Colin Matthew Room, Radcliffe Humanities, Radcliffe Observatory Quarter Woodstock Road, Oxford, OX2 6GG Register via Eventbrite.
Registration is required only for those who would like lunch. In order to prevent food waste, PLEASE cancel your registration at least 72 hours in advance if you are unable to attend.
A roundtable with Ling Zhang (Asian and Middle Eastern Studies, University of Cambridge); John Sabapathy (History, University College London); and Amanda Power (History, University of Oxford)
Concert: ‘The Oxford Troubadors Return to the Maison Française’
9 May, 7:00pm, Maison Française d’Oxford
We are delighted to welcome back The Oxford Troubadors for an evening of medieval and modern songs in Occitan. The ensemble will perform iconic medieval troubadour pieces, including La Sestina by Arnaut Daniel and Lo riu de la Fontana by Jaufre Rudel, as well as popular modern songs from the repertoires of Peiraguda and Nadau. Expect an interactive experience with audiences often joining in the choruses of these catchy tunes. This event is free, but registration on TicketSource is required.
Lecture: ‘The Birth of the Black Death: New Approaches in World History’ by Patrick Boucheron
29 May, 5:00pm, Pembroke College
We are delighted to welcome Professor Patrick Boucheron for the 2025 Collège de France – Maison Française d’Oxford – Pembroke College lecture. Professor Boucheron will give a lecture on ‘The Birth of the Black Death : New Approaches in World History’. For more details and to register for this lecture, visit this page.
Masterclass: ‘Pourquoi des médiévistes? Penser le contemporain depuis le Moyen Âge’
29 May, 2:30pm, Maison Française d’Oxford
Earlier that day, Patrick Boucheron will be teaching a masterclass at the Maison Française on what medieval history teaches us. Please note that the masterclass will be given in French. Fore more details and to register for this event, visit this page.
Welcome to week 2! Please find below all of the medieval events across Oxford in the coming week.
The wonderful team behind the medieval mystery plays that took place at the beginning of this term have put together a full report of the event, which includes a number of amazing photos. A video of last week’s performance of The Netherhold Martyr is now available here.
Monday
French Palaeography Manuscript Reading Group – 10:30 pm in the Weston Library.
Medieval History Seminar – 5pm at All Souls College. Amanda Power (St Catherine’s College Oxford) will be speaking on ‘Salvation, alienation and sacrifice zones from medieval to modern thought’.
Tuesday
Medieval English Research Seminar – 12.15 in the English Faculty. Raphaela Rohrhofer (University of Oxford) will be speaking on ‘Nothing Matters: The Contemplative Poetics of Nought in Julian of Norwich and Beyond’.
The Latin Palaeography Reading Group meets 2-3.30pm. Please email Laure Miolo for more information.
Centre for Early Medieval Britian and Ireland Seminar ‘Sacrilizing the Everyday’ – 4pm in the Rees Davies (History Faculty).
Medieval Church and Culture – tea and biscuits from 5pm in the Wellbeloved Room, with talks from 5.15. Shaw Worth (Magdalen) will be speaking on ‘‘Bien est avoiré sur vous le langage’: practising allegory between text and image in three manuscripts of Alain Chartier’s Livre d’Espérance, 1450–1470’. Sophie Boehler (St Hugh’s) will be speaking on ‘Seeress to Abbess: women’s evolving dreams, visions and prophecies during the Icelandic conversion period’.
Wednesday
Medieval German Graduate Seminar – NB In second week, the seminar will not take place. Instead there will be a workshop on Christiane Mariane von Ziegler, the first female German Poet Laureate, in St Edmund Hall, starting at 10am. If you are interested to participate, please contact Henrike Lähnemann.
The ‘science of the stars’ in context: an introduction to medieval astronomical and astrological manuscripts and texts – 2pm in the Horton Room (Weston Library). Session 2: The daily rotation of the celestial sphere (primum mobile) [1/2].
