The Oxford Medieval Mystery Plays 2025: Programme

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: Old Testament Plays (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.

Get Ready for the Medieval Mystery Cycle

When? 26 April 2025, 12noon-5.30pm. Where? St Edmund Hall, Queen’s Lane, OX1 4AR
Preparatory Meeting: 13 March 2025, 5-6.30pm, St Edmund Hall
(ask at the Lodge for directions to Henrike’s office)

The days are getting longer, the sun has come out for three days in a row (!), and the flowers in Teddy Hall are starting to blossom. That can only mean one thing: the Medieval Mystery Cycle is approaching!

Less than two months from now, on 26 April, between 12 noon­ and 5.30 PM, the Front Quad and churchyard of St Edmund Hall will be transformed into Paradise, Golgatha, Hell, and much more, as a selection of groups from all walks of academic life will perform a collection of twenty-minute-long medieval plays based on different Biblical stories. No tickets or registrations are required — just drop in and out of Teddy Hall.

We will start at noon with ringing the chapel bell for the Creation and Adam and Eve. Leaving Paradise and exiled to Earth, we will then see the Flood and Abraham sacrificing his son Isaac. From those Old Testament stories, we will move to the New Testament, and physically from the Front Quad to Teddy Hall’s unique graveyard. There, we will witness the Annunciation and Nativity, before seeing adult Jesus in action at the Wedding at Cana. The Crucifixion (featuring a purpose-built cross!), Mary’s Lament, Martyrdom of the Three Holy Virgins, Mary Magdalene, and Resurrection will take us through Easter. Finally, the Last Judgement will conclude this day of medieval storytelling.

As always, the selection of plays and languages will be fantastically diverse, taking us from Hans Sachs’s German to Marguerite de Navarre’s French, from Hroswita of Gandersheim’s Latin to the Middle English of the Digby Mary Magdalene. Other plays will be performed in Modern English, including the world premiere of the Wedding at Cana, based on only 1.5 surviving lines in the York cycle. But worry not: all plays will be introduced by a Modern English prologue, so no language skills are required to follow along. And of course, the language of theatre is universal …

Curious? Intrigued? We are holding a meeting for all creatives and those who’d like to be one at Teddy Hall on Thursday of 8th Week (13th March), 5 PM. This will be a great opportunity to meet some of the other people involved, chat to the organisers, have a look at the performance spaces, and discuss any open questions.

Alternatively, email Sarah Ware (sarah.ware@merton.ox.ac.uk) and Antonia Anstatt (antonia.anstatt@merton.ox.ac.uk) if you have any questions or are looking for a way to get involved. In the meantime, watch this space and be on the lookout for updates to our website for the 2025 cycle, which we will update periodically as our thespians prepare to take centre stage — or, in this case, quad!

The Epiphanytide Mysteries

A performance of a medieval mystery play cycle, with a reconstruction of the no longer extant wedding at Cana episode. Directed by Philipp Quinn and Elliott Clark.

When: Saturday, 25 January 2025, 2pm
Where: Pusey House, Oxford

Philipp writes: We at Pusey House welcome all and sundry to join us as we continue our Epiphanytide celebrations with carefully selected mystery plays. The event is not ticketed. The runtime should be roughly an hour. We very much look forward to seeing you there!

Pusey House put on mystery plays for the first time in 2023. In that first performance, we sought to portray the Bible’s broad “narrative,” with the Creation, the Fall, the Passion, and the Final Judgement as our highlights. This time, in connection with the Epiphany Season, we’ve chosen to emphasize the Magi, Jesus’ baptism, and the Wedding at Cana. In prioritizing that theme, we’ve had to be more eclectic in our sources this year. Whereas our first performance was based largely on the York cycle, our current plays are drawn from both the Chester and York cycles. Our plays also an original, the Wedding at Cana, since the Wedding is not found in the Chester cycle and has not survived (apart from a line-and-a-half fragment) in the York cycle.

Medieval Mystery Cycle 2025 Update

We are advertising for a Head of Performance and announcing a speed dating / workshop meeting!

1. Medieval Mystery Plays Meeting of the Minds Workshop

Friday 29 November 2024 (Week 7), 5–6.30pm, at St Edmund Hall, Doctorow Hall

Join this speed dating workshop for matching up actors, directors, musicians, texts, and props for the upcoming Medieval Mystery Cycle on 26 April 2025! Whether you are interested but still unsure how to put together a play, which play to choose, or how to act, all are welcome! The focus of the workshop will be on how to produce a medieval play script in an accessible version (of up to 20 minutes), but there will also be an opportunity to match actors and directors and to discuss any other practical questions you might have on site at St Edmund Hall – and to enjoy tea and cake!

