Characters
Marion French
Marion, the elder sibling of Isobel Glass, emerges as a formidable antagonist in the play, with her presence casting a long shadow. In the waning years of her thirties, she has deftly navigated the intricate corridors of British politics to secure a prestigious role as a junior minister within the Department of the Environment, proudly carrying the banner of Britain’s Conservative Party. During the 1980s, under the iron-willed Margaret Thatcher, the Conservatives—often dubbed the "Tories"—found themselves mired in controversy, branded as champions of avarice with scant empathy for social plights like poverty, homelessness, and environmental crises. Similarly, Marion seems to echo her party's ethos, with her gaze fixated on wealth and influence, showing little regard for the plight of others.
As Isobel dedicated her days to tending to their ailing father in the twilight of his life, Marion's visits were sporadic and infrequent. Instead of offering warmth and affection, she opted to express her love with a lavish ring, a token quickly reclaimed just hours after his passing. Her life is a relentless pursuit of career ambitions, where even familial emergencies are no barrier to her business calls. Despite her high-profile role in the government and seemingly everything one could desire, Marion is perpetually seething, often lashing out at those around her. Her sister Isobel frequently bears the brunt of her temper, and even her husband, Tom, is not spared from her ire. When Green Party activists, who advocate for environmental preservation and denuclearization, pay her a visit, she scornfully retorts, "Come back and see me when you’re glowing in the dark."
Critics have noted that Marion teeters on the edge of becoming a mere caricature of Thatcher-era England. Yet, her relentless exploitation of Isobel—a manipulation of conscience and a barrage of abuses—drives her sister toward a tragic demise. Marion harbors resentment toward Isobel's inherent goodness, a trait that sets her apart from the self-serving masses. She confesses a baffling inability to comprehend the fervor that drives non-materialistic souls like Isobel. However, in the aftermath of Isobel's death, Marion appears to undergo a transformation. In the play's closing scene, she discards her conservative business attire for a simple black mourning dress, eschews a business call, and shares a rare moment of intimacy with her husband before he departs for the funeral. Her poignant lament, "We’re just beginning," echoes with longing as she implores, "Isobel, why don’t you come home?"
Tom French
Tom French stands as Marion’s husband, serving as a foil to the dynamic female characters that populate the play. In literature, a foil is a character who, through contrast, illuminates the defining traits of others. Soft-spoken and occasionally overzealous in his eagerness to please, Tom refrains from choosing sides during the sisters’ disputes, offering a diplomatic, "I’m sure both of you are right." This contrasts starkly with the bold and opinionated personas of Marion and Katherine. Tom, with his knack for business, thrives in ventures and investments, while Isobel shies away from risk, preferring to prioritize quality over profit in her modest graphics firm.
Tom’s most notable trait is his devout religious faith. His introduction in the play is marked by comforting words to Isobel following her father's death, reassuring her with "He’s fine. He’s in the hands of the Lord." Tom attributes his calm demeanor and financial success to embracing Jesus in his life, even crediting divine intervention for fixing his broken car. He constructs a pool for baptisms in his backyard, dedicated to bringing others to his faith.
As the president of Christians in Business, Tom purports to conduct his affairs "the way Jesus would...
(This entire section contains 2081 words.)
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have done it." Yet, his practices reveal a different story. Together with Marion, he persuades Isobel to accept investment funds to expand her graphics company, promising prosperity akin to the roaring 1980s Britain and offering Katherine a fresh start. However, when the company falters, Tom promptly dismisses the new hires with minimal compensation and sells off their office space for a hefty profit, writing off the investment as a tax deduction. This maneuver nets him a handsome gain, while Isobel's business crumbles, leaving many jobless.
Much like Marion and Katherine, Tom is profoundly impacted by Isobel’s passing. As he aids the women in restoring Robert Glass’s home on the day of Isobel’s funeral, he attempts to console Marion just as he did Isobel at the beginning. But his faith falters, and he confesses, "I have slightly lost touch with the Lord Jesus."
Isobel Glass
Isobel emerges as the most intricate character in The Secret Rapture. In her early thirties, she has achieved moderate success, running a boutique graphic design firm alongside two employees. Unlike her sister Marion, Isobel shuns the pursuit of wealth and the political maneuvers of the ruling Conservative Party. Her life is dedicated to simplicity, righteousness, and offering aid to those in distress at every possible turn.
A resolute moral compass earned her the moniker “Saint Isobel” among some critics, with her unworldly virtue often noted by others, not always with admiration. Her selfless acts resemble those of a saint. She remains at her father’s side during his final days, and upon his passing, she extends a lifeline to the troubled Katherine by offering her a job and limitless chances for redemption. Persecution from Marion and the devastation of her business due to Tom’s deceitful dealings are borne without judgment. The sole person she seems to harm is Irwin, but even this appears to stem from a principled stance: his betrayal makes it unfair in her eyes to feign love for him.
Beyond her moral complexity, Isobel is the play’s tragic protagonist. Critics have noted her suffering and downfall should engender empathy, yet her fortitude often belies her status as a victim. John Turner, writing for the Times Literary Supplement, remarked upon her commanding verbal prowess, making her triumph in too many encounters to evoke pity. Isobel decisively dismisses Rhonda from their office when she catches her involved with Irwin and fearlessly confronts the murderous Irwin, even taunting him before she meets her demise.
Matt Wolf, another critic, suggests that Isobel’s fate aligns not only with that of a tragic heroine but also a martyr. "It’s no accident that Isobel’s surname is ‘Glass,’” Wolf observed in a review for the Wall Street Journal, European Edition. “She reflects the moral bankruptcy of those around her, even at the expense of her own life, as the tragic conclusion reveals.”
