March 12, 2011
Martyr's Crossing
Review by Ron Naff
About 20 people were at Kelso High School for the opening night of the local premier of Martyr's Crossing, written by Melissa Leilani Larson. It is a retelling of the story of Joan of Arc, the young girl who saved France from English domination during the Hundred Years War. It is actually the story of Joan (portrayed by Kim DuPerron) as seen and experienced by Catherine (Alexis Bloomfeldt) through whom Joan received her inspiration.
Catherine of Alexandria is a Christian martyr who, after her death, is assigned to guide the young peasant girl. Accompanying Joan throughout her legendary career, Catherine, encouraged by another saint, Margaret (Frances Cansler) finds that her influence directly affects the girl's successes and failures. As Joan is ultimately tried for heresy and burned at the stake, Catherine questions her assignment and, ultimately, her own faith.
Catherine and Margaret are not perfect people; they are not angels or saints in the traditional sense. Nor are they portrayed as being in heaven, although they are working their way there by helping others. While one may have difficulty accepting this premise - saints Catherine and Margaret reminded me of the angel Clarence in "It's a Wonderful Life," as those who help someone earthbound in order to get their wings - the essential story of being used by God to accomplish great things cannot easily be dismissed. One of the keys to understanding this comes when Catherine says to Margaret of Joan's mission: "It makes no sense that so much would come to rest on one tiny thing. One tiny person in all the world. Why this girl? Why France?" Later when Margaret reveals to Joan her mission, Joan queries: "Save France? I can't burn supper and you want me to save France?"
The play may not promote great theology, but it is good theatre, and reminds us how intricately our lives are woven together and the impact we have on others, whether consciously aware of it or not.
I was surprise how quickly it moved when the dialogue, rather than the action, is the driving force behind the play. But all the actors did well projecting both the words and intensity of their characters.
The opening scene takes place in a library, "not just any library . . . but the one between the mortal and the heavenly" (to this reviewer, any library is heavenly) with several narrators as historians. While the script calls for four men, who would double as other characters in becoming part of Joan's historical journey, Director Jueanne Meyers chose to cast three woman (Janie Polm, Emily Soule, Lilly Smith). It wasn't intended - only four boys/men auditioned for the play and each were needed in other roles - but it worked.
Other characters included Adam Pond as the Archangel Michael, a role quite different from his usual comedic ones, but played very well; and three young men, Nathan Meyers, Eric Gerlund, and Tate Lasko as Charles, the Dauphin and apparent heir to the French throne, Bishop Cauchon, and the Earl of Warwick, respectively. As the youngest members of the cast they did not seem to be as polished as the others, but did add some effective comic relief during Joan's dream when she was being mocked by the new King.
The set was beautifully but simply designed with bookshelves at the far right and left of the front of the stage, the exclusive domain of the historians, with a small riser at center stage and a font filled with sand, which Michael flicks or sifts throughout the play to indicate the passage of time. It was almost too much stage for a play that attempts to draw the audience in as if sharing an intimate spiritual tale of faith and courage.
The costumes for the mortals were period appropriate (15th Century France), contrasting well with the white "other worldly" garb worn by Joan's guiding voices and the Archangel.
A key to the quality of performance relied effectively on Catherine and Margaret being seen, heard, and touched by Joan and by no one else in the mortal sphere unless permission was given by Michael. For the most part the actors were good at keeping that distance, though there were occasional glances at people who weren't supposed to be there!
Martyr's Crossing can be seen on March 18, 19, 26, and 27 at 7:30 pm or March 19 and 26 at 2 pm at the Kelso High School Auditorium. Tickets are $10; $8 for Seniors; $5 for those under 16. It is very appropriate for the whole family but younger ones might become restless.