Meanwhile, we’re still looking for groups to join the Medieval Mystery Cycle: have a look at the original blog post!

Let us know if you’re interested in joining by emailing Henrike Lähnemann and Lesley Smith, the Co-Directors. Also contact us if you are a graduate student or postdoc interested in this opportunity:

2. Head of Performance sought for Medieval Mystery Plays

Are you interested in pulling the strings for a successful run of the 2025 performance of the Medieval Mystery Plays? We are looking for an enthusiastic, creative and, above all, well-organised graduate student or postdoc to

  • liaise with the directors, volunteers, and groups taking part
  • plan the logistics of the performance
  • run the operations on the actual performance date
  • coordinate the publicity
  • write and / or edit the programme
  • facilitate the documentation
  • head the stewarding team

There will be a reward of £300 plus the opportunity of networking closely across the medievalist and performance people of Oxford and beyond. Please apply by Monday, 25 November 2025, with a short statement of interest and your CV by emailing Henrike Lähnemann and Lesley Smith, the Co-Directors.

The Oxford Medieval Mystery Plays 2025

Call for Actors, Directors, Costume Makers, and Musicians!

Would you like to take part in a medieval dramatic experiment? Directors, actors, costume makers and musicians wanted!

The next cycle is going to take place on 26 April 2025 at St Edmund Hall

These plays were a very popular form of drama in the Middle Ages – with different groups performing short plays telling stories from the Bible. To take part in the next performance, contact Antonia Anstatt and Sarah Ware, Co-Heads of Performance, or email Professor Henrike Lähnemann, Fellow at St Edmund Hall Fellow and Professor of Medieval German Literature and Linguistics, and Professor Lesley Smith, Fellow and Tutor in Politics and Senior Tutor at Harris Manchester College, Co-Directors of the Oxford Medieval Studies Programme at TORCH, under the address medieval@torch.ox.ac.uk.

More information and an overview of what was performed in 2019, 2022, and 2023 at https://www.seh.ox.ac.uk/mystery-cycle

Staging Marguerite des Navarre’s ‘Comédie de Innocents’

Report by Elisabeth Dutton, Université de Fribourg, on the staging of the Comédie des Innocents, by Marguerite de Navarre. Presented by les perles innocentes as part of the Medieval Mystery Cycle 2023 at St Edmund Hall, University of Oxford (see there for a synopsis of the play and the cast list).

The play at first reading seemed to me a fairly conventional dramatization of the story, not so different from the story as told in the English mystery plays, for example– the idea that Herod kills his own son is found in the Golden Legend and thus well established in European tradition.  But Marguerite gives particular force to female characters, not just the feisty mothers and Nurse who care for the slaughtered babies, but also most importantly Rachel, whose lengthy lament, a rhetorical tour de force, is really the climax of Marguerite’s script. In a play which shows mothers and Herod violently deprived of their children, and which foreshadows God’s loss of his own Son, the Old Testament matriarch Rachel powerfully gives voice to the grief of women, King, and ultimately God. She also raises a protest against tyranny and abuse that feels all too contemporary.   

I knew that I needed an actress for Rachel who could be at once strong and feminine, and utterly absorbing to the audience, and I was delighted that Elisa Pagliaro agreed to play the role.  I wanted the speech to be supported by some haunting music, and am grateful that Lucy Matheson found a medieval French setting of the Vox in Rama, and agreed to sing it for us for the performance in Oxford. The effect of Marguerite’s verse, delivered by Elisa directly to the audience, with Lucy’s haunting song underneath, was very powerful indeed, and quite unlike anything I had experienced in other dramatisations of the Innocents.  Its power took us all a little by surprise. 
There was a completely different reading and understanding of the Comédie des Innocents – in particular of Rachel’s lament – from the very first time I independently read it, and the way I felt and understood it on the day of the performance in Oxford.

