Review: There's Something About Mary

The Testament of Mary

Written by Colm Tóibín, Directed by Jim Petosa; Scenic Designer, Ryan Bates; Lighting Designer, Matthew Guminski; Costume Designer, Tyler Kinney; Composer & Sound Designer, Dewey Dellay; Stage Manager, Leslie Sears

Featuring: Paula Langton

Performances through February 28 at New Repertory Theatre, Black Box Theater, Center for the Arts, 321 Arsenal Street, Watertown, MA; Box Office 617-923-8487 or www.newrep.org

New Repertory Theatre continues its third annual Next Rep Black Box Festival with Colm Tóibín's The Testament of Mary, a controversial one-woman play that reimagines the life and attitudes of Mary some twenty years after the crucifixion of her son. As she recounts her version of the events to the Gospel writers, it is clear that they have their own notions of what transpired and do not wish to be contradicted by an eyewitness with a very personal bias. Tóibín's script humanizes Mary as a devoted and loving mother who still grieves her devastating, personal loss which the followers of Jesus co-opted for the good of mankind.

Originally entitled Testament, the play debuted in 2011 at the Dublin Theatre Festival and was then turned into a novella with its current title. In 2013, a new draft of the play premiered on Broadway starring Fiona Shaw. Although nominated for three Tony Awards, including Best Play, The Testament of Mary ended its scheduled 12-week engagement after playing only 27 previews and 16 regular performances. It drew criticism and picketers from Catholic groups, but its producers denied that the play is either anti-Mary or anti-Catholic. In advance of this local production, a group called America Needs Fatima expressed its objections (as they did with the Broadway production), and New Rep received a petition with 29,000 alleged signatures against the show. However, the company stands by its decision and welcomes people of all viewpoints to attend.

New Rep Artistic Director Jim Petosa directs Paula Langton in an impressive solo performance. Alone on the small thrust stage with a minimum of set pieces to interact with, Langton immediately connects with the audience by peering out into the darkened space, silently shifting her gaze from one face to another. An actor in a one-person show has to rely on the audience to be their scene partner, to provide an emotional response to what is being said and done on the stage. Portions of the audience on press night were lethargic at best, and some were in repose, often leaving Langton adrift on an island in their midst. However, she was able to maintain her level of energy and modulate her emotional volume as called for by the flow of the story.

The inherent problem with TTOM is its structure; by using Mary as storyteller, there is no action to see. It is recalling, reporting, reacting, but very little to show. Occasionally, she repeats a conversation with another person, but does not evoke their personality. Our only sense of them is through Mary's words, not their own. There is a dearth of dramatic moments and the one with the greatest impact is diminished by the uneventful minutes that follow it. Langton builds the emotion to the powerful revelation, but has to allow it to deflate as the play draws to its conclusion.

Ryan Bates' set features an upstage wall with a section that recedes, through which Mary enters, a large boulder in the middle of the floor, and a rusted girder that implies the cross where Jesus hangs. Interesting lighting changes (Matthew Guminski, designer) suggest different time and place, and the presence of atmospheric, meditative music (Dewey Dellay, composer/sound designer) adds texture. Petosa treats the subject matter with great care and respect, and Langton is fully committed in her portrayal. However, in my view, The Testament of Mary does not rise to the level of the fuss it has stirred up.

Photo credit: Andrew Brilliant/Brilliant Pictures (Paula Langton)

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