Shaw Worth (MSt. Medieval Studies 2024)

Scripture suggests that the Christian apocalypse will only happen once. OMS, however, has so far seen two in Hilary Term, both in preparation for the Medieval Mystery Plays 2025 on 26 April 2026 (programme here, and more below), with one now available to stream in perpetuity for HistoryHit’s new documentary The Medieval Apocalypse, presented by Dr Eleanor Janega.

Hopefully the post below can shed some light onto the process of mounting a medieval performance-text, and offer some insight into the dramaturgs hard at work for their performances on the 26^th April. We hope if you watch both your appetites for the Plays might be whetted—especially for those hankering for the Judgement-narrative, of which another staging is forthcoming by the MSt English 650–1550 cohort on the 26^th!  

Choosing the text

Though Middle English versions of the Last Judgement exist across the gamut of post-Conquest literature (in poetry and prose as well as drama), Henrike Lähnemann chose an excerpt from so-called ‘Towneley’ collection of mystery plays as our performance text since a) there was already a text available from the preparation for the 2019 cycle, b) (more importantly) it starts with the reference to a horn!

our company (Professor Henrike Lähnemann, Dr Andrew Dunning, Timothy Powell, Michael Angerer, Shaw Worth, Monty Powell, and the Revd Andreas Wenzel)

Like most religious medieval English drama, we ultimately know very little about the provenance and assembly of the texts that come together in their unique sixteenth-century witness (San Marino, California, Huntington Library, MS HM 1). Unlike the York and Chester cycles, it’s not clear when, or by whom the plays were commissioned; as I’ll discuss below, they show marks of major internal revision, suggesting their transmission over an extended period. That would fit with our idea of English dramatic cycles taking place around the Feast of Corpus Christi in the summer: on one day, different guilds re-staged episodes from the Bible from Genesis through to Revelation, at least some of the time on mobile wagons in civic centres between which spectators could move.

The cycle takes its name from the prominent Lancashire family in whose library the manuscript containing the plays was held until the nineteenth century; the dialect of the plays themselves, however, suggests a West Yorkshire origin, and has long been associated with Wakefield in the West Riding, though debate around that attribution rages on. The Last Judgement is a particular gem from the Towneley plays insofar as it bears the distinctive nine-line stanza used by one (hypothetically reconstructed) contributor to the cycle usually called the ‘Wakefield Master’, whose naturalism and comedy elevates what are otherwise completely pedestrian reiterations of doctrinal tropes into rich dramas. (For an accessible introduction to the Master’s verbal tricks, check out the London Review of Books’ Medieval LOLs podcast episode on the Second Shepherds’ Play, hosted by Drs Mary Wellesley and Irina Dumitrescu — link here! – and watch the play in the 2019 performance).

The story as we cut it is very simple—and I’ll avoid ‘spoilers’ to keep you entertained—but the play sees two souls, Bonus and Malus (Monty Powell and Michael Angerer), called to attest to their earthly deeds before Christ seated in majesty and accompanied by three (non-speaking, but singing) helper-angels (Henrike Lähnemann, Andrew Dunning, Tim Powell), and Jesus’ (me) replies to them both. By Malus he is less than impressed…

Putting the play together

Then came the issue of how to stage it. To call any contemporary performance of Middle English (religious) plays ‘historical reconstructions’ is hard to justify, though the situation varies from text to text. Almost no information regarding the staging of the four major cycles survives (beyond some rather opaque, and certainly guild-manipulated registers from York), to say nothing of the fact that the (Tudor!) witnesses to Middle English cycle drama postdate their first performances in most cases by almost two centuries. The Towneley manuscript more likely emerges from sixteenth-century antiquarianism, in other words, rather than from active use. As a substitute, with Henrike’s help and direction, we used stage directions from fifteenth-century German dramatic records, like those surrounding the Bordesholm Marienklage, which leaves rich prefatory details in Latin of players, costumes, and props down to individual textile-types. As Christ I wore a paper crown and (real) liturgical vestments, provided by Andreas Wenzel from the St Edmund Hall chapel (including the right preparatory prayers); stigmata were ably provided by Alison Ray of the Bodleian, whose Burt’s Bees tinted lip balm (sponsorship pending) lent a rather septic sheen to Christ’s woundys, smeared on Boots own-brand cotton gloves. Malus and Bonus wore academic gowns over black; the angels wore surplices and wings from the St Edmund Hall costume store, along with—long-term OMS fans can be reassured—Henrike’s bannered horn invoked by Malus in the opening lines.

Filming and reperformance

Filming for the HistoryHit documentary took place in January. Following a quick review of the text and a rundown on mid-Yorkshire vowels circa 1450, we set up to film in the extraordinary Romanesque crypt (under the medieval church of St Peter-in-the-East, now in use as the college library; the crypt itself has been largely unaltered since the twelfth century). There we met Eleanor, the HistoryHit camera team, and the English Faculty’s own Professor Laure Ashe, who also features in the documentary as an interviewed expert. Laura, Eleanor, and Alison provided our ‘audience’, providing boos, cheers, and some less-than-pious (and probably more historically accurate) snickers; with some B-roll taken by the team, and coffee enjoyed afterwards, the documentarians vanished away to some of their other treats (if these delights weren’t enough, also see Alison introducing the Douce Apocalypse in the film as well!) 

In Eighth Week we then reperformed the same extract in the Visiting Scholars’ Centre in the Weston for full term’s final Medieval Coffee Morning as a kind of live ‘ad’ for the Mystery Plays.