Elisa Pagliaro on performing Rachel’s lament

The original play is 1075 lines long: in order to fit into our allotted 20 minutes, Aurélie Blanc cut more than half of its lines, while expertly maintaining a sense of the versification.  Aurélie was also essential to my vision of the play from the start, as I needed her exceptional talents for the roles both of Herod and of God.  As a travelling troupe, we had to keep our costs down through maximal doubling – and the structure of the various scenes required that God be doubled with the royal tyrant, as well as one of the mothers.  This doubling was in fact rather pointed, as Aurélie writes: 

The main challenge when participating in this play was to take on three roles: I played God, then Herod, and then one of the women whose child is killed by the soldiers. During the play, I did not have much time to go from one character to another. I struggled with those transitional moments because God, Herod, and Woman 1 seemed so different from each other. I tried to find what their main characteristics were so I could focus on these while changing roles. God and Herod are both rulers, both authoritative and confident (at least at times in the case of Herod). However, Herod is more frantic, chaotic, and changeable than God. Surprisingly perhaps, I found the character of God harder to play. It was much easier to relate to Herod with his mood swings and emotional outbursts! As for the Woman, she seemed completely unlike the other two characters. Her tender love for her child is her main concern throughout her scenes. Thinking about these characters helped me understand them, but I felt that things truly came together when I realized that all three were parents and all three lost their child
God’s worry for his son is what prompts him to send an angel to Joseph and Mary, it is the reason motivating his first speech. Understanding this helped me relate to God: when playing him, I did not have to try to pretend to be all powerful and all knowing, I had to focus instead on thinking about saving a person that I loved. Herod’s motivations are more selfish, but he also acts with his son in mind: he wants his son rather than Jesus to rule over his kingdom after him. Once I saw this, I found it much easier to play his shock and grief when his dead son is presented to him. And Woman 1, of course, was always a character focused on her child. Understanding these connections between my three characters was really helpful to me. These people no longer seemed entirely different from each other but were united by the same love and the same grief. This love and grief could stay with me throughout the play as I moved between God, Herod, and Woman 1. 

Aurélie Blanc on playing God, Herod and a grieving mother

Aurélie’s performance of all three roles was extraordinary.  And the requirements of the doubling also lay behind the blocking of the piece, which came to me very early on in rehearsals.  I wanted to find a way to use the whole of Teddy Hall’s front quad: early drama, I believe, always exploited its venues to the full, and it’s good to make actors do hard physical work. Then, the actors would have no ‘offstage’ space for changing, and in any case they wouldn’t have time to do anything other than change ‘onstage’; but the audience needed to recognize clearly their changes of role, so we associated role with place (an idea most clearly demonstrated in medieval drama by the extant stage plan of the Castle of Perseverance, with its ‘skaffolds’ for the God, the World, the Flesh and the Devil.)  

I enjoyed the sense of empowerment that came from filling the front quad with our voices and bodies.

Helene Wigginton on performing in a medieval venue

God begins the play in a scene of heavenly harmony, commanding his angels. We established him standing on the well in the centre of the quad (scriptural associations of wells are a pleasing coincidence).  In each of the four corners of the quad we placed a black storage stool, containing costume changes, and Mary and Joseph began sitting on the stools to God’s right, while Herod was to occupy the stool on God’s left.  The effect was formal and stylized, which matches the verse. The angels could move freely between ‘heaven’ and ‘earth’, delivering messages and also distributing chocolates to the audience (we are a Swiss troupe, after all); when the angel actors had to become soldier-tyrants, they went to the other ‘left’ stool to swap their wings for helmets. 

As the scene shifted from heaven to Herod’s court, Aurélie left her golden cape on the well and donned regal robes on Herod’s ‘throne’: since Herod then issues quick-fire commands to doctors and soldiers, frantic activity ensued as all the other actors rushed backwards and forwards across the playing area to obey his orders. The pace contrasted with the calm order of heaven, and the audience had a disconcerting sense that the focus was pulled ‘off-centre’ with Herod’s power.  Tyranny pulls all things out of joint.  

The babies (dolls with soft torsos) were slaughtered using a sword and two spears, mainly because I am haunted by the image of ‘naked infants spitted upon pikes’.  We used this device once before, in a staging of the Middle English Digby Killing of the Children, and it provoked horrified laughter in the audience.  I was fascinated that the effect in Marguerite’s play was completely different: there was no laughter, but there was genuine horror. I think this is partly because, whereas the Digby play includes a Fool character among Soldiers, who all seem rather dim, Marguerite writes her killers concisely and explicitly as Tyrants.

Carmen Vigneswaren-Smith on her role as soldier: ‘the audience flinched back from my spear, gasped and covered their mouths in surprise at the murder of the babies, and I was suddenly reminded of what the familiarity of rehearsal can make you forget — that it was in fact a brutal massacre that we were acting out.’ One woman in the audience clutched her own baby to her. Audience members commented that their stomachs were knotted.

The sense of horror was not entirely dispelled by the final song, which was a Christmas song, since the play would originally have been performed on the feast of the Innocents, December 28th. The script states that it should be sung to “Si j’ayme mon amy”: for our performance, Sandy Maillard, founder of the all-female choir Fa Mi Cantar, adapted a tune of that name found in the songbook of Françoise de Foix, Countess of Châteaubriant, 1495-1537, celebrated beauty and lover of King Francis I (the songbook is now British Library MS Harley 5242.) It is a strangely unnerving ending to a powerfully disconcerting play.  

