Plot
We first meet the character of Mary as an old woman (Dame Maggie Smith) in the present. The “old” Mary, a former journalist and socialite, arrives at the house of Elliot Graham’s late father. Joe, the caretaker of the house, takes pity on her and invites her in. She begins to recount to Joe the significance of the house to her.
Moving from room to room, she tells Joe of the 1950s high society soirees she was invited to in the house. She recalls how Mr Graham’s soirees were attended by the great and the good – the aristocracy, the nouveaux riche, industrialists, newspaper barons, editors, actors, directors, and so forth. She tells Joe that she has been haunted by the memory of a sinister man named Greville White whom she met one evening in the house. Greville White turns out to be a social climber whose influence reached into high society. Mary recalls that he was supremely charming, but utterly evil. We see Greville and the “young” Mary (Ruth Wilson) in Mr Graham’s cellar selecting fine wines for a salad that he has prepared. In the cellar, Greville tells Mary of dark secrets involving members of the British Establishment who are enjoying Mr Graham’s soiree in the rooms above them. The secrets involve child abuse, sexual perversion, anti-semitism, and racism amongst the great and the good.
He feigns friendship with Mary, but she rejects him because of his malevolent powers. The audience encounters “subsequent” meetings between the two in the 1950s and 1960s at Mr Graham’s soirees and other social events. We begin to see the sinister destruction of Mary’s life by Greville White and her slide into despair and alcoholism.
The end of the drama sees Greville White re-appear in Kensington Gardens in the present. Mary is now an old woman (Dame Maggie Smith) but the sinister Greville White has not aged since they first met in the 1950s.
Read more about this topic: Capturing Mary
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“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)