Marjories Dead - Sparknotes

‘Marjorie’s Dead’ A play based on the true story of Marjorie McCall

Marjorie’s Dead

By Nathan Martin

Premise of the play •

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The play is based on a true 18th-century story. In 1705 in Lurgan, County Armagh, a woman named Marjorie fell suddenly ill, died, and was buried — wearing a valuable wedding ring.

That same night, two grave robbers broke into the graveyard. Driven by greed — the ring (or even her corpse) was lucrative — they exhumed her body and began cutting the ring from her finger. Critically: they never confirmed she was truly dead.

The play dramatizes this horrifying event — effectively portraying a woman accidentally buried alive.

The production also blends this “true crime / historical incident” with folklore and myth, layering in symbolic or legendary elements to deepen the emotional and thematic impact.

Element Setting / Time

Summary 1705, Lurgan (Shankill Graveyard), 18th-century Ireland, Lurgan Marjorie McCall buried after sudden illness — with valuable wedding Inciting Incident ring.

Main Conflict / Grave robbers exhume her body that night; she is apparently still alive — Horror buried alive due to mistaken death.

Genre / Style Historical tragedy + horror + folklore + dark comedy / mythic Blend storytelling.

Death & mortality; desecration & greed; folklore and memory; bodily Themes autonomy / respect; myth vs. reality.

Dark, unsettling, atmospheric — with moments of folklore-rooted wonder Tone and dark humour.

Aims of the play Marjorie’s Dead doesn’t just retell a tragic real-world event: it uses that event to explore larger ideas about folklore, memory, and what it means to be “alive” (or “dead”). By overlaying myth onto history, it asks — can stories, legends, and memory change the meaning of death?

The play challenges audiences to confront discomfort: bodily violation (even in death), the horror of greed, societal indifference, and the fragility of life. At the same time, it offers kind of mourning: for people forgotten, for lives cut short, for histories erased — and asks whether myth and storytelling can restore some meaning or dignity.

Even if imperfect, the attempt is bold. It is a compelling example of theatre using horror + folklore + history not just for shock, but for reflection — on mortality, on our relationship with the past, and on the stories we tell.

Major Themes 1. Premature Burial / Fear of Death • •

The central horror: being buried alive.

Symbolically, the play argues that women are buried socially long before physically — through silence, control, and limited autonomy.

2. Folklore, Myth & Collective Memory •

The play uses Irish folklore to ask: o What makes a story survive? o How do myths distort real people? o Does myth free Marjorie or erase her?

3. Bodily Autonomy & Violation •

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Marjorie’s body becomes a contested object: o her husband controls it in life o the church controls it in death o the grave robbers profit from it o the community turns it into a tale The play critiques systems that claim ownership over a woman’s body.

4. Greed & Exploitation • • •

The grave robbers represent the economic desperation of the period.

Their crime exposes corruption in both poverty and wealth.

Greed becomes the literal force that reveals the play’s horror.

5. Life vs. Death, Silence vs. Voice • • •

Buried, Marjorie has no voice.

The play becomes an act of giving voice back to someone erased from history.

Themes of rebirth, resurrection, storytelling emerge

Symbolism The Grave Represents: • • •

Society’s desire to contain or control the dead.

Patriarchal burial of women’s identities.

The boundary between myth and reality.

The Ring • • •

Wealth, legacy, love — but also greed.

What binds her to John also invites violation from robbers.

Symbol of value assigned to women only through marriage.

Earth / Soil Represents: • •

both suffocation and rebirth.

Burial as destruction → Resurrection as re-awakening.

Voices / Storytelling • •

Symbolize history’s reconstruction.

Story becomes a tool of both liberation and imprisonment.

The Play Character List

Marjorie McCall • • • •

Protagonist; based on the real 18th-century woman buried prematurely.

Intelligent, grounded, and duty-focused, but suppressed by societal norms.

Represents the vulnerability of women’s bodies in life and in death.

Moves from a passive victim to a symbolic figure of myth, memory, and reclamation.

John McCall (Husband) • • •

Controlling, reflecting patriarchal norms of the era.

Shows love for Marjorie yet speaks for her, decides for her, and ultimately fails to understand her autonomy.

