Do you believe in ghosts? What about faeries? Or maybe even reincarnation? Judith Thompson’s haunting Queen Maeve weaves the magical and the mundane to tell a harrowing story of love, loss, and the power of forgiveness over three generations. Directed by Mike Payette, Queen Maeve has a spirit as fierce as the titular Celtic Queen while also allowing a softer side to shine through. Starring the incomparable Clare Coulter, Queen Maeve will leave its mark on your heart.
The lights come up on a woman sleeping, reaching upwards as she dreams. This is Mrs. Nurmi, but you dare not call her that, because she prefers her ancient title of Queen Maeve. Her insistence upon this name, combined with her often aloof attitude, have earned her the nickname “your majesty” around her care home, but even she knows that they’re using it to make fun of her. Queen Maeve’s favourite PSW is named Siobhan, she’s gentle and treats Queen Maeve with love and tenderness, no matter how many times Maeve lashes out at her or hurts her. Longing for a visit from her grandson, Queen Maeve spends her time predominantly alone in her room, saying that she’s preparing for an upcoming battle. However, when Jake does arrive unexpectedly, it doesn’t take long for their happy reunion to turn sour. Tensions run even higher when Georgia, Jake’s mother, arrives a week later after tragedy has struck the family, and as accusations fly, reconciliation between mother and daughter feels all the more impossible.
Photo by Jae Yang
I’ve been mulling over quite a bit since seeing Queen Maeve, mostly because Thompson gives us quite a lot to think about. The thing which struck me the most is the way in which we as the audience see Queen Maeve/Mrs. Nurmi. Siobhan mentions almost right off the top that Mrs. Nurmi scratched her the day before, to which she replies “I’m sorry, I wasn’t myself then.” But who is the self we witness throughout this play? From the eloquent way in which she speaks, we assume that the version of Mrs. Nurmi we’re witnessing is the warrior queen side of her. Yet the other side is clearly equally feisty and defiant, just in a far less restrained way. We know from reports from the people around her that Mrs. Nurmi suffers from dementia, and yet when she’s Queen Maeve not only does she seem lucid, but she has memories from thousands of years ago and all of the lives she’s lived since. Is this the dementia talking? It’s hard to imagine that the violent woman who’ll scratch her beloved PSW would be the real Mrs. Nurmi. It also brings to the fore some of my deepest held fears: losing my mind, dying alone and forgotten. And yet Queen Maeve allows Mrs. Nurmi to face all of this head on, just like the myths of the warrior queen.
Photo by Jae Yang
I love the pictures which cover the walls of Ken MacDonald’s set; we find out that art class is one of the few activities Mrs. Nurmi participates in at the home. These images are a mix of faces and items clearly from Queen Maeve’s past which are coming forth through this art. I loved the Celtic Knot detailing on her green velvet housecoat – truly worthy of Irish royalty. This velvet is beautifully mirrored in Georgia’s blazer, a sign of the matriarchal connection between the two. I loved the constant interchange of flowers and water glasses to help us understand the passage of time, even though her clock on the wall doesn’t move throughout the piece. It’s all brilliantly done to help us experience life as Queen Maeve does.
Photo by Jae Yang
Clare Coulter is a force to be reckoned with as Queen Maeve; fearsome with her longsword above her head, yet also petite and fragile when she’s having her hair washed, Coulter does it all. Her enchanting and commanding stage presence would make me believe that the fae folk have touched her with their magic. Caroline Gillis’ Siobhan is my idea of a true saint: patient in the face of physical and mental abuse daily, Siobhan tolerates more than I know I could, and does it all with a smile. Gillis brings this kindness and care to the heart of her character, and her dynamic with Coulter is beautiful to witness. Ryan Bommarito’s Jake is truly heartbreaking, making a lasting impression in the time he’s on stage. Showing everything from charm to despair, Bommarito’s compassionate performance makes us understand how his grandmother feels for him so deeply, though we too cannot approve of all of his choices. Sarah Orenstein gives Georgia as much tenacity as Coulter’s Maeve, making them formidable foes when they do argue. Orenstein lets Georgia turn on a dime, and it was easy to see a lifetime of frustration and pain on her face.
Photo by Jae Yang
I choose to see the final moments of Queen Maeve as hopeful: with the stars shining above her, which she and Jake loved so much, Queen Maeve is ready to once again face the closing of her tomb. Though she might be done with this body, and this life, her spirit will find another fierce lady to inhabit, and she’ll live again as she has for many generations. Hopefully this lifetime served as a lesson to love more, forgive more, and to ask for that forgiveness sooner.
Queen Maeve runs in the Tarragon Theatre Mainspace until March 29. For more information and tickets, visit: https://tarragontheatre.com/plays/2025-2026/queen-maeve/
Cover Photo: ClareCoulter. Photo by Jae Yang.
Thank you to my Patrons:
Natalia, Steve, Brendan, Deborah, Eleanor, and Phil
And to my supporters who’ve bought me a coffee:
Angelica and Paul, Anonymous, Adrianna, Caitlin, Jonathan, Jada, and Courtney
Would you like to become a Patron? Check out my Patreon at: https://www.patreon.com/AViewfromtheBox
Or, you can buy me a coffee at: buymeacoffee.com/aviewfromthebox
A View from the Box 