The sixteenth-century French seemed to present no obstacle to the audience’s engagement, and we are grateful to have had such an opportunity to explore its quality.  Our production was probably different in many ways from any performance Marguerite might have seen or even envisaged, but we hope that our all-female production, delivered with precise attention to the words she wrote, may have captured something of their spirit, which seems that of an almost feminist protest against tyranny. 

Cf. also the blog post on the whole cycle by Alison Ray

Workshop: Voice Projection & Staging Medieval Mystery Plays

Monday 6 March 2023 (Week 8), 4.30–6pm, at St Edmund Hall, Pontigny Room

In this workshop, we will be offering voice projection exercises and practical advice for the Medieval Mystery Cycle. All actors and directors interested in taking part are invited to attend! Beyond general exercises, there will also be an opportunity to work out staging constellations on site at St Edmund Hall (as well as an opportunity to enjoy tea and cake).

The workshop will be led by Dr Jim Harris, the Medieval Mystery Cycle’s Master of Ceremonies and Teaching Curator at the Ashmolean Museum. Let us know if you’re able to join us by emailing Michael Angerer, the graduate convenor.

Workshop: Staging & Enacting Medieval Mystery Plays

Friday 3 February 2023 (Week 3), 5–6.30pm, at St Edmund Hall, Old Dining Hall

Join this workshop for tips and guidance on how to adapt medieval mystery plays for modern performance, a workshop for directors and actors alike. Whether you have already signed up to this year’s Medieval Mystery Cycle on 22 April 2023 or are interested but still unsure how to put together a play or how to act, all are welcome! The focus of the workshop will be on how to cut a medieval play script down to an accessible version (of up to 20 minutes), but there will also be an opportunity to match actors and directors and to discuss any other practical questions you might have on site at St Edmund Hall – and to enjoy tea and cake!

The workshop will be led by David Wiles, Emeritus Professor of Drama at the University of Exeter and a veteran director of the Oxford Medieval Mystery Cycle. Let us know if you’re interested in joining by emailing Michael Angerer, the graduate convenor.

Meanwhile, we’re still looking for groups to join the Medieval Mystery Cycle: have a look at the original blog post with the sign-up link!

The Medieval Mystery Cycle is back!

The next performance of the Medieval Mystery Plays is held on Saturday 22 April 2023 at St Edmund Hall, 12noon-3:30pm. All welcome! The full programme is available here.

12.00: Extracts from Piers Plowman (Swonken ful harde) Middle English
12.30: The Nativity and Salutation (English Faculty) Middle English
13.00: The Innocents (Les perles innocentes) 16th-century French
—13.30 BREAK—
14.00: The Passion (Sorores Sanctae Hildae) Latin and German
14.30: The Harrowing of Hell (Medieval Germanists) Middle High German
15.00: The Last Judgement (Past and Present Teddy Students) Modern English

Welcome to the third incarnation of the Oxford Medieval Mystery Cycle! As in 2019 and 2022, this highlight of the Oxford medieval calendar offers a variety of plays in different medieval and modern languages, staged at several stations in the beautiful grounds of St Edmund Hall. Cycles of plays retelling stories from the Bible were a popular form of entertainment in the Middle Ages, which we are only too happy to revive for modern audiences. Admission is free and you are welcome to turn up at any time.

Read the original call for participation: Sign-up is now open for the Oxford Medieval Mystery Cycle! Just follow this link to propose a play and to join one of the highlights of the Oxford Medieval Studies calendar, which will be held on Saturday 22 April 2023 at St Edmund Hall.

Following a hugely popular medieval tradition, we are looking for groups to perform a series of short plays retelling stories from the Bible. We are keen to cover a wide variety of (medieval) languages, but you don’t have to be a theatre professional or even a medievalist – all you need is lots of enthusiasm for what is above all a fun and unique experience. In the last years, plays have included:

  • The Creation and Fall
  • The Killing of Abel
  • Noah
  • Abraham
  • The Annunciation and Visitation
  • Shepherds
  • Wise Men
  • Herod the Great
  • John the Baptist
  • Lazarus
  • The Crucifixion
  • The Harrowing of Hell
  • The Resurrection
  • The Last Judgement

Feel free to propose other plays, or even to write your own – as long as the topic is not already taken, so don’t wait too long! You can see which plays have already been proposed here.

