Medieval Crime - May 2024
Musicians, singers and actors performed at The Medieval Bishops' Palace as part of Lincoln History Week.
We based our performance on medieval ballads about Robin Hood which we translated into modern English and set to old folk tunes (as the original music has not survived). The Lincoln Mystery Players played a range of medieval music from the same period on medieval instruments.
We also gave a dramatised performance of some information about organised crime in Lincolnshire in the medieval period which was both enlightening and amusing.
With more than 20 participants and more than 150 in the audience, we were very pleased with the outcome.
Many thanks to the Medieval Bishops' Palace and English Heritage for hosting us for this event and donating to our charity.
Holy Week Plays - March 2024
A cast of 20 actors with 5 musicians performed at Lincoln Cathedral, St Mary Magdalene's Bailgate and St Nicholas Newport in Lincoln to audiences of almost 300 during Holy Week 2024.
Several medieval N-Town plays all concerned with the events of Holy Week and culminating in Jesus' crucifixion were newly translated from Middle English. The performances were very well received with people finding them highly moving and captivating. Here are a few reviews: "A stunning performance”, “It left me speechless", "A very moving experience", "Brilliant!!! the atmosphere was electric”, “Intimate and real", "Powerful and moving", "The medieval music was so appropriate and added to the atmosphere".
Nativity - December 2023
With 16 participants and an enthusiastic audience of more than 130, we performed the Nativity and Shepherds' Plays for the first time at St Mary Magdalene's Church, Bailgate, Lincoln as well as singing folk tunes and songs from this production at Lincoln Cathedral in the busy run up to Christmas. It was very well received with comments such as: 'the best thing about Christmas' which we really appreciated!
Many thanks to the wonderful teams at Mary Mags as well as The Wig & Mitre pub on Steephill, who let us rehearse there.
Murder at the Cabaret - June 2023
With a unique take on the cabaret idea, our performers become increasingly annoyed with their director and when she dies in mysterious circumstances, blame each other with several cans of worms being opened up.
With 15 participants, including a member of the Ukrainian refugee community, we thoroughly enjoyed this slightly off-the-wall production and the audiences got to experience musical and dramatic numbers as well as considering whodunnit! This show marked the beginning of our grass roots approach to delivering productions in mainly small local venues which we have continued ever since.
We rehearsed and performed at The Stag's Head, Lincoln, where we were pleased to get a full house on our second night.
Mystery Plays - July & August 2022
Directed by Tom Straszewski, a medieval scholar from York, many of the N-Town mystery plays were performed to form a cohesive story based on Mary, the mother of Jesus. These plays were initially scheduled to take place in 2020 but, due to the Covid pandemic, were postponed to 2022.
With all the drama and spectacle of Noah's Ark and The Creation, as well as the excruciating crucifixion and agonies of Mary and Mary Magdalene, this was an amazing production with a large, enthusiastic cast which was performed at Lincoln Cathedral, St James' Louth, St Denys' Sleaford, St Mary's Horncastle and All Saints' Gainsborough.
Previous productions
See below for some brief notes about previous productions, going back in time. We will be adding further information to this as we research into the LMPT Archive Collection which is curated for us at Bishop Grosseteste University Library and can be viewed by members of the public by appointment.
2018 - The World at Her Feet
Written and directed by local playwright, Steven Gillard, here are a few notes from him about this production:
As the nation marks exactly 100 years since the end of The Great War, the Lincoln Mystery Plays Company
presents the extraordinary story of Women’s football a century ago through the eyes of one of the most enduring teams of the time, the Lincoln Ladies.
Throughout the war women across he country had successfully undertaken a huge range of traditional male roles, but ...
2016 - Mystery Plays
Directed by Colin Brimblecombe, these notes were written by him and have been taken from the programme:
In this collection of plays from the N-Town Plays, Jesus is presented as a man of innocence and truth, a radical who practises the tenets of his own preaching to the letter, a man of peace and tolerance in a world of military occupation and social chaos, a man treading the path laid out in prophecy, whose every step must be taken deliberately on a pre-ordained course from which he cannot deviate. This inability to avoid fate by one’s own actions is the very essence of tragedy and inhabits all great storytelling throughout the ages.
