Abstract
The success of Katie Mitchell's production ofThe Mysteriesfor the Royal Shakespeare Company has again demonstrated the appeal of the plays for a modern audience. Most revivals trim and otherwise adapt the texts of the original, sprawling cycles: but Mitchell and her dramaturg, Edward Kemp, more calculatedly addressed the problems of updating not only the texts, but also the acting style and attitudes towards the dominant issues – notably those of gender representation. The original cycles often intriguingly juxtaposed religious faith and local politics in an assertion of civic pride which none the less also acknowledged the dominance of the established Church: and in the following article Katie Normington assesses the relevance of Mitchell's production for the secular, depoliticized society of the 'nineties. Katie Normington is a freelance fringe theatre director who is currently researching the role of women in the mystery plays and lecturing in drama at Royal Holloway College, University of London.
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