“Fame, fame that glittering bauble, it is mine.” Captain Hook (Peter Pan by J.M.Barrie)
The real Margery Kempe (1373-after 1438) is historically remembered as an English Christian mystic who, experiencing multiple visions, left her husband John and 14 children (in this play, six) to make pilgrimages in the name of Jesus Christ. Kempe never joined a religious order. She caused consternation with public wailing, writhing and sobbing, was admonished for preaching without sanction, often thought to be in league with the devil and several times brought up on charges for heresy.
In the 1420s, the illiterate acolyte dictated The Book of Margery Kempe describing her visions, mystical/religious experiences, travels, and ‘temptations to lechery.’ The volume, lost and rediscovered in the mid 1500s, is considered to be the first autobiography written in the English language.
Jason O’Connell and Andrus Nichols
John Wulp’s 1958 play opens with a scene reminiscent of The Taming of The Shrew. Discontent, confrontational Margery (Andrus Nichols) is making life miserable for husband John (Jason O’Connell) and children (the company-never acting young enough). Her lot in life is too mundane to contain the ambitious young woman. “Why can’t life ever be accommodating to those people who aspire to be spectacular?!”
Gossiped about for both colorful clothing and independent ideas, already, she presumes, half way to some kind of notoriety, Margery hits the road in search of fame as an immoral soul. It’s a sin to leave, a sin to travel alone.
En route to nowhere in particular, she’s suckered into buying a brewery; an unsteady horse (Thomas Sommo), a cart, and a barrel of (sinful) beer. Men arrive attracted to the novelty of a female proprietor, assuming she’s selling more than alcohol. Despite aspiration to sin, she refuses. The beer is terrible. Her horse gives out. Margery returns home after a year of beggary, but not for long. Stubbornly determined she’s made for higher things, she’ll neither do housework nor let John touch her. “You weigh me down with this fleshy debt.”
Timothy Doyle and Andrus Nichols
Margery seeks advice from a local vicar (Timothy Doyle), who confirms that evil doesn’t pay, so she resolves to become a saint. The clergyman’s querulous doubt and her naïve determination manifest a droll exchange. Concocting/recounting elaborate holy visions is the next logical step. The vicar remains doubtful and suggests creating a miracle would go a long way towards support. An accident provides the semblance of one propelling her, now secure in the wisdom of godliness, to leave for Jerusalem. Time there provides ample satirical fodder.
Andrus Nichols and Jason O’Connell with Pippa Pearthtree in back
This is the story of a bored housewife dogged in her intent to acquire renown. In the age of reality TV when people are famous simply for being personalities, it’s easy to recognize the syndrome. Context is clever. Pitting ecclesiastic propriety and faith against self-aggrandizement is historically familiar. Much of the writing is period poetic, much is amusing, yet the production rarely lifts off. The company is lackluster and unfocused. Physical direction lacks imagination and structure. What should, I think, snap, doesn’t. (Director- Austin Pendleton)
Jason O’Connell (John Kempe and others) is too casual/contemporary by half and a hammy member of the crowd. His seriocomic turn as a put-upon, religious tour guide fares better with some splendid moments.
Timothy Doyle (the vicar and others) brings the stage to life with every nuanced appearance. A subtle and sympathetic performance on all fronts.
Andrus Nichols (Margery) offers just the right obtuse, bright-eyed, pigheaded portrayal. Wailing and visions emerge just short of schmaltz allowing us to be amused without making the character appear self-conscious.
Also featuring Vance Barton, Latonya Borsay, Michael Genet, Ginger Grace
John Wulp’s stylized Set works well to imply without fuss. Barbara A. Bell’s Costumes are painterly and evocative.
Lighting by Jennifer Tipton and Matthew Richards offers impressionistic snow, rain, stars and cathedral window reflection.
Ryan Rumery’s Original Music and Sound ranges from faintly chanting monks/music and the jolt of architectural breach with a sure hand.
Photos by Carol Rosegg
Opening: Jason O’Connell and Andrus Nichols (foreground) with Micheal Genet, Timothy Doyle and Thomas Sommo
The Saintliness of Margery Kempe by John Wulp
Directed by Austin Pendleton
The Duke on 42nd Street
229 West 42nd Street
Through August 26, 2018
