Agnes of God -- starring Barbara Bain, Emily Bergl, and Harriet Harris (Audio Theatre Series) [UNABRIDGED] (Audio Cassette)

~ L.A. Theatre Works (Author)

Editorial Reviews

From Library Journal

Agnes of God (1982), a somber, rather slow three-character tragedy, concerns Agnes, 21, a deranged nun accused of murdering her newborn. A court-appointed psychiatrist, an atheist, and the Mother Superior spar ineffectively on theology and miracles and discuss their lives. Twice the doctor puts Agnes under hypnosis, revealing a tortured childhood, denials, and, finally, a confession and improbable motive. As scripted in this new recording of the play, Agnes sings many plainsongs, with which Emily Bergl, a fine actor, is plaintive; Barbara Bain's Mother Superior is rock solid; Harriet Harris, the doctor, tends to be flat instead of neutral in interrogations but is better in monologs. The screenplay for the 1985 film adaptation also by Pielmeier omitted monologs and extraneous dialog and added interesting characters and a happy ending; its video version is better suited to the general public. This audio program is recommended for libraries serving film and drama students rather than for popular consumption. Gordon Blackwell, Eastchester, NY
Copyright 2001 Reed Business Information, Inc.

Product Description

A dead newborn is found in a wastebasket at a convent. The mother, a devout young nun, lies unconscious nearby. A psychiatrist must evaluate her. The truth goes beyond what happened on the fateful night of conception.

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Product Details

• Audio Cassette
• Publisher: La Theatre Works; Unabridged edition (June 1, 2000)
• Language: English
• ISBN-10: 1580811590
• ISBN-13: 978-1580811590
• Product Dimensions: 7 x 5.5 x 1 inches
• Shipping Weight: 7.2 ounces (View shipping rates and policies)
• Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
• Amazon.com Sales Rank: #1,928,872 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

4 of 4 people found the following review helpful:

5.0 out of 5 stars Absolutely riveting audio version, June 10, 2002

By	Michael K. Halloran (USA) - See all my reviews

This review is from: Agnes of God (Audio CD)

John Pielmeier's play "Agnes of God" opened on Broadway in 1982 with a cast that included Elizabeth Ashley, Geraldine Page, and Amanda Plummer. It tells the tale of a young novice who has been sheltered from the world all her life. One night, she is found unconscious in her convent room after having given birth to a baby, which is found dead in a wastebasket. This shocking incident gives rise to a whole set of questions: Who was the father? Why did no one know about Agnes' pregnancy? Is she really as simple and naive as she seems? And, most importantly, who killed the baby?

The play features three terrific roles for actresses: Agnes, the Mother Superior, and the court-appointed psychiatrist, Dr. Livingstone. The script is not without its flaws: the science vs. faith conceit is played out a little too simply, and some of the symbolism is heavy-handed to say the least (the doctor trades her obsessive chain-smoking for an obsessive fixation on Agnes). The play was also made into a rather tepid movie which unwisely opened up the claustrophobic office/convent interview scenario and added superfluous characters and subplots. Meg Tilly and Anne Bancroft both earned much-deserved Oscar nominations for their excellent performances, but Jane Fonda is miscast and less than obsessive in the role of Dr. Livingstone.

This audio recording, however, makes one forget any flaws in the script and completely erases any sour memory of the misjudged film version. It is gripping in every way. Harriet Harris carries the show in a bravura performance as Dr. Livingstone ("X-files" fans will remember her from the terrific "Eve" episode). She is not afraid to be curt and unlikable, and she carries a chip on her shoulder the size of a Buick. Every shifting emotion is immediately audible in her highly expressive voice: wry condescenion, bitter regret, volcanic rage, and aching sorrow all come into play. Her final, gut-wrenching monologue is absolutely harrowing. With a performance like Harris', visuals become unnecessary.

Harris' force-of-nature portrayal could easily overwhelm less accomplished co-stars, but Barbara Bain and Emily Bergl more than hold their own. Bain is sympathetic and likable as the Mother Superior, a welcome contrast to Harris' caustic doctor. She matches Harris step for step in their emotional confrontations and gives equal weight to the Mother's deep sense of spirituality and the earthier, more secular side of the character. This is no caricature, but a flesh-and-blood human being.

Emily Bergl (who was the one bright spot in the otherwise limp "The Rage: Carrie 2") makes a perfect Agnes: childlike, eager to please, and slightly otherworldly. She gives her ludicrous answers to the doctor's questions in such a matter-of-fact manner that one simply can't write her off as insane. Because of her utter conviction in everything she says, we as listeners must at least consider the fact that the visions and voices she sees and hears might be real. Bergl also fully commits to her emotional moments with the doctor. Harris is often so brutal with the psychologically fragile Bergl that one almost wishes Child Protective Services would come in and whisk Agnes away. Bergl's singing voice -- an important aspect of Agnes' character -- is childlike and unspoilt, adding to the sense of Agnes' purity.

Sound effects are used sparingly but judiciously, such as the flick of a lighter letting the audience know that the doctor has lighted a cigarette. Credit must be given to director Nancy Malone, who has shaped the rhythm and pace of the piece with the expert skill of an orchestral conductor. Under her guidance, the three actresses sound like a finely-tuned ensemble, with Bain's earthy alto, Harris' reedy mezzo, and Bergl's soft-grained soprano playing together as exquisitely as virtuoso instruments. Audio theatre doesn't come any better than this.

1 of 1 people found the following review helpful:

3.0 out of 5 stars A murder mystery - but is it Godless?, July 29, 2003

By	Betti Trapp (Riyadh Saudi Arabia) - See all my reviews

Nothing in this world can prepare us for the spiritual aspect of this haunting murder mystery as described on this audio cassette version. As much as science and reason can explain things seemingly unscientific, does there ever come a time when science alone cannot? In this tender drama of a twenty-one year old nun, one cannot help but question the mysteries of faith - in all its forms. Agnes, the twenty-one year old nun, has never known life as we have. Sheltered and secluded in her upbringing, abused and tragically disturbed, Agnes turns to the Catholic Convent when her mother dies. Surely there, Mother Miriam can produce or at least invoke a kin to humanity in this child, and perhaps even be somewhat of a mother to her in many ways. Perhaps Mother Miriam can bring her a sense of a real world, a sense of mankind with all of its beauties and all of its flaws. Truth is not told lightly here, and when Agnes delivers a child, beliefs must be questioned, questions must be answered, faiths must be acknowledged - or abandoned. Beautifully portrayed on one audio cassette, you will hear Agnes' song long after the cassette is over.

3 of 4 people found the following review helpful:

5.0 out of 5 stars A memorable, commanding, "theatre of the mind" experience., July 4, 2000

By	Midwest Book Review (Oregon, WI USA) - See all my reviews

John Pielmeier's Agnes Of God is a contemporary murder mystery set within the confines of a modern Catholic convent. Agnes is a devout, innocent young nun accused of infanticide. As a psychiatrist (herself a lapsed Catholic) and the Mother Superior struggle over Agnes' fate, the play plunges deeply into the mystery of faith and the consequence of truth. This superb audio play production features Barbara Bain as the Mother Superior, Emily Bergl as Agnes, and Harriet Harris as Dr. Martha Livingstone. Under the accomplished direction of Nancy Malone, Pielmeier's compelling tale is wonderfully underscored with the choral music of Kathryn Skatula, Ali Olmo and Teri Bibb. The recording techniques are flawless and present a true "theatre of the mind" experience that is both memorable and commanding.