# content
The Freelance History Writer is pleased to welcome back Toni Mount, author of the medieval based Seb Foxley adventures.

The Medieval Mystery Plays

In my new Seb Foxley adventure, The Colour of Darkness, it is midsummer in medieval London, a time often celebrated with the performance of a cycle of mystery plays, telling the Bible story, from Creation to the Last Judgement. This collection of playlets was performed in the streets, blending the traditional biblical tales with local traditions to engage the public in a way that was both entertaining and educational.

Some of the medieval scripts from York, Wakefield, Chester and Townley have survived to the present, so we know quite a bit about how mystery plays were performed. Sadly, there is no record or any scripts surviving from London but it’s very probable that the city had its own version of the cycle and, in my novel, I have assumed that they did.

Origins of the Medieval Mystery Plays

The mystery plays, also known as ‘mystery cycles’, originated in the tenth and eleventh centuries in Europe. The term ‘mystery’ doesn’t refer to crime or suspense, as we might associate with the word today – for one thing, everybody knew the outcome of each story – but there are two ideas as to why they were so called. One possibility suggests the word originated from the Latin misterium, meaning the religious mysteries or sacraments. The second refers to the fact that the plays were usually performed by the local trades guilds and the guild members held the ‘mysteries’ or secrets of their trade which included the traditional scripts for the plays which, originally, were only passed down by word of mouth. Fortunately for us, in the fifteenth century some of these unique scripts were written down.

Play Structure

The mystery plays were often performed during religious festivals, particularly around major feast days like Easter and Christmas. But, over the years, the complete cycle of plays became so long and involved that York chose the midsummer festival of Corpus Christi for their city’s grand performance, when the hours of daylight were at their longest. Being an outdoor event, daylight was vital. In my novel, I’ve chosen the feast day of St John the Baptist on 24th June for London’s big event for the same reason.

The structure of the mystery plays was episodic, the short plays performed in succession, often in the streets on movable stages, called ‘pageant wagons’, which travelled from location to location. This allowed far more people to participate either as actors or spectators. They were a true community effort.

The Actors and Stage Production

The actors weren’t professional performers but people from all walks of life, including tradesmen and artisans. The guilds played an essential role in the production of the plays with each guild taking responsibility for a specific portion of the cycle. For example, we know the goldsmiths of York always did the play about the Three Kings with their expensive gifts and jewellery. The water-drawers of Chester enacted Noah’s Flood, though the ship-wrights did the building of the Ark as they had the tools for the job. The plays provided guilds with an opportunity to display their wealth and craftsmanship as they constructed elaborate costumes, sets and props.

The pageant wagons themselves were finely crafted on multiple levels and decorated to reflect the importance of the event. Sometimes, they were equipped with pulleys and frameworks so angels could fly and trapdoors in the stage so demons could rise from below – just like the props for modern pantomimes – and even used special effects, such as smoke and fire, to represent heaven or hell. Musical accompaniment and sound effects, from thunder clashes to heavenly choirs, added to the overall performances as the pageant wagons trundled around the streets, stopping at strategic points do their piece.

Costumes

The costumes and props used in these performances were often elaborate. Biblical characters were depicted in rich, colourful robes, often with symbolic elements incorporated into their dress. Although Characters such as God and the Devil would have masks and robes, actors in lesser roles wore their own everyday clothes. Angels might wear robes adorned with gold to reflect their divine status, while Satan or demons were often depicted in grotesque and frightening costumes, signalling their evil nature. The emphasis on spectacle was essential to these plays as they aimed to captivate the audience not just through narrative but also through visual impact.

Unfortunately, I’ve not been able to discover how they managed ‘Eve’, naked in the Garden of Eden and always played by – so we’re told – a man! Another female role played by a man, of course, was Mrs Noah, a part not found in European mystery plays but unique to England. Mrs Noah was a feisty, comedy character, forerunner to our traditional Pantomime Dame – still played for laughs today by a man. There is a contemporary record from York of an actor paying the wife of a local goldsmith to lend him her best gown for his part as Mrs Noah.

