According to the Merriam-Webster Dictionary, The Welkin is “the vault of the sky or firmament, the celestial abode of God or gods.” But the characters in Lucy Kirkwood’s ironically-titled play now at the Atlantic Theater Company after a run in London, are more concerned with matters on the Earth.
Set in 1759 Suffolk, England, at the time of the earliest recorded observation of Halley’s Comet, the main action concerns a murder trial. Town disgrace Sally Poppy (feral and ferocious Haley Wong) has been convicted of slaughtering a young girl but claims she is pregnant. A makeshift jury of twelve “matrons” is quickly empaneled to determine if Sally is indeed “quick with child” and therefore saved from the gallows. During deliberations, secrets are revealed, hypocrisies and injustices are exposed, and the plight of being a woman in a dangerous time and place is examined. Kirkwood takes a page from Caryl Churchill by not strictly adhering to the rules of setting and chronology. All eagerly anticipate citing the comet and what it means, glimpses of the future (our present) are inserted in odd places, and fantasy demonic figures appear in this disturbingly arresting work.
Kirkwood also admirably juggles the story arcs of the dozen ladies as well as Sally who is brought into the sequestered room by the bailiff Mr. Coombs (conflicted and emotive Glenn Fitzgerald), who has a turbulent backstory of his own involving the local midwife, widowed Elizabeth Luke (passionate and intense Sandra Oh). Elizabeth is the central figure, defending the guilty-looking Sally for reasons beyond a thirst for fairness and serving as a voice of rationality in an irrational and sexist society.
Director Sarah Benson and a sterling cast balance the various roles and motivations so that we’re never confused as to who is who and what their objectives are. In addition, at the performance attended, Benson stepped in for an ailing Ann Harada and did a credible job with script in hand.
That script is not without flaws. Sally’s ultimate motivation for her actions is unclear, and the number of surprises pile up in Act Two, like the final episode of a soap opera. But the theme of oppressive misogyny over the centuries is powerfully rendered.
Numerous admirable performances in addition to those already mentioned include Hannah Cabell giving a devastating account of Sarah Hollis, who has not spoken a word in 20 years and finally begins articulating the vision which has haunted her. Her revelation is truly hair-raising as delivered by Cabell, believably struggling to emit sounds not uttered in two decades. Dale Soules adds spicy sage wisdom as Sarah Smith. She’s never left the town in 80 years but is eager for new views.
Emily Cass McDonnell has a memorable outburst as a jealous Helen Ludlow, unable to conceive a child and outraged that the “immoral” Sally might be pregnant. Mary McCann and Nadine Malouf admirably sneer with righteous indignation as unsympathetic scolds. Tilly Bosford, Susanna Perkins and Paige Gilbert provide sharp comic relief with snappy putdowns of husbands and male authority figures. Jennifer Nikki Kidwell is a strong presence as the practical Ann Lavender and Simone Recasner has fun as the flighty, bacon-loving Peg Carter. Danny Wolohan delivers contrasting portraits of Sally’s confused and infuriated husband and a sympathetic doctor.
The design team of dots created the gloomy interiors with poetic lighting by Stacey Derosier shifting from earthy to other worldly and frightening when appropriate. Kaye Voyce’s costumes are a fascinating panorama of social station and period commentary.
The premise may call to mind Reginald Rose’s “Twelve Angry Men,” but The Welkin stands on its own as a searing indictment of male oppression, brilliantly acted and directed.
