From a practicing Catholic perspective, the world premiere of Erin Shields’ Mary, Mary, Mary, Mary is strikingly beautiful to look at in all its rich redness, from the four Marys in striking regal red tracksuits (courtesy of Moi Tran) to the gorgeous velvety red carpet on the floor in this theatre-in-the-round setting. High atop the stage is the halo above the picture of Mary on the house programme. The five actors are all top-notch theatre artists whom I’ve seen perform on stages in Toronto and beyond, and I was looking forward to seeing and hearing them tell a story.
Did I learn anything more from Ellen McDougall’s direction in this story to deepen my understanding of faith and devotion, which Catholics practice throughout our lives?
Not really. No might be a more definitive answer.
There are humorous moments along with some interesting theatrical effects in light and sound. There are moments when the Marys are in quiet prayer while another speaks. Yet a few seconds later, the audience is introduced to strong feminine power and place within the world.
This gelling and meshing of abstraction distracts from what is being said and heard. What am I supposed to take away with me? That’s not clear.
Tran’s set subtly hints at an expansive area upon entering Crow’s Guloien Theatre. There are multi-levels throughout upon which the actors can stand. Since the four Marys are from the New Testament, are we somewhere in the desert? That’s not made clear to me. Christian Horoszczak’s lighting and Olivia Wheeler’s sound design nicely transport the audience into another time.
The four Marys (Michelle Monteith, Sabryn Rock, Nancy Palk and Belinda Corpuz) enter at the top of the show, wearing their trademark red tracksuits and veils. Monteith is the Virgin Mary, Rock is Mary Magdalene, Palk is the mother of the disciples James and John, and Corpuz is the sister of Lazarus. For some strange, uncanny reason, I kept thinking of Margaret Atwood’s The Handmaid’s Tale as I watched these four fine actors. They speak in choral unison, drawing on the New Testament Gospels, each with conviction in their distinct voices. I’m on the edge of my seat, listening intently, not wanting to miss a word they say.
Amaka Umeh, dressed in a blue tracksuit with the name tag Not-A-Mary, enters moments later. Her Not-A-Mary offers a striking contrast to the messages the other four convey with conviction. Yet who is this Not-A-Mary? Is she here to offer another look at what happened in the New Testament Gospels? I’ve marvelled at and respected Umeh’s work in other productions. In Mary, she moves around the stage with purpose, working off the other four Marys who tell their stories. But I still can’t decipher the abstraction and the importance of Not-A-Mary in this production.
World premieres of plays offer a unique look at a work that might continue to develop over time. Future performances of the script, with input from future creative teams and directors working with playwright Shields, might shed new light on the Catholic faith. Or at least what messages are to take away with them upon leaving the theatre.
Hopefully, this will occur with Mary, Mary, Mary, Mary.
Running time: approximately 95 minutes with no intermission.
The production runs to May 3 in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com, (647) 341-7390 or email boxoffice@crowstheatre.com
CROW’S THEATRE presents the World Premiere of
Mary, Mary, Mary, Mary by Erin Shields
Directed by Ellen McDougall
Choreographer: Esie Mensah
Set and Costume Designer: Moi Tran
Lighting Designer: Christian Horoszczak
Sound Designer: Olivia Wheeler
Stage Manager: Sarah Miller
Performers: Belinda Corpuz (Mary 4), Michelle Monteith (Mary 1), Nancy Palk (Mary 3), Sabryn Rock (Mary 2), Amaka Umeh (Not-A-Mary)
