At the end of September, I discovered the play Heretics at the Union Theatre, and its theme intrigued me. Here’s a look back at this multi-faceted production.
It’s important to note that this version of the play is a staged reading. Heretics, written by Ellie Pyle and directed by Mimi Collins, is presented by Bespoke Plays. Their mission is to produce readings of new writings to test the script, to see what works and what doesn’t. It’s an opportunity to discover new talents within the theatre industry—and for me, a chance to be pleasantly surprised by the upcoming importance of music in this particular text.
The story is set in the south of France, in the 13th century, during the Inquisition. We follow Magali’s life, from just before her marriage to her final days. On the night of her wedding (and not with him), Magali meets Jacques, a troubadour, and falls in love with him. He charms her with a few of his own songs. While everything here is in English, the original language of these songs is Occitan. Immediately, I can see the potential—it’s intriguing, though the historical accuracy (with some songs from the era being directly translated) doesn’t always convey the full emotion you’d want to feel in these verses. However, the cast, script in hand—it’s a reading, after all—manages to communicate it in their interpretation.
Jacques wins over Magali, and without giving too much away, what follows is a love story driven by songs and poems, but heavily disrupted by religion and morality. The writer clearly wants to bring a more modern lens to the narrative. However, the repeated dates and precise vocabulary can be a bit of a stumbling block, at least for now. Magali’s internal struggles, though, remain deeply engaging. At times, I found echoes of themes addressed by contemporary artists like Delilah Bon, Gen and the Degenerates, or Scene Queen—the style is vastly different, of course. These are just flashes, but they reveal how deeply these themes—freedom, emancipation, love, and creativity—are embedded in women’s history. The resonance is profound, and I would have loved to see those threads woven more directly into the script. And why not have Magali sing herself?
MEET THE CAST
Tyne Pearson as Magali is passionate, then heartbroken, reflective yet confident, and she dazzles on stage. Angus Maxwell as Jacques is raw and matches her energy perfectly. The duo isn’t alone on stage, though. Geebs Marie Williams, in the role of Rixende, brings a caustic wit while remaining both funny and heart-wrenching. Patrick McHugh, playing both Magali’s husband Bertrand and 2Bertrand, a cousin, adds layers of emotion, laughter, introspection, and tenderness.
Aude Ponthieux also shines in a dual role. First, she plays Magali’s mother, tender, smiling, optimistic, and vibrant. Then she becomes the Mother Superior of the convent Magali eventually joins. Here, Ponthieux displays great presence, subtly altering her posture to reveal the inner conflict within her character. Will Cox also impresses as the Count of Toulouse, perfectly embodying authority with explosive anger. Similarly, Kaid Sherwood starts quietly in the first act but commands attention later with his portrayal of Pierre Roger de Mirepoix.
Gabriel Burns’ composition is subtle but fits the historical atmosphere of the play. As presented here, it’s clear the script will see future iterations. There’s a certain restraint that could be interesting to break open, with a few cuts to details that don’t fully serve the story. And while we’re being heretical, why not embrace the temptation of anachronism in future productions? Heretics is full of promise, especially with such a strong ensemble cast leading the way.
