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 The festival culminated in a raucous May Day Festival, held in the main quad on May 5, 1984. Singers, dancers, actors, musicians, fencers, and jesters performed throughout the day, and 25 vendors sold their art as part of an outdoor craft fair. Medieval culinary delights included roast beast, scorched capon, wildberry punch, vegetable gruel, beef pie, and sherry trifle. Open to the public, events were geared towards children and adults alike, from juggling, fencing, and maypole dancing to dramatic productions and 15th century music performed in the [[chapel|Chapel]] by Siena Music Consort, Bel Courtoisie, and Trinity’s Concert Choir. The Trinity [[jesters|Jesters]] performed the Second Shepherds’ Play, directed by Matt Moore ‘85, and //Wisdom// was performed for the third time in [[hamlin_hall|Hamlin Hall]], as it had been in April.
-It was decided that //Wisdom// should be staged in Hamlin Hall, which most closely resembled a 15th century “Great Hall” as it is referenced in the play. In an article edited by Riggio about the staging of the play, she notes that the banquet tables in Hamlin Hall proved crucial to the production of the play and the development of its themes in performance. As the audience feasts alongside the players, Riggio says, “An interesting irony develops, too; feasting and drinking are emblems of sin in a play presented to feasters. The play acknowledges the audience (here indirectly), only to implicate them in the world of sin.” //Wisdom’s// moral tension comes from the personification of the three “Mights” - Mind, Will, and Understanding - as each in tandem falls prey to the allure of sinful behavior. Inspired by Catholic doctrine, the play has historically been considered overly didactic, “too ritualized to be successful,” as Riggio writes. However, her and Shoemaker’s goal in producing this play was to demonstrate the play’s salience contrary to these disparaging judgments.
+It was decided that //Wisdom// should be staged in Hamlin Hall, which most closely resembled a 15th century “Great Hall” as it is referenced in the play. In an article edited by Riggio about the staging of the play, she noted that the banquet tables in Hamlin Hall proved crucial to the production of the play and the development of its themes in performance. As the audience feasts alongside the players, Riggio wrote, “An interesting irony develops, too; feasting and drinking are emblems of sin in a play presented to feasters. The play acknowledges the audience (here indirectly), only to implicate them in the world of sin.” //Wisdom’s// moral tension comes from the personification of the three “Mights” - Mind, Will, and Understanding - as each in tandem falls prey to the allure of sinful behavior. Inspired by Catholic doctrine, the play has historically been considered overly didactic, “too ritualized to be successful,” as Riggio wrote. However, her and Shoemaker’s goal in producing this play was to demonstrate the play’s salience contrary to these disparaging judgments.
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