Through a non-linear timeline, the Furies force Mary to re-live the events that led to her imprisonment. The audience witnesses:

The amateur production rights and official acting editions of Lanie Robertson's play are held by Concord Theatricals. You can purchase physical copies or legal digital scripts directly from their website.

It has been described by critics as "an engrossing drama on the abuse of the mentally ill," "fully entertaining, creepy and wonderful," and "a chilling piece of powerlessness and despair". A 2026 production at Barnard College was noted for its ambition, with the director even having the "Furies" enter the audience, effectively making theatergoers complicit in the system that observes and defines Mary. The play continues to resonate with contemporary audiences and is scheduled for a run at the 2026 Edinburgh Festival Fringe.

Imagine the irony: the richest man in America kept his wife chained in a damp cellar for over a year. The "treatment" was isolation, darkness, and neglect. She died there in 1815. Robertson’s play takes this skeleton of history and breathes terrifying, poetic life into it.

: For those looking for specific sections, such as Mary's famous closing monologue, StageAgent provides text excerpts and character breakdowns. Article: The Descent into "Sanity"

Before dissecting the script, one must understand the bedrock of real-life tragedy. Mary Girard (née Lum) was the wife of Stephen Girard, one of the wealthiest men in early American history. Stephen Girard is a titan of Philadelphia lore: a French-born banker, a savior of the U.S. government during the War of 1812, and the founder of Girard College.

For students and directors looking at the script, Robertson weaves several heavy themes throughout the text: