second Circuit Thurgood Marshall Courthouse, CAUGHT by Christopher Chen, and HOME by Geoff Sobelle. She directed the film adaptation of THE COURTROOM which premiered at Tribeca Film Festival in 2022 and has had grassroots screenings around the country. As part of her work at Waterwell, she has partnered with the Council on Foreign Relations, the National Center for Youth Law, Labor Notes, the Amica Center, the National Center for Youth Law, Dignity Not Detention Coalition, and others to create original projects that make robust contributions to their work on public policy, communications, and organizing.
ACT SUMMARY
In Act 2 Ron grapples with an increasingly complex web of politics, economics, and personal betrayal that underpins the growing crisis in Mack City. Following an anonymous tip-off he gains access to a damning EPA report on residential water samples that sets him on a collision course with Mack City's power brokers, including the slick Emergency Manager and his childhood friend Jack, now the water plant manager. As Ron peels back layers of corruption and negligence, he confronts the painful reality that the water crisis is not just a failure in infrastructure but a betrayal of public trust, with Jack unwittingly at its center. Act 2 culminates in Ron's resolve to bring the truth to light, setting the stage for a climactic confrontation with forces determined to silence him.
01
In Act 1, hardened Chicago Tribune journalist Ron Finder reluctantly agrees to return to his midwestern hometown, Mack City, to cover an announcement on new economic policy that’s about to be unveiled by the state’s businessman-Governor. As Ron gathers material, increasing pressure from city austerity measures enforced by an ambitious Emergency City Manager,
Dwayne Davis, reveal fissures in local democratic government and unsettling problems in the city's water supply. Meanwhile, Ron’s professional assignment forces confrontation with his past, resulting in a painful collision in his relationship with his father. Through his early investigative journey, Act 1 intertwines the fallout of socioeconomic decline and community disintegration, with the search for truth and the fundamental ethics of power.
02
In the final act of the story Ron confronts the stark realities of the power structure that provided the foundation for the catastrophic public water crisis he’s uncovered, and its profound societal and personal consequences. The full weight of his discoveries, including the horrific effects of water poisoning on the innocent and on those he loved, fundamentally changes Ron’s understanding of the human cost of economic decisions, governance, and the institutions required to protect the vulnerable. After breaking the story Ron is left questioning the true cost of his pursuit of truth, reflecting on the sacrifices made by himself and others in the fight for justice. In the Epilogue Ron recognizes the value of community and the enduring struggle for integrity in the face of adversity.
03
CHARACTERS
Ron Finder
A tenacious journalist with a quest for truth, Ron returns to his hometown, embroiled in a water crisis, to confront the story that could define his career. Facing his past and the city's grim realities, Ron's journey is one of courage, redemption, and a relentless pursuit of justice.
Jack Burden
The well-intentioned but overburdened water plant manager, Jack finds himself at the epicenter of the crisis. His old friendship with Ron is tested as the murky waters of morality and duty collide. Jack's struggle embodies the personal costs of a public disaster.
Olive Gaines
The slick Emergency Manager, appointed to steer the city out of financial ruin, Dwayne's actions have unforeseen consequences. His ambitions and decisions illuminate the complexities of power, governance, and the sacrifices made on the altar of progress.
Dwayne Davis
A fierce and wise elder, Olive is the moral compass of the play, providing a link to the city's proud past and its troubled present. Her resilience and insights challenge Ron to look beyond the surface, revealing the deep roots of community and struggle.
AARON MORTON (he/him) cast as Ron Finder
Aaron Morton is an artist and storyteller from Plainfield, NJ. He has collaborated with visionary creators including Ava DuVernay (When They See Us) as well as Lena Waithe (Beauty). Both of those projects can be found on Netflix. His work spans television, most recently The Madison, film, commercials, video games and theater. He is also the founder of Bridge To Reality, a nonprofit whose mission is to increase the presence of people of color in the arts through the mentorship of high school students of color. Aaron’s advice to his younger self and you is “believe in yourself, you got this”. Colgate University, B.S. Columbia University, MFA.
CAST
HASKELL KING (he/him) cast as Jack Burden
Haskell King's theatre credits include: Russian Troll Farm (Vineyard Theater); Far Country (Yale Rep); Kingfishers Catch Fire (Irish Rep); Isaac's Eye, Photograph 51, Please Continue, Turnabout, PTSD, The Great Pretenders, and Bitter Taste (Ensemble Studio Theatre); Brother (Paradise Factory); Afterclap (Rising Phoenix Rep); Take Me Out (Caldwell Theatre); Moons of Jupiter (One Solo Arts Festival); Elvis and Juliet (Abingdon Theatre); Mother (The Wild Project). Film credits include: The Fly Room; Praise of Shadows. Television credits include: American Love Story; Raising Kanan; Dear Edward; As the World Turns; Law and Order: Criminal Intent. Member of Ensemble Studio Theatre.
