The Anglo-Saxon Monk ruminates over the success of the 'world premiere' of Daisy Black's dramatisation of the Bayeux Tapestry.
'The play was inspired by the work of scholars on the relationship between the familiar narrative in the central frame of the Bayeux Tapestry and the figures in the borders.'
Well, what an anticlimax!
No, I don’t mean the wonderful performance last Saturday of 'The Bayeux Tapestry: The Stitches Speak' by Daisy Black’s ensemble at the 50th International Congress on Medieval Studies at Kalamazoo, Michigan.
No, blessed readers, that was, to borrow from the lexis of the locals, awesome.
Rather, I’m referring to the complete indifference manifest by my brothers on my arrival back from my unsanctioned adventures abroad.
Not a whiff of wonderment, not even a sniff of envy. I was at least expecting to hear that the bishop had got wind of my escapades and was planning to publicly denounce me. Well, I guess it’s for the best. But what a lot of dreary monks I hang out with, blessed ones.
But to the performance!
Well, I must begin by patting Daisy Black on her sore back (it twice served as the footstool for King Edward). She is a veritable
Hrotsvitha of Gandersheim, I can tell you!
And I have managed, blessed ones, to find room within my Christian heart to forgive her casting me as Guy, the campy, cowardly Count of Ponthieu, and thus can now state with absolute succinctness (yes, I can do succinct) that it was truly inspiring!