Everyman: medieval English morality play

Everyman

Staging Everyman today

The allegorical style of play Everyman began to be considered out-of-date during the Renaissance as more realistic styles of theater grew popular in the post-medieval era. In the modern era of theater, appreciation of the play has come full circle. Its sparse staging, representational rather than fully fleshed-out characters, and emphasis on talking directly to the audience rather than respecting the third wall could make this text seem more postmodern, than ancient in its attitude.

I would like to stage Everyman as a piece of theater for "everyman" and "everywoman," not in a theater with paid admission, but in the streets of New York City, in the financial district. The streets would be blocked off, so the production could be presented as a theater in the round. Anyone could see the show who wanted to see it, just as when medieval players went from city to city in covered wagons, drawn by horses. The poor and the rich alike could be instructed by the morality and mystery plays they saw and perhaps give a donation to the performers if they could afford to give some money.

I would dress the different characters in modern dress, to represent different issues and concerns of our time. Although professional actors might be a possibility, to truly make this a theater of the people, it would be wonderful if competent actors could be found from the modern financial industry -- people who are now out of work. The messenger opening the play could be a television reporter, narrating the 'ripped from the minute' headlines of Everyman's demise. The character of Everyman could wear a business suit. Worldly Goods could be dressed in full 'bling.' When Worldly Goods leaves Everyman, this would represent the transience of worldly things. Good Deeds could be played by a child, to indicate the childlike simplicity of the fundamental virtues that support the community.

I would very much like to play up the humor of the piece. Although the play can be interpreted as a serious moral tract, the funny way in which Kindred, Beauty, and other false virtues skillfully wriggle away from the possibility of entering the afterlife with Everyman -- one of them pretends to have a 'cramp in the toe' and is thus be unable to accompany Everyman into the afterlife. Beauty could be a simpering trophy wife, Strength a personal trainer, and Fellowship a fun, attractively dressed guy holding a can of beer. Everyman could try 'texting' his Cousin and Fellowship before they arrived, and one of the characters could pretend to get a call on his cellphone, as an excuse for why he could not go with Everyman.