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Incorruptible February 20 - March 13, 2004 Although it is set in a monastery in Priseaux, France in 1250 A.D., nothing is sacred or spared from Michael Hollinger's humor as he skewers both celebrity worship and material worship in INCORRUPTIBLE. As the play opens, the monks are in a funk. The bones of their patron St. Foy haven't produced a miracle in thirteen years. As a result, the pilgrims have stopped coming and the money has stopped flowing. They can hardly feed and clothe themselves, let alone help the villagers in need.
When they discover that the bones of St. Foy have been stolen by a rival monastery in Bernay and the bones are now working miracles, the monks become desperate and susceptible to the schemes of a wandering minstrel.
Centuries before dot coms, the monks turn to large scale marketing with a mail order bones business. Prosperity abounds, but the going gets tough when they have to produce an "incorruptible," that is, a body of a saint that resists decay. Throughout the farce, Hollinger sprinkles memorable one-liners and plenty of rollicking action as he explores the age old question, "Do the ends justify the means?"
In ancient times, there was a regular cult of the dead that existed before the birth of Christ. In the early days of Christianity, the Church did not oppose it. There was a wide trade in relics - "incorruptible" bodies or skeletal bits and pieces of dead martyrs and saints. They were enshrined by towns and churches. Well-to-do individuals also bought relics.
The playwright drew his inspiration from an actual feud between two French monasteries. A monk from Conques stole the bones of St. Foy from a church in Agen in the 9th century. Sainte Foy, also known as Fides or Faith, was a 12-year-old girl of Gaul (now France) who was beheaded by the Romans in 303 A.D. for refusing to renounce her faith. Today, her relics are kept at the Abbey Church of Sainte-Foye in Conques, France. Her golden reliquary is considered a masterpiece of Dark Age art. More photos of the Sainte Foy abbey and relics.
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| THE CAST |
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| Brother Martin | Shane Brown | ||
| Charles, abbot of Priseaux | Scott Doyle | ||
| Brother Olf | Corey Martin | ||
| Brother Felix | Patton Graves | ||
| Peasant Woman | Jamie Brewster | ||
| Jack, a minstrel | Jordan Weeks | ||
| Marie | Kendall Segovia | ||
| Agatha | Lana Henson | ||
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THE CREW |
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| Director | Robert Matson | ||
| Set Design | Corey Martin | ||
| Lighting Design | Steven Gillmore | ||
| Costume Design | Corey Martin | ||
| Sound Design |
Robert Matson Steven Gillmore |
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| Stage Manager/ Light Board | Michael Greene | ||
| Sound Operator | Hillary LaReau | ||
| Set Construction |
Corey Martin Steven Gillmore Jordan Weeks |
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| Scenic Painting |
Corey Martin Rhonda Clark John Brumley Robert Matson |
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| Properties |
Corey Martin Rhonda Clark Robert Matson |
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| Stitchers |
Catherine Pongratz Jennifer Coon |
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| Running Crew | Jennifer Coon | ||
| Poster Design |
Phil Carlton Don Lusk |
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| Photos |
Jennifer Coon Phil Carlton |
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| CST Webmasters |
Don Lusk Phil Carlton |
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SPECIAL THANKS TO |
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Heller Theatre, Larry Latham, Pollard Theatre, Timothy Stewart
Cast
sponsor - Chris Steves |
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Produced by special arrangement with Dramatists Play Service, Inc. |
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