This production allows the story to tell itself simply and with great empathy, with specially arranged music to accompany and impel the action, and with a vivid visual language which brings the story to life. Set simply on a large open stage, the action unfolds like illustrations from a Children’s Bible; Jesus is born into an occupied country and sets out on the route of prophecy – like being constrained to ever walk a circle – knowing that to make one false step puts in jeopardy all that he hopes to achieve.
2014 - The Last Post
Directed by Janie Smith. Here are some notes from her about this production:
In November 2014, to commemorate the centenary of the outbreak of World War One, the Lincoln Mystery Plays Company performed a new work, The Last Post, written in tribute to the Beechey family of Lincoln. This community play was written by two local residents, David Owen Smith and Peter Came.
The eight Beechey brothers all enlisted to fight in the Great War and their journeys took them from training camps in England and Australia to Gallipoli, East Africa and the Somme in France; five of the brothers never came home. The play was inspired and based on the 300 letters the brothers had written to their mother, Amy, and their sisters at the family home, 14 Avondale Street, Lincoln.
As well as following the Beechey brothers’ individual stories, the play recreated the community of Lincoln during those times. With a company ranging in ages from 8 to 80 playing over 70 named characters, costumed by Ba Wheeler with additional uniforms loaned by John Naylor from Echoes of a Gilded Age, and a beautifully crafted set designed by Giuseppe and Emma Belli, this was a unique production, the like of which had not been seen before at the Drill Hall. The show also featured a choir, and uniformed musicians from the Band and Drums of the Lincolnshire Army Cadet Force. Hats for the production were made by members of the Gemini Project, an NHS therapeutic arts engagement project. The Gemini project also mounted a display in the foyer of the Drill Hall of WW1-inspired hats.
With its local WW1 story, its site specific nature and its timely performances in Armistice week, the community nature of The Last Post invoked the spirit of the wartime ethos and very clearly moved those who came to see it. Our actors played to sell-out audiences at every performance, and witnessed the heartfelt standing ovations at every performance. This was a production that established the Mystery Plays Company firmly at the heart of Lincoln culture.
“Extraordinary and important production – community theatre at its finest”
“..an undertaking of great scale and ambition.”
“Great piece of community theatre, standing ovation deserved…”
“Fantastic theatre. Emotional, funny and poignant”
“Huge cast, awesome set, brilliant from start to finish.”
“Thank you for a marvellous tribute to my Beechey family”
from Mrs Joey Warren, granddaughter of Amy Beechey.
The Last Post was performed at the very place where the Lincolnshire Regiment was drilled in readiness for war – Lincoln’s Drill Hall – during Armistice Week, November 11 – 15, 2014.
2012 - Mystery Plays
Directed by John Bowtell, these notes are taken from the programme:
In directing the Lincoln Cycle for the first time my intention has been to facilitate a diverse company, involving new members of the community extending in ways beyond the formally dramatic, to experience the plays and to share them afresh with each new audience, in seriousness and playfulness.
Diverse perspectives and interpretations are possible of what I hope is also a straightforward, entertaining show. In what you see tonight our Everyman Jesus has come down to a single player, showing on-going conflicts played out on a psychological, social and spiritual scale.
2011 - Gala Performance
The Artistic Director for the Gala Night was Aggi Gunstone. Here are her words from the programme:
I have had the great privilege of facilitating the artistic direction for this evening’s performance. My idea has been to present a veritable ‘smorgasbord’ of the wide variety of ways in which the N-Cycle Plays can be interpreted. The production aims to blend mystery plays past, present and future. The performances from St. Mary’s School and FishTank Youth Theatre indicate new possibilities of interpretation, whilst the re-telling of the 2008 cycle by the cast of that production indicates our past. In addition, there has been some amazing collaboration and creativity from ‘Satan’. We all feel very fortunate to be joined by so many familiar faces from previous productions, many of whom will be recognised in David Dray’s film.
I hope this evening gives you a flavour of the possibilities for the future of Lincoln’s Mystery Plays – the dedication and hard work from the entire company is evident and I truly hope that you, the audience, sit back and enjoy the variety of performance styles which are on offer!
2010 - Our Country's Good
The play looks at the first colony of convicts in 1788 Australia, as they present a play under the direction of an office-gaoler.
It is based around historical facts and looks at how theatre impacts individual’s lives, questions how society treats the less fortunate, and challenges penal reform and capital punishment.
