Margery Kempe was an English Christian Mystic during the 14^th and 15^th centuries who was tried for heresy multiple times but never convicted. During the late Middle Ages, the task of interpreting the Bible and God was restricted to ordained priests but interpretation through the senses and body became the dominion of woman mystics. Kempe’s autobiography is the first written in the English language and she is honored in the Anglican Communion, but sainthood was never recognized by the Roman Catholic Church. It is believed she gave birth to fourteen children, left her husband and family to follow her calling to achieve a “greater intimacy with Christ,” and made a pilgrimage to Venice, Jerusalem, and Rome to visit various Holy sites. During her travels, she was tempted by the devil, had conversations with and had visions of God, and repeatedly tried to attain saintliness through performing miracles. This all alludes to an interesting recollection of an historical figure, filled with twists and turns that are complicated and compelling.

Written by John Wulp, “The Saintliness of Margery Kempe” was presented for the first time by the Cambridge Massachusetts Poet’s Theatre in 1958 and is presently being revived at The Duke on 42^nd Street. According to an Author’s note in the program, director Austin Pendleton rediscovered the text and being struck by its contemporaneity decided to remount the show. This present incarnation would fare much better if it had remained undiscovered, left lying dead with no attempt at revival. It is historically inaccurate, filled with tedious twists and turns that are insignificant and is complicated because it is difficult to decide if it is meant to be a comedy, drama, farce, spoof or a play of historical fiction. Following the cryptic life and journey of Marjorie Kempe as depicted through endless scenes and vignettes brought to life by actors playing multiple roles (including a horse), registers close to non- coherent, with no apparent continuity, timeline, or purpose. Weighing in at two hours and fifteen minutes the most notable and well received line comes when an actor appears center stage to exclaim “It’s a miracle, it’s intermission.”

The production may have a few comic moments; but, they are far and few between the laborious and dull script that the actors must flounder through to get an exuberant response from the audience. The cast is overly competent and diligently attempts to transcend the material with minor success. Andrus Nichols (Margery Kempe) leads the medieval troupe with steadfast determination and a wacky mentality which befits the character, but the antics wear thin as the plot progresses despite her admirable efforts. Jason O’Connell is solid as the husband (John Kempe) but hits his stride as the tour guide to the Holy Land (Friar Bonadventure), trying to pacify his motley group from the hysterical outbursts of the self- proclaimed mystic. Timothy Doyle is delightful in various roles, with expressions that communicate more than the pretentious poetic dialogue.

There is an interesting historical narrative in the life of Margery Kempe and her ambition to be recognized as a strong, viable female and not oppressed by the male domination of the Middle Ages. Unfortunately, in this revival, that profound persona is construed as lunacy all for the sake of humor.