Displaying items by tag: Marys Seacole
Review: Griffin's 'Marys Seacole' at Raven Theatre
Playwright Jackie Sibblies Drury titled the play ‘Marys’ Seacole to emphasize its depiction of multiple Marys. Jerrell L. Henderson and Hannah Todd direct the collective Marys in kaleidoscopic vignettes at breakneck pace.
Mary Jane Seacole was a British-Jamaican nurse. At the outbreak of the Crimean War she applied to the British War Office for work with the casualties. When her request was denied, she traveled independently to Balaklava and, using salvaged driftwood, packing cases, and iron sheets, set up the "British Hotel" behind the lines, where she provided nutritious food and “comfortable quarters for sick and convalescent officers”.
Seacole came from a tradition of Jamaican and West African “doctresses”, who mastered folk medicine by treating fellow slaves on sugar plantations. These Creole doctresses prioritized hygiene decades before Florence Nightingale adopted it. From them Seacole learned to employ hygiene, ventilation, warmth, hydration, rest, nutrition and empathy.
MARYS SEACOLE opens with Stephanie Mattos (Mary) standing imperiously in a spotlight. After a perfectly-timed silence she declares, "I am a Creole, and have good Scots blood coursing through my veins." Seacole was equally proud of her black ancestry: "I have a few shades of deeper brown upon my skin which shows me related – and I am proud of the relationship – to those poor mortals whom you once held enslaved, and whose bodies America still owns.”
MARYS SEACOLE seesaws across continents and over time to diverse high points of Seacole’s life. The frenzied vacillation of time and space can be disorienting, time-traveling at breakneck speed between the Kingston of her childhood, the British Hotel in the Crimea, and the menial work in her old age. Accompanying Mattos on this odyssey are Duppy Mary (RJW Mays), Mamie (Mackenzie Williams), May (Jesi Mullins), Miriam (Izzie Jones) and Merry (India Whiteside).
What strikes me most forcefully in MARYS SEACOLE is the racism. When Seacole applied for a position with Florence Nightingale, the Lady with the Lamp wrote, "I had the greatest difficulty in repelling Mrs. Seacole's advances, and in preventing association between her and my nurses (absolutely out of the question!)... Mrs. Seacole introduces much kindness - also much drunkenness and improper conduct".
Seacole disingenuously observes, "Was it possible that American prejudices against colour had some root here? Did these ladies shrink from accepting my aid because my blood flowed beneath a somewhat duskier skin than theirs?" A lodger at the British Hotel describes Seacole as "an old dame of a jovial appearance, but a few shades darker than the white lily" – this from one of her supporters!
Joe Johnson’s stark set, strategically lit by Matt Sharp with Assistant Karen Wallace, allows the characters to dominate. Costumes by Anne Wooden are fabulously period, and Ivy Treccani doesn’t clutter the production with unnecessary Properties. Fight Choreographer Jesi Mullins (who also plays May) is particularly excellent in the dustup during the final scenes. Dialect Coach Adam Goldstein does almost too good a job: the Jamaican patois is so authentic I occasionally had trouble understanding! William Massolia (Artistic Director), L.J. Luthringer (Sound), Matthew R Chase (Production), Anna Walker (Stage), and Danny Halminiak (Technical Director) collaborate to forge a seamless whole of the mercurial chronicle.
The traditional role of Woman as Healer is overshadowed throughout by the even-more-traditional aspect of racism. Mary Seacole was largely forgotten for nearly a century; when in 2016 she was honored with a statue at St Thomas’ London Hospital, controversy arose from those fixated on Florence Nightingale’s legacy. Salman Rushdie cites Seacole as an example of ‘hidden’ black history: "See, here is Mary Seacole, who did as much in the Crimea as another magic-lamping lady, but, being dark, could scarcely be seen for the flame of Florence's candle."
My befuddlement with the peripatetic narrative is eclipsed only by my appreciation of a masterwork superbly executed.
MARYS SEACOLE is performed by Griffin Theatre Company at the Raven Theatre
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