Old English: A borrowing from the French

Cunning / Wise / Ingenious / Elaborate / Fine / Gracious / Curious / Remarkable / Mysterious

~ The Precious Thing ~


Queynte Laydies are a playwriting duo who tell historical stories for a contemporary world. We want to celebrate the lives of the sex unrecorded in history and explore what women have really been doing, thinking and saying all these years…

Our accessible and entertaining work has toured the UK and Europe, combining historical research with inventive playfulness. 



Sarah Anson

Sarah read English at Oxford, where she first encountered Margery Kempe and her love of all things Medieval. Playwriting credits with Máirín include Lady Percy (Fletcher Collins Theatre, Virginia), Marge & Jules (UK tour/VAULT Festival), The Life & Opinions of Mary Read; Gentlewoman Pirate (TBA), Leopardess (Canal Café Theatre) and The Keepers (Corbett Theatre, Etcetera Theatre). Screen writing credits include short film Bean (starring Lou Sanders, released 2019) and the upcoming short Sarah Surname (in which Sarah will also star). Sarah & Máirín also recently had a TV sitcom optioned for development.

In her spare time, Sarah loves watching horror movies. Her dream (and the only item on her bucket list) is to write a horror novel before she turns 30.


Máirín O'Hagan

Máirín studied English & Classics at Cambridge University where she wrote and performed comedy for the Cambridge Footlights, and was President of the Marlowe Society. She has written a number of comic plays including The Orphanarium of Erthing Worthing, The Footlights Pantomime The Snow Queen and Leopardess. Her recent Bereavement: The Musical was nominated for ‘Best New Musical’ and ‘Best Lyrics’ in the Musical Theatre Matters awards at the Edinburgh Festival. Her adaptation of Aristophanes The Assembly Women played at VAULT Festival in London in February 2016. Máirín also runs a film company, Barefaced Greek, which makes short films using Greek drama in the original language.

“Sarah Anson and Máirín O’Hagan are remarkable actresses. Their performance evinces both a rare sensibility to medieval texts and a capacity to make sense of the latter for a contemporary audience… I was surprised to be immediately caught up by the intensity of their play from beginning to end. I warmly recommend it.”

Professor Guillemette Bolens, University of Geneva

“This was a powerful and deeply thoughtful performance. The difficulties of Margery’s Book were adroitly managed so that the play worked both theatrically and also as an insightful critical reading. For those people who find the text opaque or simply too alien on first reading, this performance would be an excellent route to more sympathetic understanding.”

Professor John McGavin, University of Southampton

“I thought the play was beautifully crafted, dovetailing original material from the works of both Margery and Julian to create a thoughtfully imagined account of their meeting. The play (and the accomplished performance by its authors) does have an extra interest for the already-knowledgeable, but I don’t think you have to know Marge and Jules already – the issues raised are about women’s relationships and beliefs, and have a perennial interest. I enjoyed the nice management of tone too, in the performance – it achieved an easy balance of comic and serious – a positively medieval skill, Chaucer does it too!”

Dr Diana Wyatt, Durham University


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