Director Geoff Readman believes it’s a remarkable story, and has cast each character individually: “Consequently, there will be one actor for each character, but without any loss of the ensemble quality which I believe the author intended.
“Actors are in full view of the audience throughout, creating sound and music and stepping from the ensemble to the main playing area to give prominence and clarity to the issues within each of the self contained scenes.
“The set, costumes and props will reflect a community which has experienced an arduous and vile eight month journey; a community that need to ‘make do’ with what remains from the journey and what can be gleaned.”
Our Country’s Good celebrates the resilience of human spirit and looks set to make audiences both laugh and cry.
2010 - The Hollow Crown
The Hollow Crown is an entertainment, delivered in recital convention, about the Kings and Queens of England. The performance consists of poetry, speeches, letters and other writings from the chronicles, from plays and in the monarchs’ own words, together with music concerning them and by them.
This production was directed by Janie Smith with Musical Direction by Ruth Andrews.
2008 - Mystery Plays
Geoff Readman was Artistic Director in 2008 and here are some of his notes on this production:
One of the key concepts underpinning my interpretation will be that of ‘community’. The intention is to establish a fictional community of Lincoln crafts folk and Guild members, all of whom will be individually identifiable throughout the evening. The audience will be able to recognise the Butcher, Baker, Candlestick Maker, et al, as they set up their scenes, adopt roles within their particular plays and give support to each play in the cycle.
The plays grew out of a particular community, a community which, like our own, was in a process of change. The plays were seen as an opportunity for working people to challenge, as well as celebrate, the pervading culture of their time. The challenge for the 2008 company is give the plays a resonance and meaning which will make connections for a contemporary audience. It is my intention to base the interpretation upon the kinds of principles that one can assume were at the heart of the original productions.
My belief is that these performances thrived within Medieval society because of significant community needs. The plays provided an ideal opportunity for:
• Entertainment
• Religious and spiritual fulfilment
• Social celebration
And, as is the case with all theatre,
• An opportunity to raise questions and challenges within the performance of a powerful story.
The music is to be an integral dimension of the production. It will be based upon Lincolnshire Folk Song, with the musicians clearly visible and often taking part in the dramatic action. Liam Robinson is The Musical Director, with Frank Kelly, Lesley Clark and Tim Walker already committed to taking part in the production.
The interpretation will be supported by the design of the lighting, music, sound, setting, costumes and props. Texture, colour, shape and material will reflect both the genre of each play, as well as the fictitious Craft-Guild that has been selected to perform it.
A further aim is to create a large scale ensemble company, with the cast involved in changing the settings and scenes, in their roles as local craft folk. This will, I hope, facilitate a sense of involvement and ownership amongst everyone involved.
The evening of each performance will begin with a Medieval Fayre, outside The Cathedral and Minster. This will involve people making things, eating, drinking, juggling, entertaining, etc.
The band will then strike up, the audience will be gathered together, they will be led into the performance area and………..The 2008 production will begin!
2006 - Coma
This was a new play by Last of the Summer Wine writer, Roy Clarke and directed by Liz Lucas. Performed in Southwell Minster (7-8 July) and Lincoln Drill Hall (11-13 July) in 2006.
At the beginning of Coma, we meet Mark, sitting in a wheelchair. Mark is an embittered and disillusioned sitcom writer. He is also in hospital, in a coma. We don’t know why he’s in a coma and neither does he. It appears that Mark is having an out-of-body experience but is mercifully fully dressed.
As the play progresses we meet the characters that people Mark’s sitcom. They are hanging around, waiting to see what will happen to them if Mark actually dies. There’s Willy, former head of MI6, China Division; Willy’s daughter, Fenella (Fuzzy), who’s horse-mad; Fuzzy’s bungling husband Amery, who began his career as a refrigeration engineer but, upon his meeting and marrying Fuzzy, was elevated to the position of Secret Agent 008; and finally E.E., an androgynous character, who, due to budget limitations, has to play Everyone Else in the sitcom, regardless of gender or nationality. Beth, Mark’s beloved wife also appears and together they embark on a journey to discover
exactly why Mark is in hospital, how he got there and what was happening to him when he fell into a coma.