Represents how society buries women symbolically long before death.

Cian McCann (Marjorie’s Brother) • • • •

A fictional character created for the play, used as a device to give voice to Marjorie’s idea.

He is used is comedic tonal shifts between the horrors that happen within the play.

Is Marjorie’s accomplice in her plan to escape John and willingly cooperates.

Cian symbolises the need for men to treat women and their thoughts and ideas with respect and a desire to engage – the feminist and ally.

The Grave Robbers • • • •

Two comic-grotesque figures; darkly humorous but morally reprehensible.

Driven by greed (Marjorie’s ring / possible corpse resale).

Serve as catalysts for the plot by exhuming Marjorie and revealing she’s alive.

Symbolize exploitation of the poor and disrespect for the dead.

Character Relationships Marjorie ↔ John McCall • • • •

Loving but imbalanced marriage.

John’s desire to change Marjorie often manifests as control.

Symbolizes how patriarchal love is suffocating.

Their relationship becomes tragic when Marjorie’s decides to escape his abusive nature.

Marjorie ↔ Grave Robbers • • •

Antagonistic; they embody the physical violation of her body.

Ironically, they become the accidental agents of her “resurrection.”

Their horror-comic presence contrasts Marjorie’s emotional realism.

Marjorie ↔ Community • • •

In life: unseen, ordinary, acceptable.

In death: transformed into rumour, myth, legend.

The community shapes the Marjorie who survives in memory — not the one who lived

Costume and Staging

The production’s use of costume and staging operated not merely as decorative elements but as deliberate narrative instruments designed to evoke the cultural and emotional landscape of the pre-famine era. Costuming grounded the characters in a historically resonant visual language, allowing the audience to engage with the period on an immediate, sensory level.

This was reinforced by a staging concept built around a woodland aesthetic—an environment suggestive of both the natural world and the folkloric traditions that underpin much of Ireland’s pre-famine storytelling heritage. Central to this environment was Marjorie’s coffin, rendered as an above-ground casket frame that allowed the actor to enter and exit with fluidity. Its presence functioned as a striking visual anchor, blurring the boundaries between the living and the dead and symbolically situating the character within a liminal space.

Through these integrated design choices, the production crafted a richly layered theatrical experience that foregrounded narrative, atmosphere, and cultural memory in equal measure.

Extract from the play ‘Marjorie’s Dead’ Actor 1 - Marjorie McCall Actor 2 - John McCall / Undertaker 1/ Burke Actor 3 - Cian McCann (Marjorie’s Brother) / / Undertaker 2/ Hare The scene begins with the sound of a woman keening, the traditional Irish death song. Two undertakers are within the area, they both offers condolences to the audience as they enter.

Undertaker 2 then begins to cry wholeheartedly to the annoyance of his stoic counterpart.

Undertaker 1 to the crying Undertaker Awk now, enoughs enough, you just going to stand there bawling as I do all the work.

Undertaker 2 I always cry at funerals.

Undertaker 1 You’re an undertaker for Heavens sake, funerals are your bread and butter.

Undertaker 2 I can’t help it if Im a highly sensitive individuals who is in touch with his emotions Undertaker 1 Huh, here we go. You’re one of those new age types.

Undertaker 2 It’s the 18th Century mate, we should all be in touch with our true selves, men should show their emotions, its not the dark ages anymore.

Undertaker 1 Bring back the good old days that’s what I say. Get over here and come do some work.

Undertaker 2 walks over to the casket and begins to cry loudly again.

Undertaker 2 Awk its such a sad thing to happen.

Undertaker 1 Aye, its sad when they go young.

Undertaker 2 What happened to her?

Undertaker 1 With a devious smirk and an air of mystery Ohhh, now that’s a great mystery.

Undertaker 2 What do ya mean?

Undertaker 1 Come ‘ere and I’ll tell ya. She took a mysterious illness they said. Never seen the likes of it before. Her here husband is a doctor, very educated man. Wasn’t able to find what she had fallen with. Twasn’t the cough, or the pox or the fever. But one minute she was smiling in the sun and the next, she was dead. Banshees don’t like when they don’t have time to prepare themselves for the dying ya know. So I heard when this lady finally passed, you could hear the wail of a great chorus of banshees in the wind, crying out for the soul of the young woman. They said you can even hear the echos of them now. Can you hear them? Listen carefully.

