Ian Hauer’s new play Call Me Sister began its brief one-weekend run at Noblesville’s Ivy Tech Auditorium on Thursday – a World Premiere. Hauer wears two hats for the production, having taken on the direction of his piece as well. The results of both his efforts are quite notable, as witnessed by Mrs. K and my viewing Wednesday evening.
Based on historical facts, Hauer’s script examines the relationship over time of two of England’s most renowned monarchs, Queens Mary and Elizabeth of the 16th century. He imagines the alignments and conflicts of these two half-sisters who were both fathered by Henry VIII, beginning with the time when they were both part of their young half-brother King Edward’s court – Lady Mary and Lady Elizabeth.
(From left) Steve Stone as Northumberland, Hope Oetjen as Edward VI, and Brad Staggs as the Archbishop of Canterbury. (Photo by Rob Slaven / IndyGhostLight.com)
After Edward dies at age 16 from ill health (ending his seven-year reign), he leaves his cousin Lady Jane Grey as the heir to the crown, having been advised thusly by his regent council in order to keep the Protestant faith in place. Mary is a Catholic and seeing the opportunity to bring her faith to the fore, marches in with her supporters and takes her rightful position. Conflict arises between the sisters since Elizabeth is a Protestant and therefore cannot be fully trusted by the new Queen.
The script is well-made, with an almost BBC/PBS feel to many of the scenes and much of the dialogue (not a bad thing for this type of subject matter). The story progresses through stages of the sisterly relationship, highlighting their diverse personalities and outlooks, and providing the audience with intrigue and some quick and thoughtful back-and-forth dialogue to feast on.
There are few light moments, but this is not a light play. Its meat is in the spiritual conflict that existed post-Henry, when the country became a bloody mess of accusations and repercussions. (One scene which shows a vengeful “Bloody Mary” about to chop off the head of a terrified Lady Jane is as far along as the play’s action is taken in this matter.)
The many roles required here (17) are produced by a surprisingly evenly talented and well-prepared cast, headed by Duana Menefee as Mary and Becky Larson as Elizabeth. Ms. Menefee’s Mary is a strong feminine presence throughout, whether she is protecting her sister in Edward’s court, badgering her servant (Emily Hauer), dominating her husband King Philip II (Jason Hilger), or cruelly threatening Lady Jane (Caroline Stone). She softens at times as well and is completely wonderful in the role.
(From left) Duana Menefee as Mary, Becky Larson as Elizabeth, and Richard Cramer as Sir Christopher. (Photo by Rob Slaven / IndyGhostLight.com)
Ms. Larson is equally terrific as she offers a smart, pretty, quick-witted young Elizabeth, handling all that comes her way whether it be the upsetting spiritual arguments with the Queen, or the unsought attentions of her brother’s uncle Thomas Seymour. One favorite scene puts Elizabeth in the uncomfortable position of meeting an arranged suitor – King Philip’s cousin, the Duke of Savoy. Savoy’s bloated ego and self-important countenance rubs her the exact wrong way, and the encounter is a well-written, impressively rendered showing of witty give and take, with Savoy getting the worst of it.
Other featured performances of note are Hope Oetjen as King Edward VI, and portraying Edward’s Protestant advisors: Brad Staggs as Archbishop of Canterbury Thomas Cramner and Steve Stone as Northumberland. David Johnson drips evil mendacity as Thomas Seymour; Richard Cramer and Joshua Minnich aid both exposition and depth of story as knights of the court – Sir Christopher and Sir James, respectively; finally Bailey Hunt is masculinity gone wrong as the Duke of Savoy.
Scenic designer Ian Marshall-Fisher has provided a striking versatile set, and costumes both collected and designed by Karen Smith and Callie Cox add much to the production. Lights and sound are well-done pieces provided by Adam Fike and Zach Catlin while Monya Wolf’s hair and makeup designs are flawless.
Bottom line: As I told Ian Hauer after the preview/final dress Wednesday night, he has much to be proud of. The story and script are compelling, the action on stage is beautiful and well-developed, the actors “to a man” (and to a woman) are highly skilled in their portrayals and a pleasure to watch.
The Hyperion Theatre’s very limited run of Call Me Sister is on stage now at Noblesville’s beautiful Ivy Tech Auditorium. Available times and dates, plus ticket information, can be found online by going to HyperionPlayers.com and clicking on “Tickets.”
Read more great play reviews from A Seat on the Aisle at asota.wordpress.com.