The journey poses so many questions, that finally E.E. has to adopt the role of Truth, in order to guide Mark and Beth in the right direction…
2004 - Mystery Plays
Directed by Karen Crow, these notes are taken from the programme:
This new production draws on the rich heritage of Keith Ramsey's productions from 1978 to 2000. You will see references to the historical background to these plays as well as new images and interpretations. In the middle ages, it was accepted that the Old and New Testament stories were linked. This ‘typology’ saw Mary redressing the sin of Eve (‘The Expulsion’ is often featured in the background of gothic paintings of ‘The Annunciation’); Christ’s death saving the souls banished to hell after Cain’s fall; God cleansing and renewing His world by flood and by sacrifice of His Son. In 2004 it is easy to see the resurrection purely in terms of belief or faith and not as a universally accepted truth. In the medieval world, plague, crippling disease, famine and torturous injustice were daily encounters and Christ’s conquest of death was a truly spectacular climax to the performances. Though it can be argued that perhaps little has changed, theatrically, it no longer seems enough.
I hope that through this juxtaposition of old and new, image and word, ancient and modern, you will see this performance as relevant to you in your world and consider or re-consider the role and relevance of these stories in your lives today. Canon Andrew Stokes reminds us that God’s work is a ‘messy, argumentative business’ and that we may have to get our hands dirty. Our lives are often messy. God’s work can seem frustrating and confusing. Change is like a birth, bloody and usually accompanied by much groaning. I hope that you will think and talk about it all.
2003 - Mister Wesley
A new play by Roy Clarke, award-winning writer of the popular BBC series, Last of the Summer Wine. Clarke wrote the play to mark the tercentenary of Wesley’s birth.
The play is based upon actual events in Wesley’s life and is a witty and moving account of this complex man whose challenging and sometimes abrasive personality often led him into conflict with the legal and clerical authorities of his day.
Director, Karen Crow said,
“Roy Clarke has produced a fascinating and surprising study of the life and times of John Wesley. Most people will have heard of Wesley as the founder of world Methodism, but this play shows the real man and the personal difficulties he faced everyday rather than the sanitised and rather ‘saintly’ portrait that often appears in the biographies. Of course, as a comedy writer, Clarke has pulled out the stops and found much humour even in the darkest scenes. The inhabitants of Clarke’s drama are as varied and colourful as an eighteenth century cartoon. This really is a fitting testament to a remarkable man.”
The music and choral singing, specially arranged by Musical Director Helen Mason and includes Lincolnshire folk tunes and hymns by John Wesley and his brother Charles. Early musician, Richard Still added to the atmosphere with his authentic period instruments.
Performances of Mister Wesley took place on July 25th and 26th at Southwell Minster as well as August 7th, 8th, and 9th 2003 at Lincoln Cathedral.
2003 - Pathelin
This was a rehearsed reading of Mister Pierre Pathelan: A medieval farce with early music, adapted and directed by Karen Crow. Performed on Friday the15th November 2003 in the Holy Chapel of Bishop Grosseteste College Lincoln. Here are some notes from the programme:
Master Pierre Pathelin is a little medieval gem! I am much indebted to John Woodward, one of our staunchest supporters, who introduced me to the play some years ago after several large glasses of wine! He told me that it was one of his favourites and, although he had only read it before, he would dearly love to see it staged.
Such a short play, with a small cast, was unlikely to be considered for a full production by the company but I felt that it would be ideally suited to an evening such as this. Faced with two translations from the original French, one performed most recently by the famed “Medieval Players” and a rather euphemistic edition by John Allen, I opted to work from the latter. The aggressive quality of the MP version was rather too ‘in your face’ for my liking and the characters come across as Gothic grotesques rather than as recognisable people. I like the gentler manner of Allen’s edition and I find his understatement is sometimes funnier than the bald Old English!
The characters, despite the machinations of the device, still behave in ways familiar to a contemporary audience so we may laugh with them rather than laugh at their misfortunes.
The play has an anecdotal quality. There is a palpable sense that these events could actually have occurred and the medieval world that these characters inhabit is strikingly familiar. Fascinating bits of fifteenth century social history are woven into the play and I have held on to all but the most obscure references. The domestic wrangles and the cut and thrust of the market place and the courtroom seem to have changed little in the intervening six hundred years.
2000 - Mystery Plays
MAGICAL MYSTERY
Cathedral takes centre stage in an ‘awesome spectacle’
Lincoln Cathedral echoed to the deafening call to “Crucify Him” and the pained cries of the sacrificed Christ and his weeping mother rang out.