Undertaker 2 listens intently for the wails as the sound of wind begins to pick up only for Undertaker 1 to scream and scare everyone.

Undertaker 1 Laughing.

Awk how would I know what happened to her? I only put them in the ground. Now come on you. My throat is awfully parched from that tale.

Undertaker 2 What do ya mean? We can’t be going to the pub and leaving her casket here unburied.

Undertaker 1 Sure where will she be going? We’ll nip in for a quick one and be back before she gets up and walks away – He winks mischievously.

Undertaker 2 It's not right to be leaving her body out here, all alone.

Undertaker 1 Sure she’s not alone.

Undertaker 2 She’s not? What do you mean?

Undertaker 1 The Dullahan will be here soon.

Undertaker 2 The Dullahan isn’t real now.

Undertaker 1 Oh its real alright. I’ve seen the coachman of the dead many a time leaving this ‘ere graveyard, carrying the souls of those I’ve just put into the ground.

Undertaker 2 So the banshees didn’t come then?

Undertaker 1 Awk you stay here and keep listening for them then.

Undertaker 1 leaves the stage followed by a frightened Undertaker 1 Undertaker 2 Wait for me!

The stage goes dark and from the coffin we see a light turn on as if from a candle. Marjorie slowly removes the sheet from the coffin and looks around the stage.

Marjorie Awk Jesus, I thought they would never leave, have you ever heard two headers like that? I near jumped up when yer man screamed, and that would have given the game away.

Marjorie brushes herself down and looks out into the audience.

Well how is everyone feeling? Excited are ya’s to hear the story of how I died? To hear about the death of a young woman cut down in her prime? Excited by that are ya all? Well you’re all sick if you are. This is a poignant and dramatic journey that we will all go on together.

Now before we begin there’s something you all need to know…

She stops to listen

Someone’s coming. Now you all keep quiet and don’t say a word.

She crawls back into the casket John McCall enters, Marjorie’s husband, carrying flowers which he puts at the foot of her coffin.

John Oh Marjorie, my sweet little girl. What will I do without you? Your devious smile, your laugh, your beautiful face, all your silly little stories. That’s all gone now. You were always so stubborn, right to the end. Why didn’t you tell me you were ill sooner and gave me time to save you? I will never look upon that beautiful face again.

Enters Marjorie’s brother, Cian, as John begins to get emotional Cian Now Mr McCall, that’s enough of your blubbering. It won’t be bringing her back.

John I’m not blubbering Cian, merely commenting on how beautiful she was in life.

Cian Yes, Yes, she was a very pretty woman, to some but she’s dead now John.

John I know she’s dead Cian, I just can’t understand how she could get so sick so fast.

Cian Yes, it was all very very fast.

John When she was young, what did the doctors say about her health.

Cian They said she was just a weak pathetic thing of a child, always very poorly, like a malnourished sparrow.

John I just don’t understand what this ailment was she took. You’re her brother, I wonder if the same illness runs in you.

Cian Unlikely, me and Marjorie always had very little in common.

John I suppose, but so strange especially as she showed so little issues before.

Cian Its all very sad indeed, no one could have predicted any of this.

John I just can’t get it out of my head.

Cian looks on John in a manner of feigned shock Cian Now we can’t be having that.

John What?

Cian We don’t want the entire town saying you’re a bad doctor now, do we John?

John is insulted at this.

John I can’t cure what I can’t find.

Cian No excuses, the entire town of Lurgan will be taking their business elsewhere if you carry on like this, you know what Lurgan people are like, their a headstrong…simple sort of folk, once there’s an idea in their head, it’s not for going.

John But…

Cian Go on now, get out of here. She’s dead John, she’ll not be moving anywhere, she’s dead.

Dead. Dead. Dead. You will need a few minutes and that’s that and you’ve had plenty of minutes. God knows how long you were lingering in the graveyard before I came.

John I had only just arrived…

Cian Well then you’ve had plenty of time. Not only will the town say you’re useless as a doctor because you couldn’t cure your own wife but they’ll be saying you’ve gone idle also.

