Writer: Edward Burns
Adaptor/Director: John Young
Well, here we are again. Every five years, Chester presents its Mystery Plays (no, nothing involving Miss Marple or Sherlock Holmes), rather a series of short Biblical plays first performed during the Middle Ages. From the creation of the world, through to the Resurrection, there’s something for everybody. Women don’t come out of it too well, particularly in the first half. If it’s not Eve being blamed for ruining Paradise, it’s Noah’s wife (she doesn’t even deserve a name) and her gossiping desperate housewife pals for holding up the Ark.
The setting is truly magnificent; Chester Cathedral, which is rather like seeing the first Western movie to be shot on location. There’s an incredible atmosphere, and a real sense of magic happening before our very eyes. Unfortunately, the decision to stage the plays along a narrow runway, with the audience either side, makes for a lot of cricked necks, and one can only really see the whole thing from the upper back rows. It’s a little like the experience of watching a particularly slow tennis match. With one’s view so restricted, the use of head mics also add to the confusion, as one often mistakes which character is speaking, as they all emanate from the same source. Thankfully, there’s a lot going on, and the action flows from one end to another with ease. The dialogue is snappy, without too much exposition. God is portrayed by a male and female actor (hurrah!) in the forms of Nick Fry and Becca Patch, who do a tremendous job of being so superior, so loving, yet so intolerant towards any mistakes by their creations. At one point they decide to flood the entire planet, for some spurious reason! Later, they stand back while Herod commits mass murder, ordering the deaths of all the first-borns! And, in another prudish act, they can’t even allow Joseph and Mary to copulate naturally, so that Jesus can be born. There’s a definite thread of anti-women, anti sex, and anti-fun going on here!
With a cast of 200 ‘community players’, led by a smaller number of professionals, there was always the danger of an uneven show. However, this reviewer was hard-pressed to find a weak link anywhere. The entire cast performed in a professional manner, with passionate turns in particular from red-haired Sarah France’s Lucifer, a fiery punk princess railing against God him/themselves, and Duncan Crompton’s sinewy, warrior-style Jesus. Crompton is mesmerising, and a little sinister, especially during the Frankenstein inspired resurrection of Lazarus. Whilst most audience eyes were on the writhing, jerking form of James Roochove’s animated corpse, it was Crompton’s balletic, spell-casting conjuring that was truly disturbing.
Special note must go to Matt Baker’s stunning musical score, echoing throughout the cavernous, high-ceilinged space. A truly epic work, which brought to mind elements of John Williams and Hans Zimmer, particularly in the triumphant finale as Jesus joins God and The Holy Spirit, high up in the heavens. Rather like the ending of Return of The Jedi, as a ghostly Luke Skywalker reunites with his father and mentor, this is movie-style, pulse-pounding entertainment.
If you’re a fan of Tarantino, there are some gut-wrenching, and heart-breaking scenes involving much bloodshed and tears. A well-choreographed knife fight between Cain (a strong performance by Joseph Meardon) and Abel (Noah Marescaux) is gripping and energetic. The killing of the first-borns is pretty traumatic, with Herod’s soldiers chasing fleeing women and children, the screams echoing and piercing. The, off-stage, murders resulting in the women brandishing their blood-stained hands to the audience was mightily effective. Then there is the crucifixion, of course. Following the scourging, the application of the crown of thorns, and the endless jeering from his tormentors, our attention is drawn to the thieves on the crosses. This is a momentous experience, and the nailing of Jesus to the cross, as his screams of agony pierce the air, ratches up the mental and emotional state of the audience to near hysterical levels.
Here, in this thousand-year-old building, with its psychogeographical power, the audience feel the energy of the thousands of souls who have worshipped here over the centuries, combined with the two millennia of fear, love, and devotion that is part of Jesus’ story. As the wooden cross is raised, and the familiar sight of Jesus’ half naked, wretched frame comes into view, the feeling is almost overpowering. Clever placing of actors jeering and laughing behind the audience, add enormously to the terrifying spectacle, and we are reminded of the utter degradation of human beings at their worst. Director John Young makes full use of his huge cast, and his magnificent venue, marshalling them into just the right spaces, and numbers, to expertly convey the emotion of the scenes.
The 2023 Chester Mystery Plays is a triumph. Working like a well-oiled, supremely intricate machine, with every part in perfect harmony. Aaron J Dootson’s lighting design, and Kieran Lucas’ sound work beautifully together. This is more than simply an evening’s entertainment. It is an event. An experience. It leaves its mark on the core of your being.
Runs until 15 July 2023