Medieval Latin Document Reading Group – 4pm, online, please contact Michael Stansfield.
Oxford Centre of Islamic Studies Seminar – 5pm in the Oxford Centre of Islamic Studies. Professor Christophe Jaffrelot (Kings College London) will be speaking on ‘Beyond Castes and Regions: The Socio-Economic Decline of Muslims in Contemporary India’.
Merton College History of the Book Group Lecture – 5pm, Mure Room (Merton College). Professor Orietta Da Rold (Professor of Medieval Literature and Manuscript Studies, University of Cambridge) will be speaking on “The many crafts of paper”. Attendees will have the opportunity to view medieval works on paper from the Merton Library and Archives. The talk will be followed by refreshments. All are welcome, and we would appreciate an RSVP to julia.walworth@merton.ox.ac.uk
Thursday
Middle English Reading Group (MERG) – 2pm in the Beckington Room (Lincoln College). Join us to read the ‘double sorwe’ of Troilus and Criseyde in a weekly reading group. We will be reading from the end of Book IV. For more information or to be added to the mailing list, please email rebecca.menmuir@lincoln.ox.ac.uk.
The Khalili Research Centre For the Art and Material Culture of the Middle East: Research Seminar – 5.15 in the KRC Lecture Room. Richard Piran McClary (University of York) will be speaking on ‘Lajvardina: A Re-evaluation of Distinctive Ilkhanid and Golden Horde Overglaze Painted Wares’.
Friday
Medievalists Coffee Morning – 10.30am at the Weston Library. All welcome, coffee and insight into special collections provided.
Exploring Medieval Oxford through Lincoln & Magdalen Archives – 2pm in the EPA Centre (Museum Road) Seminar room 1. Please contact Laure Miolo for more information.
Upcoming
Additional spaces are available on the ‘Big Data’ and Medieval Manuscripts workshop – please sign up here.
Registration is open for the Masterclass by Patrick Boucheron – Pourquoi des médiévistes ? Penser le contemporain depuis le Moyen Âge – 29 May, 2:30pm, Maison Française d’Oxford.
Registration is open for Patrick Boucheron’s lecture entitled ‘The Birth of the Black Death: New Approaches in World History’ – 29 May, 5:00pm, Pembroke College.
The Digital Medieval Studies Institute is hosting a set of workshops on digital scholarly methods specifically tailored for medievalists as part of the International Medieval Congress at the University of Leeds. More information can be found here.
Opportunities
CfP for ‘Staging Silence from Antiquity to the Renaissance’ – more information here.
CfP for ‘Music and Reformation: A Symposium at Lambeth Palace Library, 16 September 2025’
A regular pub trip is being organised on a Friday at 6pm at the Chequers, from 0th week to 8th week, for all medievalists at Oxford. Email maura.mckeon@bfriars.ox.ac.uk
The Oxford Medieval Mystery Plays 2025 are over – thank you to everyone who made this day possible! Read on for some pictures and impressions of a wonderful day. You can access the full programme, scroll through film stills by the camera team, and watch it on the OMS Youtube channel.
The fourth iteration of the Oxford Medieval Mystery Plays took place on 26 April at St Edmund Hall. And it was a truly marvellous day! A total of 13 plays were put on by about 150 participants – actors, directors, singers, costume designers, musicians, and many more. Throughout the day, about 350 audience members popped in and out of Teddy Hall, some staying for shorter periods, others for several hours or the whole day. Audience members and participants included a wonderful range: undergraduate and graduate students and academics from within and without Oxford, a full children’s choir, tourists, and members of the public found their way to Teddy Hall and partook in the medieval shenanigans.
And what shenanigans they were! This year, we are particularly proud of the incredible diversity of languages, plays, and different approaches on display. But see for yourself … (All photo credits are at the bottom of the post)
The day started – how could it be otherwise – with a trumpet blast from Henrike Lähnemann herself (Picture 1).