Performing in the library allowed us the particular treat of presenting one of the Bodleian’s lesser-appreciated treasures, namely the roll containing the pseudo-dramatic Middle English fragment known as the Dux Moraud (Bodleian Library, MS. Eng. poet. f. 2). If it is indeed an ‘actor’s roll’, as some critics have been eager to suggest, then this rather slender piece of parchment is a vanishingly rare gateway into the performance culture that flourished in East Anglia in the mid-late fifteenth century, including plays like Wisdom, The Castle of Perseverance, the Digby Mary Magdalene, and the N-Town cycle. Like other extant Anglian plays extant, the Moraud is distinctively racier than other regions of Middle English cycle drama; we won’t tell if you look it up. 

Despite the fact that they feature the same actors using the same text, these two versions of the Towneley Judgementdemonstrate very neatly the huge potential value of experimental reperformance—of music, mime, liturgy, and dance as well as drama—as a means of engaging with medieval media at large. The HistoryHit documentary brings up interesting questions: with the intervention of the camera, the viewer is no longer free to observe different aspects of the performance going on at once; modern English subtitles ‘remediate’ the frequently alliterative Middle English text, dropping another kind of information into the mix; narration, rather like the long German prefaces mentioned above, will set audiences looking to correlate what they’ve previously heard with what they’re seeing. The Weston performance, on the other hand, makes fewer modernization attempts, but prompted a fair few audience questions on what had actually been said! 

All that’s to say that reasons are very few that medievalists shouldn’t find themselves at Teddy Hall on the 26^th to watch the Mystery Plays. The day will bring together a huge range of religious drama and promises to alchemize some cross-discipline work as always.

Cast

Jesus (Shaw Worth) – MSt. Medieval Studies
Malus/Evil Soul (Michael Angerer) – DPhil. candidate in Medieval English
Bonus/Good Soul (Monty Powell) – MSt. Modern Languages
Singing Angel (Andrew Dunning) – Curator of Medieval Manuscripts
Trumpet angle (Henrike Lähnemann) – Professor of Medieval German Literature and Linguistics

Text extract from the Towneley Judgement play in the Oxford Text Archive

Malus: Alas I harde that horne / that callys vs to the dome, 3 All that euer were borne / thider behofys theym com. 4 May nathere lande ne se / vs from this dome hide, 5 ffor ferde fayn wold, I fle / bot I must nedys abide; […] 6 Alas, that I was borne! 11 I se now me beforne, 12 That lord with Woundys fyfe; 13 how may I on hym loke, 14 That falsly hym forsoke, 15 When I led synfull lyfe? 16

Jesus: The day is commen of catyfnes, 394 all those to care that ar vncleyn, 395 The day of batell and bitternes, 396 ffull long abiden has it beyn; 397 The day of drede to more and les, 398 of Ioy, of tremlyng, and of teyn. 399 Ilka wight that wikyd is 400 may say, alas this day is seyn! 401 here may ye se my Woundys wide 402 that I suffred for youre mysdede, 403 Thrugh harte, hede, fote, hande and syde, 404 not for my gilte bot for youre nede. […] 405 All this suffred I for thi sake. 432 say, man, What suffred, thou for me? 433 Mi blissid barnes on my right hande, 434 youre dome this day thar ye not drede, […] 435 When I was hungre ye me fed, 442 To slek my thrist ye war full fre; 443 When I was clothles ye me cled, 444 ye Wold, no sorowe on me se; […] 445 Therfor in heuen shall be youre rest, 456 In ioy and blys to beld, me by. 457

Bonus: lord, When had thou so mekill nede? 458 hungre or thrusty, how myght it be? 459 When was oure harte fre the to feede? 460 In prison When myght We the se? 461 When was thou seke, or wantyd wede? 462 To harbowre the when helpid we? 463 When had thou nede of oure fordede? 464 when did we all this dede to the? 465

Jesus: Mi blissid barnes, I shall you say 466 what tyme this dede was to me done; […] 467 My blessed bairns, I shall you say What time this deed was to me done; … ye cursid, catyfs of kames kyn, 474 That neuer me comforthid, in my care, 475 Now I and ye for euer shall twyn, 476 In doyll to dwell for euer mare; […] 477 Catyfs, ye chaste me from youre yate; 483 when ye were set as syres on bynke 484 I stode ther oute wery and Wate, 485 yit none of you Wold, on me thynke, 486 To haue pite on my poore astate; 487 Therfor to hell I shall you synke, […]!

Malus: 488 lorde, when had thou, that all has, 504 hunger or thriste, sen thou god is? 505 When was that thou in prison was? 506 When was thou nakyd or harberles? […] 507 Alas, for doyll this day! 512 alas, that euer I it abode! 513 Now am I dampned for ay, 514 this dome may I not avoyde. 515

Jesus: Mi chosyn childer, commes to me! 524 With me to dwell now shall ye weynde, 525 Ther ioy and blys euer shall be, 526 youre life in lykyng for to leynde! 527 Jesus turns to Malus and sends him out howling ye warid Wightys, from me ye fle, 528 In hell to dwell withoutten ende! 529 Ther shall ye noght bot sorow se, 530 And sit bi sathanas the feynde. 531

Bonus: We loue the, lorde, in alkyn thyng, 613 That for thyne awne has ordand thus, 614 That we may haue now oure dwellyng 615 In heuen blis giffen vnto vs. 616 Therfor full boldly may we syng 617 On oure way as we trus; 618 Make we all myrth and louyng 619 With te deum laudamus.