John I suppose your right.

Cian Always am, now remember that.

John I wonder if I could open the casket before she’s put in the ground and give her a final kiss to say goodbye.

Cian ‘Open the casket?’ To kiss my dead sister? Doctor John, the entire town of Lurgan will say you’re nothing but a little Belfast pervert.

John She was my wife Cian Was John. Was. Now she’s just a dead lifeless cold thing. You wouldn’t want to be kissing a thing like that now would ya? Its not natural.

John No. I suppose you’re right.

Cian Always am, now remember that.

John What will I do without her?

Cian Awk sure, think about that on your way home.

John gets ushered off the stage but goes to turn for one last look Cian An idle good for nothing Belfast pervert John, that’s what the town will be saying.

John Yes I suppose…

Cian Good man…

John gets pushed off the stage.

Cian goes over to the coffin and looks down at it.

Cian Oh my dear sister, I for one am glad you’re dead. The world is a better place without you. I smile more knowing that I will never have to look at your silly foolish misshapen face again.

Not only were you a rather impish looking girl with a face like a misshapen rock but you also …

Marjorie Oh just put me in the ground already so I don’t have to listen to you anymore.

Cian My dear sister, this is a chance for us truly to bond, to say how we feel before you depart this earth for a better place.

Marjorie I think I’ve changed my mind, don’t dig me up again tonight. Just leave me in here, it will be more pleasurable to slowly suffocate to death than to listen to you.

Cian That’s an awful attitude to take with you into the afterlife.

Marjorie Oh shut up. How long have I been asleep?

Cian About 5 days now.

Marjorie 5 days! I’m lucky I’m not dead.

Cian No luck in it at all. You’re being helped by an expert you know.

Marjorie My mouth is bone dry.

Cian I put a parcel of bread and some water at your feet.

Marjorie Ah good man. So the plans going well then, tell me what’s happening now? Where is John?

Cian Your dear husband has left, and may he never return. He really is a rather whiney thing Marjorie Did he seem upset to you that I had died?

Cian not too long ago, you must have heard all that was said.

Marjorie Yes, I heard, but it was all about how he couldn’t figure out how I died. Do you think he suspects?

Cian He’s a Belfast man Marjorie, they aren’t known for their imaginations.

Marjorie True, but you don’t think he will suspect me?

Cian No, I don’t think he suspects that you’ve planned on being buried alive only for your poor suffering brother to come at the dead of night to dig you up again.

Marjorie No, I don’t think he would. Where are the undertakers?

Cian I don’t know. More than likely at the pub.

Marjorie At the pub?! They’ve left me here so they can go to the pub?

Cian Marjorie, they don’t think you’re planning to go anywhere.

Marjorie I know that, but it’s just rude. Go tell them to finish their drinks and come bury me.

Cian Yes, I’ll get right on that.

Marjorie Are you going to do it now?

Cian Oh yes, on my way to tell them off.

Marjorie I can’t tell if you’re being serious or not?

Cian Just assume I’m being deadly serious Cian walks off

Contact information and copyright If you would be interested in staging this play please contact: Nathan Martin info@darkforesttheatre.com www.darkforesttheatre.com

Copyright Statement © Nathan Martin. Marjorie’s Dead. All rights reserved.

No part of this play may be reproduced, distributed, or performed in any form or by any means without the prior written permission of the author. Unauthorised use, adaptation, or reproduction is strictly prohibited.

Acknowledgment of Funding The creation and development of ‘Marjorie’s Dead’ were generously supported by the Armagh City, Banbridge & Craigavon Borough Council and The National Lottery Heritage Fund through the Lurgan Townscape Heritage Scheme. Their commitment to preserving and enriching local cultural heritage made this project possible, and we extend our sincere gratitude for their support.

Previous performances ‘Marjorie’s Dead’ was performed by Dark Forest Theatre at: •

Lurgan Town Hall on 18 and 19 October 2024.

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Brownlow Castle, Lurgan on 26 October 2024.

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Cultúrlann McAdam Ó Fiaich, Belfast, on 8 and 9 February 2025.

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The Grand Opera House, Belfast on 6, 7 and 8 November 2025.