Once again, we were expertly guided through the day by Jim Harris, the Master of Ceremonies. Armed with Bruce Mitchell’s doctoral gown and the ceremonial scroll (consisting of the baking roll to the chaplain of St Edmund Hall, half a coat hanger and numerous layers of paper and sellotape), he introduced each play with a modern English prologue (Picture 2).
We began at the beginning, with the creation of the world and The Fall of the Angels,performed mostly in Middle English, but with modern English elements, and in a modern office setting.
Picture 3: The Holy Trinity is being fawned over by the two good angels … but trouble awaits: the two bad angels are getting arrogant, before their inevitable ejection from Heaven.
From the angels, we moved swiftly on to humans: next was the German Adam and Eve play by Hans Sachs, featuring a particularly good use of the well (the two humps underneath the spare green coat are Adam and Eve, about to be created).
Picture 4: All could be well in Eden, if it wasn’t for Lucifer, Belial, Satan, and the Serpent conspiring.
Picture 5: Adam and Eve might have fallen into desperation, but the cast have good reason to be proud of themselves, having made it to the front page of both the Oxford Mail and Oxford Times.
Skipping a few biblical ages, we next saw the Flood, presented in the Middle English Chester version.
Picture 6: The flood has come! Luckily, Noah and his family are safe on the ark, together with the animals – expertly made and portrayed by the children of St Giles’ and St Margaret’s churches.
The Old Testament concluded with the Middle English York version of Abraham and Isaac.
Will he really do it? Abraham is getting ready to sacrifice his oldest son, Isaac (Picture 7) … but fear not! The angel of the lord approaches and shows him a sheep to sacrifice instead – the little guy, hand-crocheted by one of the cast members, rapidly became the true star of the day (Picture 8).
After a refreshing tea break, we moved from the Front Quad into the Churchyard, and from the Old to the New Testament. The fifth play of the day was the Annunciation, or rather Die Eerste Bliscap van Maria (‘The First Joy of Mary’). It was performed in Middle Dutch: a first (but hopefully not last) for the Oxford Medieval Mystery Plays!
Picture 9: The angel Gabriel announces the happy news to the reading Mary.
True to the Gospels, the Annunciation was followed by the Nativity. It was a particular pleasure to welcome back Les Perles Innocentes, who travelled all the way from Fribourg to wow us with their expert performance of the Comédie de la Nativité, written by none other than Marguerite de Navarre.
Picture 10: Mary and Joseph are desperately looking for a place for Mary to give birth. – Picture 11: If the stable looked as gorgeous as the library of Teddy Hall, it surely wasn’t the worst place to be born in!
Our next play skipped ahead, showing us the grown-up Christ at the Wedding at Cana. This play was a world premiere, reconstructed from only 1.5 surviving lines in the York cycle!
Picture 12: Panic at Cana – the wine has run out at the wedding! What to do?
Picture 13: Christ is there to save the day and transforms the water into wine. The servants are amazed!
From Cana, we moved straight to Golgotha and a Middle English performance of the Crucifixion. The York Crucifixion, strangely, is a comedy, and the four soldiers crucifying Christ were accordingly equipped with ‘Cross flatpack instructions’ and giant inflatable hammers. Certainly not inflatable, however, was the cross, which was purpose-built just for this production and turned into a much-coveted prop for numerous plays.
Picture 14: The poor, overworked soldiers struggle to lift up the heavy cross.
Once the soldiers had vacated the grassy mound in Teddy Hall’s Churchyard, the mourners came: the three Marys (the Virgin, Mary Magdalen, and Mary, Mother of John) and John arrived for the Lamentation, represented by the Bordesholmer Marienklage and beautifully sung in a mixture of Latin and Low German.
Picture 15: Owe, owe nu ys he dot…
Moving directly from the cross to the crypt, we were told about the Harrowing of Hell by the Choir of St Edmund Hall through sung Latin sequences.