In my new novel, the Colour of Darkness, I have Seb’s guild of Stationers perform the Sermon on the Mount because I thought it would be appropriate for some scribe of long ago to have produced a beautiful scroll listing the Beatitudes – ‘Blessed are the poor in spirit, for theirs is the kingdom of heaven, etc.’ [Matthew 5, 3-11] which would be read aloud by ‘Jesus’ – whoever played that plum role. Sadly, Seb and Adam miss out on their respective minor roles of St Bartholomew and a member of ‘the crowd’.

Decline and Legacy

The popularity of mystery plays began to decline in the late medieval period, particularly as the Renaissance brought new artistic and theatrical trends. In England, the Reformation also played a role in diminishing their prominence as the Protestant church rejected the lavish religious rituals and dramatic performances of the Catholic tradition. As a result, many of the mystery plays had disappeared by the seventeenth century.

Despite this decline, the legacy of the medieval mystery plays endures. Today, many of these plays are still performed as part of cultural festivals and they continue to inspire modern adaptations. The plays offer a fascinating window into the medieval world, providing insight into the religious, social and cultural fabric of the time. They remind us of the power of performance to educate, entertain and bring people together in the spirit of shared belief and community. And who can forget the unique Pantomime Dame – Mrs Noah’s descendant!

The medieval mystery plays were more than just religious performances. They were a vibrant blend of drama, ritual and social commentary, offering a rich tapestry of storytelling that reflected the world of the Middle Ages. Through these plays, ordinary people participated in the interpretation and celebration of biblical stories and the arts played a central role in both religious devotion and community life. Their legacy serves as a testament to the enduring power of theatre to bring people together and convey shared values across time and culture.

In my new Seb Foxley medieval mystery, The Colour of Darkness, it is midsummer in London, a joyous festivity but, for some, there is nothing to celebrate when Death stalks the city’s sweltering streets. As livelihoods are brought to ruin and trust withers in the heat, artist-cum-sleuth, Seb Foxley, finds trouble has come to his own doorstep. Plague rears its hideous head; fire, theft and murder imperil the citizens.

A beautiful young woman enchants the men of London and the mob shrieks that witchcraft is to blame when waxen dolls, spiked with pins, are discovered. With such horrors in his possession and discovering that guilt lies too close at hand, can Seb unravel the mysteries and save those he loves before it’s too late?

The Colour of Darkness by Toni Mount

The Thirteenth Sebastian Foxley Medieval Murder Mystery

ISBN: 978-8412971620

GET BOOK LINK: https://mybook.to/colour_of_darkness

Book Description

Midsummer in medieval London should be a time of revelry, but for many, there is nothing to celebrate. Death stalks the sweltering streets as plague raises its hideous head, livelihoods crumble, and trust wilts in the heat. Fire, theft, and murder loom over the city, and once again, artist and reluctant sleuth Sebastian Foxley finds danger perilously close to home.

When a beautiful young woman enchants the men of London, suspicion soon follows. The discovery of waxen dolls spiked with pins sends the city into a frenzy, convinced that witchcraft is to blame. With dark secrets lurking too near for comfort, Sebastian must unravel a tangled web of deceit and suspicion. Can he uncover the truth and protect those he loves before it’s too late?

Join Sebastian Foxley for another richly woven medieval mystery where peril lurks behind every shadow and the colour of darkness hides deadly truths.

Available in Paperback and Kindle E-book

# contentMap.en
The Freelance History Writer is pleased to welcome back Toni Mount, author of the medieval based Seb Foxley adventures.

The Medieval Mystery Plays

In my new Seb Foxley adventure, The Colour of Darkness, it is midsummer in medieval London, a time often celebrated with the performance of a cycle of mystery plays, telling the Bible story, from Creation to the Last Judgement. This collection of playlets was performed in the streets, blending the traditional biblical tales with local traditions to engage the public in a way that was both entertaining and educational.

Some of the medieval scripts from York, Wakefield, Chester and Townley have survived to the present, so we know quite a bit about how mystery plays were performed. Sadly, there is no record or any scripts surviving from London but it’s very probable that the city had its own version of the cycle and, in my novel, I have assumed that they did.

