Captain the Right Honourable Gloria O'Keefe, Viscountess of Tipperary [Nickey]

Player: Nickey
Rank: Viscountess (Rank 3)
Religion: Catholic
Reputation: Respectable

An impoverished Viscountess from Ireland who has made something of a name for herself as a Captain in the Venerable Order.

Recently she has been doing sterling work both helping civillians wounded by Moloch's horde and protecting shipping along the Gerard canal.


This is an excerpt from A Discussion of Moral Plays, a publication from some time later.

Seldom performed when it was written as many governments had it banned for heretical and offensive content, it is only now that we can see Infernal Glory staged as it was meant to be, with all the trappings of a modern theatre which make it possible to implement all of the playwright’s stage directions. Based on a true story, it tells of a woman’s quest to rescue her lover from Hell.

The author of this work is uncertain – though the writing is reminiscent of the Brandages at their finest, but there is a depth of knowledge of Hell in the play which was never seen in any of their works. A demonic author is possible, especially as Choronzon was particularly active in this period, but sorcerer’s queries have found none willing to admit to it.

The play begins with a confusion of battles. Scenes switch rapidly between D’Alembert’s death at the hands of the Satan Baal and Glory’s battles in the Civil War of 1607 against the Catholics. Unsurprisingly parallels are drawn between the infernal and Catholic forces, and eventually the distinction is dropped as Glory and D’Alembert face each other from across the years just before he collapses into her arms to die.

The play skips through time with gay abandon, and we see Glory drawn further into herself and her studies as her daughter by D’Alembert, Margery, is left to raise herself. Glory’s speech justifying her actions is reminiscent of that of Richard as Henry VI draws to a close – just as there was nothing in life for him worth seeking but a crown, so she has no hope other than to be reunited with her love.

From a balcony, D’Alembert watches it all, and we watch his slow transformation from tortured soul into twisted demon as Glory sacrifices yet more for her obsession.

As Glory bids a final farewell to Margery we watch her journey into Hell, where she must pass down through the circles, meeting on her way many old friends and enemies and turning away from each.

Finally she comes to face the Satan Baal, who tells her of D’Alembert’s continued efforts against him in Hell, and tells her of the civil war that rages even now in Hell’s inner circles. He is eager to be rid of D’Alembert, but cannot resist one condition: that she not look back as she leads him to the light.

Alone on a dark stage, Glory stumbles forward. Exhausted by her efforts she must retrace her steps up through the circles of Hell. To either side we see projections of the tortured souls she passes. In the light of Hell’s flames we catch glimpses of D’Alembert following silently behind Glory, a shadowy presence where horns and hooves seem possible but are never revealed.

From the back of the stage we hear first one, then two, then three screams, as of a soul in agony. Each time we see Glory’s agony at what she supposes to be her lover’s pain, but after a brief hesitation she continues without looking back. The third cry is too much, though, and as she looks back at the demon D’Alembert has become hands reach up from below to drag her down into the Abyss.

As the play draws to a close with the demon D’Alembert leaves the stage silently, never looking back. But as the minimal, firey lighting of earlier fades into a warm, white glow the audience is left to wonder D’Alembert’s fate. Is one woman’s sacrifice enough to offer him a chance of salvation? A single scream signals the end, but is this is start of Glory’s torments below or D’Alembert’s above?

bio/gloria_okeefe.txt · Last modified: 2007/09/23 22:59 by helen