Hell having been harrowed, it was time for another tea break, after which we were welcomed back by the angelic hosts of the Choir (Picture 16). And then it was time for some good news: the Resurrection! Performed in the Middle English of the York version, this play truly had it all: sleeping soldiers, lamenting Marys, bickering priests, and a highly enthusiastic angel.
Picture 17: An outraged Pilate commands the soldiers to find out the truth about the rumours concerning Christ’s resurrection. At least Caiaphas and Annas, the extremely well-dressed high priests, are there to back him up. Picture 18: Mary lamenting at the tomb – thankfully, she, too, receives moral support from the angel.
Leaving the Gospels behind, we moved on to the only non-biblical story of the day: The Martyrdom of the Three Holy Virgins by Hrosvitha of Gandersheim, performed mostly in (absolutely flawless!) Latin, with a few bits in modern English.
Picture 19: Governor Dulcitius has been ridiculed by his prisoners, the holy virgins Agape, Chionia, and Irena … his embarrassment will not go unpunished.
Picture 20: The two older sisters are burned, while the youngest is forced to watch. But never fear: all three will be rewarded in Heaven for their martyrdom.
Last, but by no means least, it was time for … the Last Judgement! Performed in a modern English adaptation of different Middle English versions, this wonderfully cheerful and funny play was the perfect end for a fantastic day.
Picture 21: Hey guys, it’s Gabe! The archangels Gabriel and Michael open Judgement day, while the soon-to-be-raised souls rest in the ditch between library wall and lawn.
Picture 22: Who will get more souls? Jesus and the angels, or Lucifer and the demons?
And … that was it! Thirteen plays, five languages, two tea breaks, and five hours later, we had travelled all the way from the Creation to Judgement Day, from Heaven to Hell, from Bethlehem to Golgotha, and from Front Quad to the far side of the library.
Our heartfelt thanks goes to everyone who made this day possible: on and off stage, casts, crews, organisers, helpers, and so many more. We are particularly grateful to Jim Harris, our Master of Ceremonies; David Maskell, who wrote the modern English prologues; and Tristan Alphey and the other helpers for their support during the day. This year’s Medieval Mystery Plays are by far the best-documented yet: Ben Arthur, James May, Archie Dimmock, and Tea Smart filmed the entire day; their recordings will be released on the St Edmund Hall Mystery Cycle page at a film launch party at the end of Trinity Term. Ashley Castelino took many fantastic pictures, and Robert Crighton and Liza Graham recorded impressions from audiences and participants for their podcast Beyond Shakespeare.
Of course, what a play really needs is its audience. We were delighted to see so many of you there, and overwhelmed by the amount of positive feedback we received. Here are just some of the comments we collected in our visitor book – many audience members had their favourite play from the host of performances:
“Brilliant! Loved the Nativity especially!”
“Great job! Love the Wedding feast!”
“Terrific! Thank you very much. I particularly enjoyed Adam and Eve, and Satan with his acolytes in [the Last Judgement]!”
“Really enjoyed the camp Satan!”
“The singing [in the Nativity, Lamentation, and Harrowing of Hell] was superb. Altogether a delightful event!”
The best audience members are naturally those who were themselves surprised by how much they enjoyed themselves: one person wrote that they had a “very unexpectedly enjoyable day supporting a friend in one play, but then enjoy[ed] all the others!” Many also appreciated the use of medieval languages in keeping these plays “alive” through modern performance and praised the “pace, diversity, and inventiveness” of the troupes, the beautiful medieval setting of St Edmund Hall, and the overall “vibrant and entertaining” environment of the Cycle. One particularly nice comment described our day of performances as “full of whimsy” – made even more whimsical by the little stars they drew around their comment. Thank you very much to each and everyone of you!