Origins of the Medieval Mystery Plays

The mystery plays, also known as ‘mystery cycles’, originated in the tenth and eleventh centuries in Europe. The term ‘mystery’ doesn’t refer to crime or suspense, as we might associate with the word today – for one thing, everybody knew the outcome of each story – but there are two ideas as to why they were so called. One possibility suggests the word originated from the Latin misterium, meaning the religious mysteries or sacraments. The second refers to the fact that the plays were usually performed by the local trades guilds and the guild members held the ‘mysteries’ or secrets of their trade which included the traditional scripts for the plays which, originally, were only passed down by word of mouth. Fortunately for us, in the fifteenth century some of these unique scripts were written down.

Play Structure

The mystery plays were often performed during religious festivals, particularly around major feast days like Easter and Christmas. But, over the years, the complete cycle of plays became so long and involved that York chose the midsummer festival of Corpus Christi for their city’s grand performance, when the hours of daylight were at their longest. Being an outdoor event, daylight was vital. In my novel, I’ve chosen the feast day of St John the Baptist on 24th June for London’s big event for the same reason.

The structure of the mystery plays was episodic, the short plays performed in succession, often in the streets on movable stages, called ‘pageant wagons’, which travelled from location to location. This allowed far more people to participate either as actors or spectators. They were a true community effort.

The Actors and Stage Production

The actors weren’t professional performers but people from all walks of life, including tradesmen and artisans. The guilds played an essential role in the production of the plays with each guild taking responsibility for a specific portion of the cycle. For example, we know the goldsmiths of York always did the play about the Three Kings with their expensive gifts and jewellery. The water-drawers of Chester enacted Noah’s Flood, though the ship-wrights did the building of the Ark as they had the tools for the job. The plays provided guilds with an opportunity to display their wealth and craftsmanship as they constructed elaborate costumes, sets and props.

The pageant wagons themselves were finely crafted on multiple levels and decorated to reflect the importance of the event. Sometimes, they were equipped with pulleys and frameworks so angels could fly and trapdoors in the stage so demons could rise from below – just like the props for modern pantomimes – and even used special effects, such as smoke and fire, to represent heaven or hell. Musical accompaniment and sound effects, from thunder clashes to heavenly choirs, added to the overall performances as the pageant wagons trundled around the streets, stopping at strategic points do their piece.

Costumes

The costumes and props used in these performances were often elaborate. Biblical characters were depicted in rich, colourful robes, often with symbolic elements incorporated into their dress. Although Characters such as God and the Devil would have masks and robes, actors in lesser roles wore their own everyday clothes. Angels might wear robes adorned with gold to reflect their divine status, while Satan or demons were often depicted in grotesque and frightening costumes, signalling their evil nature. The emphasis on spectacle was essential to these plays as they aimed to captivate the audience not just through narrative but also through visual impact.

Unfortunately, I’ve not been able to discover how they managed ‘Eve’, naked in the Garden of Eden and always played by – so we’re told – a man! Another female role played by a man, of course, was Mrs Noah, a part not found in European mystery plays but unique to England. Mrs Noah was a feisty, comedy character, forerunner to our traditional Pantomime Dame – still played for laughs today by a man. There is a contemporary record from York of an actor paying the wife of a local goldsmith to lend him her best gown for his part as Mrs Noah.

In my new novel, the Colour of Darkness, I have Seb’s guild of Stationers perform the Sermon on the Mount because I thought it would be appropriate for some scribe of long ago to have produced a beautiful scroll listing the Beatitudes – ‘Blessed are the poor in spirit, for theirs is the kingdom of heaven, etc.’ [Matthew 5, 3-11] which would be read aloud by ‘Jesus’ – whoever played that plum role. Sadly, Seb and Adam miss out on their respective minor roles of St Bartholomew and a member of ‘the crowd’.

Decline and Legacy

The popularity of mystery plays began to decline in the late medieval period, particularly as the Renaissance brought new artistic and theatrical trends. In England, the Reformation also played a role in diminishing their prominence as the Protestant church rejected the lavish religious rituals and dramatic performances of the Catholic tradition. As a result, many of the mystery plays had disappeared by the seventeenth century.