We have previously had plays in English, French, German, Spanish, and Italian, but offers for plays in other languages, including Welsh, Dutch, Latin, or Hebrew are also very welcome! Some mystery plays are easily accessible online: this includes plays in Middle English (the York, Towneley, and N-Town plays), Old French (the Seinte Resurreccion), Middle High German (the Innsbrucker Osterspiel), or Old Spanish (the Auto de los Reyes Magos). And don’t worry if you don’t have enough actors or haven’t found a group yet: we can help you put out a call for actors and link you up with other people interested in participating. All you have to do is get in touch.

For inspiration, have a look at the mystery cycles of the last few years! You can even watch recordings of the cycles in 2019 and 2022 on YouTube. (Or, alternatively, you can watch the much more professional recordings of the 1985 National Theatre Mysteries.) A small budget is available for props and costumes.

Watch the 2022 medieval English master’s students rising from the tomb as multiple Lazari!

Timeline:

  • Sign up now by following this link or emailing Michael Angerer, the Medieval Mystery Cycle convenor!
  • We will hold a workshop on how to cut longer plays on Friday of Week 1 in Hilary Term at 3–5pm (20 January 2023) on site at St Edmund Hall. This is open both to fully fledged groups and aspiring directors. [Edit: This workshop has been postponed to Friday of Week 3 at 5–6.30pm (3 February 2023)]
  • We will hold a workshop on voice projection at the end of Hilary Term.
  • You will have the opportunity to rehearse on location at St Edmund Hall during Week 0 of Trinity Term.
  • Dress rehearsals will take place on the morning of Saturday of Week 0 of Trinity Term (22 April 2023).
  • The Mystery Cycle will be performed from 12–5pm on Saturday 22 April 2023, with two half-hour breaks for tea, coffee, and cake.

Cake sale: we are also looking for people to bake cake and help run a charity cake stall on the day – if you’re interested, please get in touch!

Graduate Students: OMS is hiring!

OMS is one of the largest forums in the world for interdisciplinary research on the Middle Ages, bringing together over 200 academics and a large body of graduate students. If you would like to be involved behind the scenes, we have three exciting (paid) opportunities to get involved! Though these are advertised as three separate posts, we welcome applications from students who would like to combine two or even all three posts:

1) OMS 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. You will work closely with the OMS directors (Profs Henrike Lähnemann and Lesley Smith), the Communications Officer (Dr Luisa Ostacchini) and the Events Coordinator. 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. To read more about the post from the out-going postholder, Llewelyn Hopwood, including tips and tricks for social media success, see his blog post here.

2) OMS Events Coordinator: The Events Coordinator ensures that all of our in-person and online OMS events run smoothly. You will organise the google calendar, oversee the OMS Teams and YouTube Channels, respond to email queries about events, set up Zoom streaming events, assist in the real-time running of events (mostly hybrid and online, but also in-person), and serve as a point of liaison point between events organisers and the rest of the OMS Team. You will work closely with the OMS directors (Profs Henrike Lähnemann and Lesley Smith), the Communications Officer (Dr Luisa Ostacchini) and the Social Media Officer. Some familiarity with Teams and Zoom is necessary, but you by no means need to be an expert in these software packages as you can learn on the job. The post usually comprises an hour or two a week. To read more about the post from the out-going postholder, Tom Revell, including insight into the exciting range of events he helped to facilitate, see his blog post here.

3) Graduate Convenor for the Medieval Mystery Cycle 2023: the graduate convenor will take the mantle of the operation from Dr Eleanor Baker by organising the Medieval Mystery Cycle, which takes place on 22 April 2023. You will liase with the various Mystery Players and directors, help to coordinate workshops, and ensure that the plays run smoothly on the day. Experience in events organisation and a love of theatre are beneficial, but not essential. You will work closely with the OMS directors (Profs Henrike Lähnemann and Lesley Smith), the Communications team, and Mystery Players from across the university and beyond. To get a sense for the scope of the project, and to see the plays performed in previous years, see seh.ox.ac.uk/mystery-cycle.
Payment for all of these roles is at the standard rate for graduate students, and is billed by timesheet — up to a maximum of six hours per week per role, although actual hours will usually comprise one or two hours per week per role.

Please send expressions of interest to Co-Directors Henrike Lähnemann and Lesley Smith by 30 September 2022, 12noon, at medieval@torch.ox.ac.uk, including a one-page CV and a cover email explaining why you are interested in the job(s) and what experience you bring to it.

Header image: Matthew Paris Elephant from Parker MS 016II fol 152v (See the manuscript online via Parker Library on the Web)