Well, to be honest, this play honors both Mary and Joseph—in some ways it’s Mary’s play and in other ways it’s Joseph’s. This ambiguity stems from the fact that The Annunciation is just one small part of a whole epic narrative. It simultaneously launches Mary’s story, and encapsulates Joseph’s whole arc. So, while yes we do get to see more of Joseph’s inner machinations and bear witness to his internal conflict and resolution, Mary’s role has just begun to unfold.

In the Wakefield text, from which we drew the basis for our script, Mary actually has a much more active role than in other Corpus Christi cycles of that time. There are actually textual indications that the Wakefield playwright added Mary into several of the plays in the cycle—in these instances, the dialogue is written with a distinct rhythmic pattern that many scholars attribute to a single author. In this play text, each time Mary reappears she’s a little older, a little wiser, and taking on more of the dramatic action. Her speeches gradually get longer, she appears onstage more, and eventually becomes a force driving the action forward. The Wakefield even concludes with Mary bidding Jesus’ disciples to go forth and preach the word of God (whereas in the Bible, the Holy Spirit appears and delivers this message). How awesome that the final image of this play cycle is an older woman presiding over a group of men, and delivering the word of God? What a radical notion that a woman could be the impetus for Man’s salvation? Then again, Mary is chosen for that specific reason—to bear the son of God, and to spark the story of Man’s redemption.

So, I suppose Joseph can have The Annunciation. After all, Mary has the last word.

All of these questions were rolling in my mind as I read through these old English texts. The language itself was a barrier:

“I am the first, the last also,
Oone god in mageste;
Meruelus, of myght most,
ffader, & son, & holy goost”
Here’s what The Lord’s Prayer would have sounded like back in the day:

The cadences of the text are more akin to modern day Dutch than what we know as English today, and often more difficult to read than Shakespeare. Still, with modern resources like the Oxford English Dictionary and the wealth of scholarship available on Old English pronunciation, meaning, and etymology, I was able to work through this barrier (it was actually pretty fun, once I wrapped my head around spelling conventions).

Looking specifically at The Annunciation, once I had adapted the text into modern spelling and language, the themes that came to light weren’t quite so antiquated. Sure, we generally don’t make all of the men in town come to the temple to compete for the hand of the next marriageable girl (but when put like that, it does sound pretty much like The Bachelorette). Still, I was astonished by how, well, human I found the depictions of Mary and Joseph. They both grapple with doubt, encounters with elements beyond their understanding, and ultimately the nature of their faith.

These are all things about which a modern audience (and certainly this humble dramaturg) struggle with: what does it mean to be faithful? What does it mean to be human? Where do we encounter the divine in everyday life? We’ll probably never be able to answer these questions in a definitive sense, but it’s in their engagement, tackling, grappling, and play that we can begin to understand the non-understandable.