Are you sad you missed out? Can you not wait to get back into medieval drama? Watch this space! The Oxford Medieval Mystery Plays will be back …
Picture Credits
Pictures 2 and 8: Ashley Castelino
Picture 6: Rahel Micklich
Picture 17: Antonia Anstatt
Header and Pictures 1, 3, 4-6, 9-16, 18-22: Stills from the video recordings made by Ben Arthur, James May, Archie Dimmock, and Tea Smart.
With full term about to begin, I have three exciting developments for you all.
First, a final reminder that the Oxford Medieval Mystery Plays take place on the 26 April (this Saturday) from 12 noon at St Edmund Hall. The incredible booklet can be found at the end of this post, which illustrates just how many of our community are involved, and the feast of entertainment available on the day. See you all there!
Second, the first draft of the termly OMS booklet can be found here. If you have submitted an event, please cast a quick eye over the information to ensure that it is correct. If you are yet to submit your events but woul like them to be included, please do so ASAP.
Finally, OMS is seeking a new Social Media Officer. The Social Media Officer is in charge of connecting all of Oxford’s medievalists via the OMS Facebook, Twitter, and Instagram accounts and also occasionally posting on here, the OMS blog. You will be responsible for posting across these platforms to advertise OMS events, opportunities and news. Familiarity with social media advertising is beneficial but not essential: this is an ideal way to gain technical know-how about social media, advertising and marketing that can be used in your academic career and beyond. The post usually comprises an hour or two a week. You can read a retrospective of the current Officer Ashley here. Those interested should reply to this email address before Saturday, where there will be the chance to shadow.
Are you curious about what manuscripts can tell us beyond their texts? Join Digital Scholarship @ Oxford and the Bodleian Libraries for a hands-on workshop using data from manuscript catalogues to explore trends and patterns in medieval manuscript production.
You’ll learn:
What kinds of data can be recorded about manuscripts
How to interpret and analyse manuscript catalogue entries
Ways to identify trends and patterns using simple tools like Excel
You’ll have the opportunity to work directly with manuscripts from the Bodleian’s collections, learning new skills that you can apply in your future studies and research. You’ll also get to contribute to the ongoing development of the manuscript catalogues, with your contributions credited on the Bodleian website.
No technical experience is required, just a basic familiarity with Excel.
Spaces are limited and will be filled on a first-come, first-served basis.
Workshop dates:
Thursday of 3rd week (15th May), 1–5pm – undergraduates
Thursday of 4th week (22nd May), 1–5pm – undergraduates
Thursday of 7th week (12th June), 1–5pm – postgraduates
Please still fill in the form if you are unavailable on these dates, as we may be able to make additional workshops available if there is demand.
Signup deadline: Midday, Friday of 2nd Week (9th May)
On 24 April, 8pm, Antiquum Documentum are pleased to present a concert to celebrate the launch of the new book ‘Light on Darkness: The Untold Story of the Liturgy’ (Cosima Clara Gillhammer, Reaktion Publishers). The programme features music connected to the book’s main themes, by composers such as Palestrina, Byrd, Weelkes, Amner, Judith Weir, and others, sung in ornamented style.
Entry is free. Books and drinks will be available for sale in the interval.
About the book: Light on Darkness: The Untold Story of the Liturgy offers a captivating journey through the history of religious rituals in Western Europe, showcasing the profound impact of Christian liturgy on art, literature, music and architecture. Through ten evocative stories, it explores medieval rituals and their cultural influence up to the present day, providing fresh insights into the enduring legacy of the liturgy as an expression of human emotion and religious experience. Accessible to all, this guide provides translations and explanations to uncover the hidden treasures of ancient rites and their lasting significance, appealing to those seeking a deeper understanding of Western liturgical traditions. For more information: www.liturgybook.com
The Oxford Medieval Commentary Network is pleased to present a plainchant workshop on 24 April 2025, 3-4.30pm in Christ Church. All are welcome; no prior experience necessary. Please sign up here or email cosima.gillhammer@lmh.ox.ac.uk
When? 26 April 2025, from 12 noon. Where? St Edmund Hall, Queen’s Lane, OX1 4AR
Come One, Come All! Free entry, no booking required.