Ultimately, it is Isobel’s sacrifice that galvanizes transformation among the remaining characters. Her death prompts Tom to reevaluate his spiritual beliefs, and Marion, for the first time, feels a genuine connection with another person. Much like a saint whose virtuous deeds ignite change only posthumously, Isobel’s legacy blossoms after her departure.
Katherine Glass
Katherine, the volatile and alcoholic widow of Robert Glass, is a young woman adrift. She confesses repeatedly throughout the play that her life was aimless before meeting Robert. Plagued by substance abuse, she had never maintained a stable job, and her romantic entanglements were fleeting, occasionally bordering on prostitution. Since childhood, Katherine has been burdened by a sense of inferiority, causing her to act out in worrying and sometimes perilous ways.
She credits Robert with bestowing her life with purpose and dignity. Now, with his death, she finds herself alone and seeking solace among others. Katherine’s character lacks warmth, and she is scarcely likable; her desperate neediness and erratic behavior drive the play’s narrative. She sets the wheels of the play in motion.
Initially, she manipulates Isobel's devotion to her deceased father, persuading Isobel to hire her at the graphic arts firm. Her presence causes disharmony, driving out another employee and straining Isobel's relationship with Irwin by disparaging his work and mishandling clients. Katherine’s influence prompts Tom and Marion to push for an expansion of Isobel's company, against Isobel's wishes. Her reckless actions, including an intoxicated attempt to harm a crucial client, spell financial ruin for the business.
Throughout the narrative, Isobel strives to aid Katherine, granting her every chance at redemption. Yet, Katherine reciprocates with exploitation and abuse. Irwin cautions Isobel, warning that Katherine harbors malevolence, “dreaming of ways to destroy you.” Tragically, Irwin’s warning proves prophetic. When Isobel is at her lowest, living with Katherine while hiding from Irwin, it is Katherine who betrays her, opening the door to Irwin, leading to Isobel’s murder.
Rhonda Milne
In the tapestry of The Secret Rapture, Rhonda stands as the sole supporting character. In her early twenties, she is strikingly attractive, intellectually sharp, daring, and forthright. She works as an assistant to Marion in the Department of the Environment and seemingly shares Marion’s conservative political leanings. Her impact on the play is twofold.
Rhonda embodies the influence of Marion and the Conservative Party on the next wave of British leadership. She has recognized the power of the Conservative agenda and aligned herself with it, demonstrating ambition and a readiness to capitalize on others’ weaknesses. Rhonda’s organizational skills facilitate Marion’s meeting with Green Party representatives in the countryside, where she relishes in Marion's mockery of them before they return to the city.
Second, Rhonda emerges as an irresistible allure for Irwin, and an undeniable signal to Isobel that their relationship has reached its demise. During Isobel's supposed business trip, Rhonda orchestrates a private evening rendezvous with Irwin at their freshly minted offices. Officially, her visit is to admire the new space and make use of their shower—her own water supply having been abruptly cut off. Yet, beneath this guise, the encounter transforms into a seduction, as the two indulge in champagne and Rhonda regales Irwin with tales of her past romantic escapades. Evoking a spirit reminiscent of Katherine, Rhonda confesses that Marion keeps her around because she "likes the idea that I cause chaos."
In stark contrast to the central figures of the drama, Rhonda seems untouched by Isobel’s passing. On the day of the funeral, while mourners gather at Robert’s home clad in somber attire, Rhonda makes her appearance in a flirtatious short black skirt. Unfazed, she continues to take calls from the Ministry for Marion, even as Marion now dismisses them. Rhonda is bemused by the town's collective grief over Isobel's death. Upon hearing of their plans to walk through the village together, she remarks, "It’s like everyone valued her."
Irwin Posner
Introduced in the narrative as Isobel’s seemingly unassuming and loyal occasional boyfriend, Irwin holds the position of principal illustrator at her modest graphic arts firm. At first, he is aware of the trouble Katherine is brewing for Isobel and their business, yet he stands by Isobel’s resolve to assist her late father’s widow. However, as Katherine’s criticism of his work intensifies and she begins alienating their clients, Irwin urges Isobel to sever ties with her. Though he attempts to confront Katherine himself, Isobel insists on her staying.
The pressure Katherine exerts on their relationship appears to weigh on Irwin, leading him to behave erratically. In secrecy, he confers with Tom and Marion about their interest in investing in Isobel's enterprise. He claims that he and Isobel are engaged and, in exchange for helping persuade her to accept their offer, he agrees to their proposal to double his pay. Feeling betrayed, Isobel concludes she no longer harbors love for him.
Discontent with Isobel’s apparent indifference, Irwin meets Rhonda at the office during an evening when Isobel is presumed to be away. What begins innocuously evolves into something more, with champagne flowing and intimacy lingering in the air, just as Isobel unexpectedly returns. Desperate, Irwin pleads with Isobel for affection and implores her to dismiss Katherine before it’s too late, yet Isobel remains resolute and declares the end of their relationship.
As Tom and Marion prepare to dismantle Isobel’s company, Irwin admits that Isobel, above all else, represents his "whole life." Despite being madly in love with her, he finds himself barred from even being in her presence. Consumed by obsession, Irwin spirals into violence. He tracks Isobel to Katherine’s apartment, confronting her with a firearm and demanding a return to their past. Refusing and attempting to flee for help, Isobel meets her tragic end at his hands. As her life closes, so does Irwin’s torment. "It’s over," he murmurs. "Thank God."
