By Zoë K. Alexander Productions
Writer and Director: Zoë K. Alexander
Reviewer: Lela Tredwell
Charismatic, well-researched and genuinely heart-warming, this historically inspired play introduces us to the medieval mystic Margery Kempe. Considering it explores the life of a woman known for her unruly weeping, this performance generates a huge amount of joy and much laughter. Talking with Margery playfully explores themes of isolation, doubt, and subjugation.
We join Grace (Billie Early) in the 21st Century as she is struggling to finish an essay during a pandemic. Confined to her student rooms, she is pulling an all-nighter to meet her ever-approaching deadline. Starved of company, exhausted, and worried well beyond the end of her wits, she receives a surprise visit from 12th Century Margery Kempe (Denise Evans).
Denise Evans plays our new favourite medieval mystic perfectly from the go. Her facial expressions as she glides into the room on a miracle to the sounds of a live harp (Alice Brightman) is such a deliciously conceived moment we can tell we are in for a treat. With her white garments and imposing headwear, Margery is such a larger-than-life eccentric character we can’t help but be won over by her charm. Born many hundreds of years apart, the two women immediately start to spark off one another, mining a rich vein for discussion, comedic value and emotional pathos. As Margery makes her presence known, the frazzled Grace (Billie Early) unravels.
The Book of Margery Kempe is thought to be the first autobiography written in the English language and as so our Margery has some captivating stories to tell. Miraculously accompanying her into the 21st Century is the long-suffering scribe who penned her experiences. Played captivatingly by Jamie Izzet, complete with long quill and parchment, Margery’s scribe is mute throughout but still manages to provide an engaging commentary on the mystic and her reported exploits through raised eyebrows, blank expressions, and brilliantly timed physical comedy. The comedic chemistry between diva (Evans) and scribe (Izzet), is a divinely joyful spectacle to witness.
The live music (Alice Brightman) enriches the piece, with the harp providing moments of both harmony and also humour. The performers utilise the whole stage and there are satisfying moments where one character peels away from the main focus, like when the scribe tastes a spicy Pot Noodle for the first time, or when Margery is mesmerised by a desk lamp. The characters are well-drawn and evoke much affection.
There is a warm beating heart at the centre of Talking With Margery influenced no doubt by its process of creation. A collaboration of actors have helped to devise the piece under the lead of writer and director Zoë Alexander. As if to defy the time in which the play is set, when social distancing was deemed essential, we can feel the reach of the play extending its arms out towards us and pulling us in for a warm embrace. Although it investigates religious beliefs, it avoids being preachy itself, instead posing questions and embracing a humanity that defies the passing of time. It sets out to explore the value of historical knowledge and what the experiences of people from the past might bring to present-day lives. The answers it finds are genuinely moving, delightful, and really rather miraculous.
Reviewed on 31st May 2025
