Margaret Kemp, Great Yarmouth Meeting House, circa 1920s. Photo: Photo courtesy of Graham Gosling.
Still Small Voice
Rob Lock is engaged and moved by a new play with a Quaker theme
It was a powerful experience to see the world premiere of a play about Bury St Edmunds Meeting House in that very Meeting house.
The Still Small Voice is that of Margaret Kemp who, in the 1950s, insisted on keeping the Meeting house open in the face of quite reasonable arguments for its closure, given its poor state of repair and an attendance sometimes of just one – Margaret herself.
An inspiration
Danusia Iwaszko, who both wrote and produced the play, first came across the story in 2007 when she helped Bury St Edmunds Meeting with fundraising for a refurbishment that amply justified, and indeed continued, Margaret’s faith in its future. She says ‘the image of her sitting under her umbrella haunted me’ – and in the production a considerable amount of staged pipe work goes into re-creating the legendary scene of Margaret opening her brolly.
One has to wonder at a person who sits alone in a large room and opens an umbrella when the roof starts to leak rather than putting out a bowl and moving elsewhere – but wonder turns to marvel when, against all the odds, her doggedness pays off!
Dramatic decisions
The question of whether such doggedness is obstinacy or inspired faith is well explored in this engaging play, which not only deftly presents core Quaker beliefs but also keys into Quaker concerns and issues of the time. For example, a character, powerfully played by Ean Ravenscroft, is introduced who helps Margaret with practical tasks and who, we discover, found that in the recent second world war he could not kill his fellow man. This has cost him the friendship of his mates, and his mental equilibrium, whilst he accepts their verdict that his stance was the result of cowardice.
The play is based on careful research, undertaken by a team of Quaker and other volunteers, the fruits of which were on display in a fascinating exhibition that included previously unknown photos of Margaret Kemp and the Meeting room in 1952. This research has been carefully crafted into a satisfying play using, for the most part, a minimum of dramatic licence, though events are condensed into a more urgent timescale and some characters have been amalgamated.
The most startling innovation is the inclusion of the medieval Norfolk mystic, Margery Kempe, as a counterpoint to her near namesake. Margaret is sometimes troubled and sometimes comforted by her presence, which she senses at key moments. Margery speaks to Margaret and also wails: for many reasons, but mainly because ‘I have seen heaven, and it is wonderful… and we are so far from it.’
Perhaps the bravest decision was to dramatise a lengthy scene of silent worship. No action, no conflict. However, this turns out to be the turning point of the play, as other characters come in and join Margaret. From then on, we know that things will end well – which they do when Margaret obtains a loan from Friends House.
The players
A key reason for things turning out well on the night, of course, was the quality of the acting: every member of the cast convinced.
John Hughes gave a strong performance as Richard Stainer, an Ipswich trustee who argued the case for selling the Meeting house. His unease at having to take such a step and his affection for, and occasional irritation with, Margaret rang very true. Anthony Hall and Michael Sullivan both brought comic relief to the proceedings with their portrayals of an estate agent and a reforming alcoholic.
Obviously, however, any production of the play is going to stand or fall by the portrayal of Margaret Kemp, as she is on stage almost throughout. This production not only stood but flourished, thanks to Tracy Elster’s performance in the key role. She acted with a Quakerly combination of concern, optimism at all but the worst moments and quiet power – modestly, effectively, commanding her stage.
A stage
That stage was the Meeting room set out almost as it is for Sunday worship, though transformed by the sparse scenery and a formidable array of lighting. The production was therefore in the round. Members of the audience will have got a good introduction to Quaker ways as well seeing as an entertaining and thought provoking play.
Finally, mention must be made of the music, performed from the balcony. Occasionally tunes of the time floated wistfully out (Michael Sullivan again, on saxophone) and the play opened and closed, and was punctuated at key moments, by Sarah Hardy singing extracts from ‘When a Knight Won His Spurs’ and ‘Dear Lord and Father of Mankind’. Beautiful and mesmerising. It really was an evening to remember.
A review by Jill Segger can be found at: bit.ly/SSVoice
In this extract from the play, the spirit of Margery Kempe visits Margaret Kemp in the Meeting House at Bury St Edmunds:
Are they delusions or are they real,
These voices, these visions, these things that we feel?
In the kitchen, the bedroom, we know what is true,
But if it’s real for me is it real for you?
It all begins with an inkling, a thought,
Every deed that’s done, every battle that’s fought,
Every life that’s saved, every picture drawn,
Every smile, every song, every medal worn.
All are born of the self same place,
The cloud of unknowing, the God with no face.
