Agnes of God

I had the pleasure of attending Martyr's Players' gripping psychological production of "Agnes of God," written by John Pielmeier. From the moment I entered the auditorium, the company had already set an atmospheric ambience. The stage was prepped, a distinct haze filled the air, and the surrounding black curtains promised an evening that would be compelling, powerful, and deeply moving.

The play delves into themes of faith, truth, and the fragile complexities of the human spirit. It challenges us to reflect on the nature of belief and the mysteries that lie beyond reason. Believe me, Martyr's Players succeeded in doing just that.

In the theatre-in-the-round setting, we were immediately immersed in the depths of the characters and themes. With just two chairs and side tables placed diagonally from each other, the simple yet effective staging set the scene and complemented the dialogue throughout.

The play began with Dr. Martha Livingstone, portrayed by Catherine Eaton. Catherine commanded the stage with a consistent approach to characterisation, tonality, and pace, adding to the dramatic effect that kept the audience engaged. Her moments of anger and frustration were delivered with conviction, control, and purpose, fully complemented by her well-rehearsed intonation.

Following her introduction, we were greeted by Mother Miriam Ruth, played by Barbara Harris. Barbara's portrayal of Mother Miriam Ruth was nothing short of beautiful. She fully immersed herself in the character, and even slight hesitations with her lines seemed to fit brilliantly. Her interaction and proxemics with Dr. Livingstone were structured well, providing the audience with a clear understanding of their relationship.

There were moments where I did find Mother Miriam Ruth's veil somewhat restrictive, as it occasionally covered her face, making it difficult to see her facial expressions and reactions. This was also the case with the other two characters body positioning at times. While the in-the-round space worked overall, care must be taken, especially during pivotal moments, to ensure the entire audience can see the characters in full.

Next on stage was the beautifully spoken Hana Ramsden, playing Agnes. From the start, we were confronted by her anxious state and complex story, compelling us to listen intently. Hana's changes in intonation created brilliant moments of tension that built nicely to her pivotal and compelling moment at the end.

This was a play of only three actors, each commanding the stage throughout and keeping the audience invested in the story. Clever and changeable entrances and exits further enhanced the narrative. The technical features of stage lighting lit the actors well and adapted during flashbacks. I would have liked to have seen changes in lighting intensity, particularly to complement the mood and atmosphere in the closing scene.

Overall, Martyr's Players conveyed the tension between rationality and spirituality with power, conviction, and a thirst for the truth. I thoroughly enjoyed this thought-provoking piece of theatre. I extend my heartfelt thanks to Leon, Phil, and the team from Martyr's Players for their warm welcome and hospitality. I eagerly anticipate their remaining season productions.

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