The Irish writer Colm Tóibín lets her speak, in everyday words. This is the story of one of the worlds most famous women, one of the most well-known figures in Western art. Despite the production's distractions, audiences will too. The Testament of Mary is one of these stories. "I remember everything," Mary says, her voice growing strained and harsh on that last word. History has traditionally been told through the words and stories of men, and the Gospel is no exception. Perhaps this bustle represents a woman trying to distract herself from the horrors of her memories but all the antic movement gives the script a lulling sameness, at least until the terrible confessions of the finale. Warner keeps Shaw constantly busy: arranging props, moving furniture, changing in and out of clothes – at one point stripping off entirely. A restless Mary paces agitatedly around the modern day apartment to which she is confined (set designed by Marg Horwell). The same day in April when he was notified that the Broadway version of The Testament of Mary had been nominated for three Tony awards, he also learned that the play’s run was going to be cut. Directed by Anne-Louise Sarks, this production is at once domestic and frenetic. But it sometimes seems as though Warner, her longtime collaborator, doesn't entirely trust her or the material. The Mary of this script is a thoroughly modern woman, played by Rabe with honour and anguish. The play is a workout for Shaw, a searing and versatile actor. Mary seems at once a Nazarene matron and a modern widow.
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Tóibín's language, while literary, is never unplayable, and though Mary is remarkably silent in the New Testament, he gives her a full and often sardonic voice, as when she describes the disciples as "misfits, only children like himself, or men without fathers, or men who could not look a woman in the eye". Scripture Comes Alive 25 Plays Of The New Testament With Script Cards And Activity Cards. If others have gone on to hail her son as perfect, divine, the saviour of the world, that doesn't lessen her grief at having seen him tortured and killed, "splayed against the sky". What Shaw and Tóibín do offer is one woman's anguished revelation of the sufferings she and her son endured. I suppose some could call the work blasphemous but that would indicate a failure to acknowledge the discrepancies among the Gospels themselves. The Testament of Mary, a monologue scripted by novelist Colm Tóibín from his novella of the same name and performed by Fiona Shaw, boasts the most unusual pre-show on Broadway.
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Once everyone takes their seats, Shaw re-emerges wearing rather more ordinary clothes – a black tunic over rolled dungarees – and begins her monologue.