A Theatre Buff Reviews The Virgin Trial

Playwright Kate Hennig demonstrated her grip on an audience with The Last Wife at Stratford in 2015. This year, she’s doing it again with The Virgin Trial.

The Virgin Trial, Stratford Festival 2017

Brad Hodder as Thom and Bahia Watson as Bess. Photography by Cylla von Tiedemann.

The play covers the life of the young Princess Elizabeth (Bahia Watson) between the ages of fourteen and sixteen. It’s an unstable time for the throne.  Two brothers, Lord Somerset (Nigel Bennett) and the Lord High Admiral Thomas Seymour (Brad Hodder) are jockeying for position at the court of the young King Edward (heir to Henry VIII).  Thom has proposed to each of the Princesses (Mary and Elizabeth) and been refused by the court. He settles for Catherine Parr, the dowager queen and the last wife of Henry VIII, and by so doing he becomes Bes’ stepfather. It’s the combination of Thom’s illicit rallying of troops, sexualized tickling and teasing of Bes, and attempted break-in of the young King’s apartments that puts the future queen in peril. The pivotal question posed by the regency council (Yanna McIntosh) is whether the future queen knowingly conspired with Thomas Seymour to depose her step-brother, King Edward VI .

Could a teenage girl reasonably be implicated in treason? This one could be. She’s smart. She’s strategic. And when she realizes the significance of the charges that have not yet been made against her, she makes every effort to protect her governess, Kat Ashley (Laura Condlin), and comptroller Thomas Parry (André Morin). When Ashley and Parry are sent to the Tower of London, Bes does what any motherless teenage girl would do: She seeks the counsel of her older sister, Princess Mary (Sara Farb). Interestingly, these latter exchanges offer the only break from the tension that reigns on the stage.

The dialogue in The Virgin Queen is taut. The acting is impeccable. The set is sparse. And the costumes are modern. If you plan to attend, be prepared to sit on the edge of your seat.

The Virgin Trial is playing at the Stratford Festival until September 30, 2017

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices. It’s a gift to people who would like to be prepared as they help fulfill the final wishes of someone they love. 

A Theatre Buff Reviews Dancing At Lughnasa

 

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Diana Donnelly, Fiona Byrne, Tara Rosling, Claire Jullien, and Serena Parmar. Photo by David Cooper

Dancing At Lughnasa is a poignant story skillfully told. It’s narrated by Michael (Patrick Galligan), the love child of the youngest of the five Mundy sisters (Fiona Byrne, Diana Donnelly, Claire Jullien, Serena Parma, and Tara Rosling), as he remembers the month of August in 1936. Michael was seven years old at the time. We get a sense of an intelligent lad who is a keen onlooker and eavesdropper as he plays just outside the kitchen window, hides behind bushes, and, I suspect, listens in from the upstairs landing at bedtime.

Watching Dancing At Lughnasa is as close to déjà-vu as many of us will ever encounter. The farm-house kitchen, the household work, the women’s attire and the right of place for the Marconi were all familiar to me from my mother’s family photo album. Even the conversations between and amongst the sisters felt familiar: the propriety of five middle-aged women attending the harvest festival; the longing for new shoes, or a pretty dress; the worry about how to stretch a sparse meal to include Michael’s father (Kristopher Bowman) at the table; the health of an elderly uncle and rogue priest (Peter Millard). These women were leading a life at the margins alleviated by interactions with Michael and by programs from their beloved Marconi. And when that programming included music they would joyfully and enthusiastically abandon their worries to the pleasures of Irish dance.

Dancing At Lughnasa works on many levels: memory, family, community and religion. It’s a story of time and place that can, as it did with our group of four, engage the audience’s imagination. The performances are superb. Dancing At Lughnasa is playing at The Shaw Festival in Niagara-On-The-Lake until October 13, 2017.

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices. Bonnie Lendrum has just completed her second manuscript. It’s currently out for review to readers selected for their abilities to be critical, blunt, and polite. Stay tuned!