On the opening night of the millennium run of the Lincoln Mystery Plays the audience needed no invitation to reward the first rate acting with a piece of their own performance.
As if eagerly awaiting their chance to join in this awesome spectacle, the crowd took centre stage for a moment as the Biblical legend reached its poignant climax.
Brilliantly set amid the magnificence of the Minster’s Nave, the vision of Christ on the Cross was a haunting high spot in a stunning show. Neil Perkins fulfilled the role of Jesus with both humility and majesty, visibly putting his all into the harrowing Passion. Under the exemplary direction of Keith Ramsey, the strength of the scene left the audience spellbound and visibly moved.
From Creation through to Crucifixion and on to the day of Judgement, all within three hours, was a theatrical tour de force. But presented with an artful blend of reverence and humour, there was poignancy at every level and freshness to the world’s most chronicled story.
Lighter relief was provided by a fantastically camp Tony Fielding-Raby, playing King Herod and the shepherds Colin Brimblecombe, Keith Ramsey and Jack Jones– in a dramatic switch from his commanding presence as God.
Ali Cormack–also assistant director–was the embodiment of piety and virtue as the Virgin Mary, before Irene North took over the role 33 years down the line, at the foot of the cross. Her anguished portrayal was enough to move the most hardened heart.
Ba Wheeler illustrated the adaptability of the whole cast in her switch from demure Angel Gabriel to frantic Mary Magdalene.
Meanwhile Ben Poole was a constant throughout, with his perfectly enigmatic depiction of the Devil. True to form he both charmed and shocked, while his seven month daughter Violet Kamal-Poole could only charm on her acting debut. Not exactly the meek and mild baby Jesus one would expect, her cries reaffirmed that this was real drama reflecting real life.
She was not the only child in danger of upstaging the more accomplished cast, as children from the Lincoln Stagecoach theatre school also went about their essential roles.
This really was a story about life and death, as vivid today as when first portrayed 500 years ago. From Richard Jones’ Adam, through to Karen Crow’s spine-chilling Death, all human life was here. And when coupled with dazzling costumes, heavenly music and an imposing setting, this was one glorious spectacle to behold.
Jason Hippisley
Lincolnshire Echo 19.7.2000
1997 - Mystery Plays
CLOSE TO PERFECTION
“…What made last night’s show such a success was its ability not to preach the faith but to concentrate on telling a good tale.’
Adam Nichols
Lincolnshire Echo
‘Mystery tour de force’
Jez Ashberry, Lincolnshire Life
DEVIL GETS A GOOD WHIPPING. POSSIBLY FOR FARTING TOO MUCH
‘…Set in an open-air courtyard in the heart of the Cathedral’s Gothic cloisters, Ben Poole’s Lucifer hangs off a scaffold stage in a lizard suit being whipped by acolytes. Crude, long-haired and sensuous, he farts loudly and frequently from the Creation to Doomsday. On the other side of the grassy courtyard Colin Brimblecombe’s God damns and blasts him.
An army of local Lincoln actors take their cue from this irreverence with mixed results. Tony Fielding-Raby is nicely unhinged as Herod, and, despite looking as if he was invented by Andrew Lloyd Webber, Neil Perkins delivers a decidedly charismatic Jesus.’
James Christopher
The Times
1994 - Mystery Plays
LESSONS BROUGHT TO LIFE
‘…some unforgettable theatrical moments are achieved by the simplest of means…’
‘…Vitriolically icy Death (breathtaking Karen Harrison) pointed a gaunt finger slowly along the ranks of spectators, chilled me to the bone.’
‘Witnessing a man being hammered to a cross is like being punched in the face by reality and this Christ dies in agony, sweating and racked by muscular spasms as his flesh and blood body gives up the ghost.’
Kate Bassett
The Times
POWER AND MIGHT AT THE CATHEDRAL
‘…it was very easy to get lost in the wonder of the colourful costumes, sound and lighting effects of this wonderful production.’
‘The humble act of washing the disciple’s feet, the last supper and the denial of Judas, were extremely moving.
All this was intertwined with Ben Poole’s terrifying interpretation as Lucifer in the depths of Hell and Tony Raby’s performance as the manic Herod which brought the house down and the cast took two “curtain” calls in answer to the thunderous applause from the audience.’