BRETT DIGGS (he/him) cast as Dwayne Davis
Brett Diggs is a Baltimore, MD native and is excited to reprise the role of Dwayne Davis. Past credits include: Film/TV: GODFATHER OF HARLEM (MGM+), THE EQUALIZER (CBS), CHICAGO P.D. (NBC), BLUE BLOODS (NBC), THE DIPLOMAT (NETFLIX). Broadway: OHIO STATE MURDERS (U/S), Off Off-Broadway: THE POISONER (La Mama), Regional: THE AMERICAN FIVE (Berkshire Theatre Group).
MAUDE MITCHELL (she/her) cast as Olive Gaines
Maude has worked on six continents. Including: Mabou Mines DollHouse (Nora); Obie, Elliot Norton, and Backstage West awards for performance. Adapted by Mitchell (Dramturg), and Lee Breuer (Director). Film version for ARTE (European TV). MMDH is the second most widely toured production of Ibsen’s classic in this century. The Laramie Project (Original Company Member and Collaborating Dramaturg). 2026: Ivanov (Avdotya), NEA, NYC; Eight Walls Two Doors (Maria), Palm Springs International Shortfest. This fall: “This Life” (Dramaturg) Huang Yi, Taipei, Taiwan.
Maude’s mother and father, Sylvia and Bob, were from Detroit - In memoriam.
CREATIVE & PRODUCTION TEAM
DIRECTED & DEVELOPED BY
Lee Sunday Evans
WRITTEN BY
M.M. Haney
PRODUCERS
EXECUTIVE PRODUCER
Bill Haney
CASTING BY
Taylor Williams
Destiny Miller, CSA
PRODUCTION MANAGER
PRODUCTION STAGE MANAGER
ASSISTANT STAGE MANAGER
ASSOCIATE DIRECTOR
SCENIC & COSTUME DESIGNER
ASSOCIATE COSTUME DESIGNER
LIGHTING DESIGNER
ASSOCIATE LIGHTING DESIGNER
LIGHTING PROGRAMMER
Matt Steinberg
SOUND DESIGNER
TECHNICAL DIRECTOR
ORIGINAL PROPS SUPERVISOR
Oscar Escobedo
PROPS SUPERVISOR
WARDROBE SUPERVISOR
LIGHTING & SOUND SUPERVISOR
PRODUCTION ASSISTANT
Alisa Rabin
LOBBY DESIGN
Robin Schick
The Actors and Stage Managers employed in this production are members of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.
All photos this page © Dan Winters
The Flint Water Crisis, a stark example of environmental injustice, began unfolding in the early 21st century against a backdrop of economic decline in Flint, Michigan. Once a booming hub for automobile production, Flint’s prosperity dwindled with the decline of American manufacturing, leading to a significant population decrease and widespread poverty.
BACKGROUND
Initially, Flint’s water supply came from the Detroit Water and Sewerage Department (DWSD), a contract in place since 1967. However, facing financial hardships, especially after the 2008 financial crisis, Flint decided in 2014 to switch its water source to the Flint River temporarily, until a new pipeline to Lake Huron was completed. This decision was part of cost-cutting measures overseen by Emergency Managers, appointed by Michigan Governor Rick Snyder, to address the city’s financial crisis.
Unfortunately, the Flint Water Treatment Plant, dormant since 1967, was ill-equipped to treat river water. Compounding the issue, the Michigan Department of Environmental Quality (MDEQ) delayed implementing corrosion control measures, contrary to EPA guidelines. This oversight resulted in lead and other contaminants leaching into the water supply, leading to residents’ immediate complaints about the water’s odor, taste, and appearance.
These events unfolded in a city already struggling with poor health outcomes and economic challenges, highlighting the crisis as a severe case of neglect and mismanagement affecting a predominantly Black and impoverished community.
© Carlos Osorio / AP; ‘Nurse draws a blood sample from a five year old. Flint, Michigan, USA', 2016
© Matt Black / Magnum Photos; ‘Downtown. Flint, Michigan, USA', 2016
© Wayne Lawrence / National Geographic; ‘Von Lathan, Flint, Michigan, USA', 2016
© Wayne Lawrence / National Geographic; ‘Julie Bennett, Flint, Michigan, USA', 2016
All we basically knew was to fight like hell for clean water and that’s what we were doing. We were just screaming we need new water and pipes!”
–Gina Luster, Co-Founder of Flint Rising
© Matt Black / Magnum Photos; USA. Flint, Michigan. 2016. Tiantha Williams bathes her son in a tub of bottled water.
This has brought a lot of us together.
It’s women, it’s minorities; all the people that typically don’t have power are the ones that are taking it back”
–Melissa Mays
© Matt Black / Magnum Photos; ‘Bonnie Hammond, 87, bathes the skin infection on her legs. Flint, Michigan, USA', 2016
PARTNERS
THANK YOU to Eye Sign Interpreting LLC for providing ASL interpretation for Thursday and Friday performances.
Founded in 1981, Touchstone Theatre is a professional, not-for-profit theatre dedicated to the creation of original work. At its center is a resident ensemble of theatre artists rooted in the local community of Bethlehem, the Greater Lehigh Valley of Pennsylvania and the international community of Ensemble Theatres.
SUPPORT
