From Oct. 9-26, the Boston Playwrights’ Theatre is staging “Mother Mary,” a story that redefines what it means to love bravely in a world ruled by faith and fear.
Written by KJ Moran Velz and directed by Elaine Vaan Hogue, the play follows two women in 1968 Boston — Jo Cruz and Mary O’Sullivan — as they navigate guilt, faith and identity.
“Mother Mary” begins when Mary, an Irish American Catholic school teacher, meets Jo, a confident Puerto Rican woman. In this queer rom-com, what begins as a chance encounter between the two deepens into a connection that challenges both women’s understanding of love and faith.
As their bond grows, they face mounting pressures from family, religion and race. When Mary becomes pregnant, the two embark on a journey to New York, confronting choices that test their devotion and sense of self.
Adriana Alvarez delivered a brilliant performance as Jo. Her character radiated confidence, making no effort to hide who she was, even at the threat of violence. Yet, beneath Jo’s suave exterior, a quiet guilt lingered in every monologue.
Through subtle shifts in tone and expression, Alvarez conveyed the weight of Jo’s family struggles and private regrets, carried like small scars.
Tara Forseth was remarkable as Mary. Engaged to a man when she meets Jo, we initially see her tense and obedient to her mother’s wishes. However, as Mary’s relationship with Jo deepened, Forseth revealed a witty, devoted woman coming into her own.
The chemistry between Alvarez and Forseth was noticeable from the start. Their exchanges were lighthearted and tender. Being the only two actresses casted, Alvarez and Forseth embodied other characters — Jo and Mary’s mothers — with seamless precision.
The staging transformed the audience into an arena surrounding the performers. With just a chair and some tables in the center, every choice felt deliberate and purposeful.
While often humorous, the play did not shy away from the realities of Boston in the 1960s. In a city so segregated, crossing racial lines could be harder than crossing oceans. Jo and Mary not only had to navigate the risks of falling in love as two women, but also as two people from different racial backgrounds.
Mary longs to visit her homeland of Ireland while Jo is content seeing Puerto Rico from afar. While both women quietly face religious shame, their love stretches beyond their own internal conflicts.
The play’s most moving moments were often its smallest. Simple gestures like a shared laugh or a brief glance made Jo and Mary’s characters come to life. Alvarez and Forseth did a great job balancing heavy themes with humor and lightness.
When Mary calls her mother from New York to come out and reveal she’s going through with an abortion, it felt like the setup for a tragic third act that is common in queer stories. However, instead of breaking apart, Mary and Jo affirm their love, sealing it like a vow.
The play “Mother Mary” proves that love can be transformative and enduring, even beyond the rules of religion or expectation. Jo and Mary’s story is not one of tragedy or punishment — it is one of joy, devotion and faith in each other.