Bette Vickers
Lincoln Standard 12.8.94
1993 - Mystery Plays
HEAVENS OPEN ON MYSTERY PLAYS
Just as the cast of the Lincoln Mystery Plays entered Cathedral’s cloister to re-enact the Creation, the heavens opened.
Despite the torrential downpour, which sent most of the audience scuttling for shelter, the show went on, with Ba Comber magnificently playing God and earning a round of applause for admitting to the creation of water.
Medieval stained glass windows explained the familiar bible stories in pictures to a largely illiterate society and the Mystery Plays brought them to life. But despite being written for poorly educated people, these were sophisticated scripts and were acted with great passion by the largely amateur cast.
After the Creation we moved to the trial of Joseph and Mary, although the promised ”bawdy language” was lost in the echoes around the cloister.
As night fell, the birth of Christ and the subsequent events, acted out in a pool of light surrounded by darkness, took on the quality of a Christmas card but any sentimentality was swept away with the moving interpretation of the Massacre of the Innocents- the bloodstained end to the nativity story which we normally prefer to ignore.
By the time the plays reached the Last Supper and Judas’s Betrayal, the audience were completely under the actors’ spell.
The standard of music was particularly high and some of the acting remarkable. Ben Poole obviously enjoyed his role as Satan which he played with relish and Tony Raby proved himself a versatile and talented amateur actor.
The Mystery Plays are at the Cathedral tonight and tomorrow night at 8pm. They are well worth a visit but unless the weather improves, wear everything you own.
Judy Theobald
Lincolnshire Echo 6.8.93
1989 - Mystery Plays (USA)
OUR MYSTERY PLAYS WOW ‘EM IN AMERICA
…their two-week American tour included performances, in front of up to 7000 people a night in huge amphitheatres, stadiums and parks on the West Coast.
“The reception was fantastic and audiences on some occasions were so quiet and absorbed that there were times when I wondered whether there was anyone out there,” said Mystery Plays director Keith Ramsay.
Keith, who is head of drama at Bishop Grosseteste College, Lincoln, and a leading authority on medieval drama, stayed in America for a few days after the rest of the group returned to visit a long-time friend, the daughter of Alfred Hitchcock.
The Lincoln production enjoyed wide press and radio coverage, and a major article in the Wall Street Journal described Keith as “the British director we’ve all been waiting for.”
Included among the professionals in the cast was Colin McFarlane of North Hykeham who played the contrasting roles of Jesus and Satan.
Lincolnshire Echo
“I certainly enjoyed the production very much; the plays were artfully staged, acted with great meaning and sinceriry and created a very deep impression on me.”
Robert Cohen, Chair of Drama, University of Califorina
‘The grand-scale drama of good and evil’
Oregonian
1989 - Mystery Plays (UK)
‘Moments of great beauty were the Last Supper and the Crucifixion.’
The Guardian
‘A truly spectacular performance.’
BBC Radio 4
‘Three spectacular hours of acting, music and history…superb lighting and vibrant costumes.’
Lincolnshire Echo
1986 - Magi
Not technically part of the 4 year cycle, more a one off.
This was a small cast, 2 night ‘launch’ of a newly discovered version of Herod and the Magi, discovered by André de Mondach. Written in 1190 by Hermann de Valenciennes who was possibly a canon at either York or Lincoln Cathedrals.
The show was then taken to Perpignan Cathedral, France for the Colloquium of Medieval Drama
The Creation
Salutation and Conception
The Birth of Jesus
Adoration of the Shepherds
Massacre of the Innocents
The Temptation
The Passion
The Crucifixion
Deposition and Burial
The Resurrection
1985 - Mystery Plays
1983 - Mystery Plays
NOT YOUR REGULAR CYCLE
Sunday 26 June Bishop Grosseteste College 8.15pm (admission free)
Friday 1 July Lincoln Cathedral Cloisters 8.15pm (admission free)
Wednesday 6 July Brugge 8.15pm
Friday 8 July Neustadt 8.15pm
Tuesday 12 July Viterbo Piazza san Pellegrino at the Fourth International Colloquiem for the Study of Medieval Drama 9.30pm
As you can see this was a bit of a mini tour culminating in the Viterbo show at the Fourth International Colloquiem for the Study of Medieval Drama. Viterbo is an ancient city in the Lazio region of central Italy.
