Behind the adventurous spirit of “Marys Seacole” is a determination not to allow the audience to get ahead of the play. The drama keeps shifting between Mary Seacole’s struggles to carve a place for herself as a healer and an independent businesswoman and the various other modern Marys who perform the societal work others want to offload. The dramatic movement is associative and circular: We move from Mary at her hotel in Jamaica saving lives to nannies at the park gabbing on a workday, from an instructor overseeing an educational enactment at a trauma center to Mary tending to her “British sons” on the Crimean battlefield.

Source: Los Angeles Times March 25, 2019 12:00 UTC