Despite this decline, the legacy of the medieval mystery plays endures. Today, many of these plays are still performed as part of cultural festivals and they continue to inspire modern adaptations. The plays offer a fascinating window into the medieval world, providing insight into the religious, social and cultural fabric of the time. They remind us of the power of performance to educate, entertain and bring people together in the spirit of shared belief and community. And who can forget the unique Pantomime Dame – Mrs Noah’s descendant!

The medieval mystery plays were more than just religious performances. They were a vibrant blend of drama, ritual and social commentary, offering a rich tapestry of storytelling that reflected the world of the Middle Ages. Through these plays, ordinary people participated in the interpretation and celebration of biblical stories and the arts played a central role in both religious devotion and community life. Their legacy serves as a testament to the enduring power of theatre to bring people together and convey shared values across time and culture.

In my new Seb Foxley medieval mystery, The Colour of Darkness, it is midsummer in London, a joyous festivity but, for some, there is nothing to celebrate when Death stalks the city’s sweltering streets. As livelihoods are brought to ruin and trust withers in the heat, artist-cum-sleuth, Seb Foxley, finds trouble has come to his own doorstep. Plague rears its hideous head; fire, theft and murder imperil the citizens.

A beautiful young woman enchants the men of London and the mob shrieks that witchcraft is to blame when waxen dolls, spiked with pins, are discovered. With such horrors in his possession and discovering that guilt lies too close at hand, can Seb unravel the mysteries and save those he loves before it’s too late?

The Colour of Darkness by Toni Mount

The Thirteenth Sebastian Foxley Medieval Murder Mystery

ISBN: 978-8412971620

GET BOOK LINK: https://mybook.to/colour_of_darkness

Book Description

Midsummer in medieval London should be a time of revelry, but for many, there is nothing to celebrate. Death stalks the sweltering streets as plague raises its hideous head, livelihoods crumble, and trust wilts in the heat. Fire, theft, and murder loom over the city, and once again, artist and reluctant sleuth Sebastian Foxley finds danger perilously close to home.

When a beautiful young woman enchants the men of London, suspicion soon follows. The discovery of waxen dolls spiked with pins sends the city into a frenzy, convinced that witchcraft is to blame. With dark secrets lurking too near for comfort, Sebastian must unravel a tangled web of deceit and suspicion. Can he uncover the truth and protect those he loves before it’s too late?

Join Sebastian Foxley for another richly woven medieval mystery where peril lurks behind every shadow and the colour of darkness hides deadly truths.

Available in Paperback and Kindle E-book

# name
Medieval Mystery Plays ~ A guest post by Toni Mount

# nameMap.en
Medieval Mystery Plays ~ A guest post by Toni Mount

# preview.content
The Freelance History Writer is pleased to welcome back Toni Mount, author of the medieval based Seb Foxley adventures.

The Medieval Mystery Plays

In my new Seb Foxley adventure, The Colour of Darkness, it is midsummer in medieval London, a time often celebrated with the performance of a cycle of mystery plays, telling the Bible story, from Creation to the Last Judgement. This collection of playlets was performed in the streets, blending the traditional biblical tales with local traditions […]

# summary
The Freelance History Writer is pleased to welcome back Toni Mount, author of the medieval based Seb Foxley adventures.

The Medieval Mystery Plays

In my new Seb Foxley adventure, The Colour of Darkness, it is midsummer in medieval London, a time often celebrated with the performance of a cycle of mystery plays, telling the Bible story, from Creation to the Last Judgement. This collection of playlets was performed in the streets, blending the traditional biblical tales with local traditions […]

# summaryMap.en
The Freelance History Writer is pleased to welcome back Toni Mount, author of the medieval based Seb Foxley adventures.

The Medieval Mystery Plays

In my new Seb Foxley adventure, The Colour of Darkness, it is midsummer in medieval London, a time often celebrated with the performance of a cycle of mystery plays, telling the Bible story, from Creation to the Last Judgement. This collection of playlets was performed in the streets, blending the traditional biblical tales with local traditions […]