The tour included some of the 1981 cast (greatly reduced on tour due to finances as well as people’s work commitments).
1981 - Mystery Plays
MEDIEVAL DRAMA AMIDST COBBLED STREETS
“Ego sum. My name is known. God and King.” The masked figure resplendently gowned in gold and white, stands at the highest point of a scaffold. Behind him is the Norman arch of Lincoln Cathedral, begun in 1072. God and a panoply of Christian characters speak verse from a medieval manuscript, one of only four extant from England’s great period of religious dramas- the Middle Ages. Today, the effect may not be as profound as the last production of the play- four centuries ago. But the drama has dimensions byond those of a religious and communal celebration.
…A wide sense of community is evident in the audience. “prior to our June 22 opening, 95% of bookings were from outside of Lincolnshire,” says Mr Ramsay. “One woman phoned for tickets from Borneo.” On the night I saw the Lincoln Cycle, I sat in the square outside the towering cathedral between a Japanese professor and a German businessman.
…And the outdor dramas offer audiences a rare opportunity to visit the past in more than the imagination…
On the night I saw the Lincoln Cycle, nature made its contribution with a real roll of thunder just after Christ’s death on the Cross. I could easily imagine the awe of the medieval audience.”
Holly Hill
Wall Street Journal, 31.7.1981
“Last night for the first time in 500 years, the Lincoln Mystery Plays were performed in their original setting before the Monarch’s Door on the West Front of the ancient Cathedral.
…Unlike the more familiar York cycle, in which plays were a handicraft of many guilds, the Lincoln plays were probably scripted by traveling priests or monks.
The local archives have many manuscripts to prove the continual use of the script within and around the cathedral, the medieval sponsors, being the local craftsmen’s guild of St Anne's.
…There are 15 simple home-spun plays and as such they are given. There are no frills. we are always at the heart of Medieval life, the humours are broad, the voices roughened.
It is as if we have before us the members of the original guild of St Anne's.”
Desmond Pratt
Yorkshire Post 23.6.1981
1978 - Mystery Plays
Mystery Plays originated in a very simple form in about the 5th century, when monks and priests illustrated parts of the Gospel with songs and living pictures, especially at Eastertide. From the 10th century, they gained greater importance and were used at all the major church festivals, ordinary townspeople began to take part and the language used changed from Latin to the vernacular - Middle English. Round about the 11th century, in France, this form of dramatic worship came to be used to illustrate other scriptural subjects, such as the miracles and parables.
The mysteries so grew in popularity and they overflowed into the churchyards, and later, several plays were performed simultaneously outside the churches, moving from street to street in the locality, so that, in effect, every street had its play. Craft guils were formed at this time, and each scene was acted by and paid for by a different guild. ie Craftsmen. The word mystery comes from the French and the Late Middle English, and is properly, mistery, meaning trade or profession.
The Lincoln Cycle differed somewhat in that the plays were not performed as street pageants but were probably set in the round at the west front of the cathedral, with space between the sets for the audience. It would also seem that only one guild, that of St Anne, was responsible for their production, which makes for a certain unity which other cycles do not have.
Mystery Plays were performed until the end of the 16th century when they seemed to have virtually disappeared- went out of fashion?– but during the past 20 years there has been a considerable revival and ever-growing popularity. The Lincoln Cycle has been performed in Grantham and Lincoln during this revival period and this latest production has for its setting, appropriately, one of the most splendid cathedrals (indeed some opinions would say the most splendid cathedral) in Europe.
Elizabeth Crook
May, 1978
Taken from the 1978 programme
1967 - 1970 Mystery Plays
In 1967, the N-Town Plays were performed at Grantham, directed by Margaret Birkett. In 1970, Lincoln Theatre Royal's production of the Mystery Plays, directed by Clare Veneables was performed at Lincoln Cathedral. This was prior to the setting up of the Lincoln Mystery Plays Trust (in 1978) but was the beginning of the revival of the plays which were then thought to be the missing Lincoln Mystery Plays.
Interest in the Plays grew over the next few years.
Love and respect for them and all they show us about our connections to the past continues to this day.
We would like to think that we uphold this tradition, whilst ensuring, in the ways we continue to interpret them, that we revive, re-energise and re-engage audiences in their timeless tales.
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