The Welkin
Where men dominate and rule society, can women judge another woman justly? The Atlantic Theater Company’s production of The Welkin, by Lucy Kirkwood, which closed July 7 after an extension, asks the question and delivers a stark answer.
The Welkin, with sardonic humor and poetic nuance, echoes themes from its setting of 1759 Suffolk, England to the present day. With force and power, director Sarah Benson shepherds the terrific Sandra Oh as the dynamic, fiercely emotional midwife Lizzie Luke. Driving the incredibly talented ensemble of actors to a breathtaking conclusion, Oh’s performance astounds. One can only hope that the play eventually reaches a wider audience on Broadway.
“Welkin” is a term meaning the heavens or the sky. The events take place around the time of the appearance of Halley’s Comet. Thus, the women often look up, when they have time, to see the comet in the night sky. Significantly, “welkin” also represents heaven within individuals as they express their love toward each other. That the religious community sorely lacks love toward their neighbors in the community, instead putting money above humanity, spurs the wicked events that occur in The Welkin.
As Sally Poppy, the raw, passive-aggressive, ferocious Haley Wong mesmerizes. Once accustomed to Kirkwood’s archaic-seeming dialogue of quaint phrases and unusual words, we note Sally’s harsh relationship with husband Frederick (Danny Wolohan). At the conclusion of the first scene, Sally, covered in blood, admits her complicity in a crime. Subsequently, in scenes we don’t see and only hear about, the husband turns in Sally and her lover. The court sentences both to death, hangs Thomas, but can’t hang Sally. Because Sally claims pregnancy, she must be sent to America so the baby will live. However, because of her criminal past, she could be lying. Women must judge her condition.
The Midwife Who Transitions Others to Life or Death
When Mr. Coombes (Glenn Fitzgerald), the servant of the court, fetches Lizzie to lead 11 matrons to decide Sally’s veracity with a unanimous vote, Lizzie refuses to go. Initially, we assume it’s because of her overwhelming household chores. She complains about them, and we believe these deter her. But the characters’ secrets are revealed as the drama intimately, excitingly unfolds. Lizzie puts off Coombes to no avail: Eventually, he pushes Lizzie to the barren room where the women have no drink, food, or candles until they decide Sally’s condition and fate.
When the women gather in the claustrophobic room we note a diverse group of old and young from various nationalities. In this way Kirkwood specifically relates past and present in pre- and post-feminist irony. This encompasses the patriarchal attitudes of all cultures. That women suffered then and now strains tension as one of Kirkwood’s many themes. Ironically, the men control the women’s actions within the institutional frame of the society and this court. However, as the women deliver their assessment of the truth about Sally’s pregnancy, the men deliver the final judgment.
Enter Sally Poppy
As the women identify themselves and swear in, we note their lifestyles and individuality. From Sarah Smith (Dale Soules), who has 21 children and three husbands, to Sarah Hollis (Hannah Cabell), who hasn’t spoken in 20 years after she gave birth, each conveys the drudgery and misery of women’s labors. Benson’s direction has the women at work periodically. Rhythmically, they form a musical band of household laborers, while they wait for Lizzie to come and lead them. Indeed, the idea that women’s only value is to “keep house” and “bear children” resounds throughout The Welkin, echoing current extreme Republican Party values.
When Sally Poppy enters, the tension increases and the stakes are raised. How do the women determine if she is pregnant, especially when Sally refuses to let any of the women touch her?
Midwife Lizzie’s Experience Bridges Life and Death
The midwife Lizzie’s vast experience bridging life and death, delivering babies and losing both babies and mothers, allows her testimony to appear honest. Toward the end of Act I when Sally attempts to draw milk from her breasts, a chaotic scene ensues. Indeed, the Act concludes with a fearful, mystical and occult disturbance. With fascination and alarm, the audience returns to a benign explanation which ushers in terrifying revelations of four women’s secrets.
The conflicts between Lizzie and the other women burst open. Justice is sidelined by the wealthy. Though Kirkwood portrays Poppy (beautifully rendered by Haley Wong) as a wild hellcat, we empathize with her. For under different circumstances, the poetic Sally would have shined. Additionally, the noble Lizzie lives with a dark cloud from her past. Exposed by one of the most unlikely of the women, Lizzie’s position falters. This skews the women’s determination about Sally’s pregnancy. If the love of money is the root of all evil, the wickedness ties in with the wealthy. The rich, corrupt household that lords over the whole area purchases justice. Spurred by the patriarchy, it influences household members to act above the law in word and deed.
Hope and Vengeance
Kirkwood constantly keeps the tension pumping and suspense flowing right up until the last scenes. Then, we note the power of money and the cruelty in this Christian community which is slow to forgive and quick to condemn. How Sally finally receives justice with Lizzie’s help leaves one in awe of this finely constructed drama whose revealed mysteries break one’s heart.
The scenic design serves the drama. Kaye Voyce’s period costumes suit the characters and their individual personalities. Stacey Derosier’s dim lighting and Palmer Hefferan’s sound create the fearful tone and mood of this sardonic piece. Cookie Jordan’s hair and wigs, Gabrielle Vincent’s makeup and Jeremy Chernick’s special effects explore Benson’s vision of this world of darkness where little light and love penetrates.
The rich production pings all the notes of drama and irony, and Kirkwood cannot resist twitting feminist tropes. Unfortunately, The Welkin is a play for our time, for all time. The humorous surprises reflecting the absurdity of the situation ring true. Sometimes horrible events sing with impulsive laughter. A few turns of events work particularly well because of the unexpected ridiculousness of the circumstances.
Though the Atlantic Theater Company production of The Welkin has closed, one hopes for a Broadway transfer with a repeat of the cast, who were smashing.
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