On Saturday, 26 April 2025, a cycle of medieval mystery plays will be performed by various troupes around St Edmund Hall’s grounds. Medieval mystery plays were performed throughout the Middle Ages by and for everyday townspeople, and we’re excited to put on quite a day of shows for you!
Worried that you won’t understand the performances done in medieval languages? Never fear! Each play will be accompanied by a modern English prologue, which will help to summarise the play.
12 noon: OldTestamentPlays (Front Quad):
The Fall of the Angels (Angels of Oxford) – Middle English
Adam and Eve (Oxford German Medievalists) – Hans Sachs, German
The Flood (The Travelling Beavers) – Middle English
Abraham and Isaac (Shear and Trembling) – Middle English
1.30pm: New Testament Plays (Churchyard):
The Annunciation (Low Countries Ensemble) – Middle Dutch
The Nativity (Les Perles Innocentes) – Marguerite de Navarre, French
The Wedding at Cana (Pusey House) – Modern English, with Middle English archaisms
The Crucifixion (The Wicked Weights) – Middle English
The Lamentation (St Edmund Consort) – Bordesholmer Marienklage, Low German and Latin
The Harrowing of Hell (The Choir of St Edmund Hall) – Latin Sequence
3.30pm: New Testament Plays Continued:
The Resurrection (St Stephen’s House) – Middle English
The Martyrdom of the Three Holy Virgins (Clamor Validus) – Hrosvitha of Gandersheim, Latin and modern English
The Last Judgement (MSt English, 650–1550) – Modern English
6.15pm: Evensong (Chapel)
No tickets or booking is required, and it is free to attend. You are welcome to drop in and out throughout the afternoon. All performances will take place outside, so please dress comfortably for the weather conditions. There will be two small tea breaks, at around 1.15pm and 3.15pm.
The Wicked Weights admire their purpose-built cross – all ready for the Crucifixion! Picture: Rebecca Menmuir
If you have any questions about the cycle or the performances, email the co-heads of performance: Sarah Ware (sarah.ware@merton.ox.ac.uk) and Antonia Anstatt (antonia.anstatt@merton.ox.ac.uk). And look out for updates to our website, where detailed information about the individual plays will be published.
For a trailer of the type of Medieval Mystery play which awaits you, have a look at the extract from the Towneley Last Judgement play performed for a HistoryHit programme about the Apocalypse
When? 28 March, 18:30–20:15 Where? Research Centre, Thatched Barn, Christ Church Meadow
The anonymous English Enterlude of Godly Queene Hester (c. 1529) is a fascinating play, unperformed since the 16th century. Ostensibly in praise of Esther, heroine of Jewish history, the play is actually a political satire about the demise of Cardinal Wolsey. The fall of Wolsey, who had been the monarch’s right-hand man, was a key moment in the reign of Henry VIII. Assuerus, King of Persia, stands for Henry, while Aman, the model of the evil counsellor, for Wolsey. Henry’s wife, Katherine of Aragon, is idealised in the figure of Hester, who fills a traditional role for virtuous royal women by interceding with her husband, but also boldly argues that queens should exhibit the same virtues as kings and can perfectly well govern kingdoms when their husbands are away fighting wars! She thus anticipates the strong secular heroines of Shakespearean comedy.
Originally, the play would have been performed by a boys’ company so it is appropriate that it will be staged by Edward’s Boys. This company, from King Edward VI School, Stratford-upon-Avon, has, over the last two decades, revolutionised our understanding of the early modern repertoire. Alongside the English Enterlude, they will also present a short purimshpil, a Jewish folk play. The purim plays (still a living tradition in Yiddish) tell the story of Esther in a very different mode, celebrating the rescue of the Jewish people by their heroine in farcical style. The production is part of the WOMARD project, which explores connections between Jewish, Christian and Islamic Theatre and is sponsored by the SNSF.
