The fast-paced story of one man's journey from sinner to saint as he battles the Inquisition and the corruption of the Catholic Church. Inigo (Ignatius of Loyola) begins as a hot-headed, street-fighting sensualist, in this action-packed play but due to serious injury in a sword-fight, he becomes disabled and has to spend time recovering and reassessing his dissolute life. This stage version of his life follows his transformation to become the co-founder of the Jesuits in the sixteenth century, battling the powers of the day and the Inquisition. In Moore's bold, funny play, he asserts Inigo's position as a radical figure bent on changing the Catholic Church. It is ideal for performing in schools, colleges and theatres. Of special interest to schools and colleges, many of which are named after Inigo (Ignatius of Loyola). Inigo's spiritual tools for change have informed modern self-development programs such as the 12 step program for recovering drug and alcohol addicts. As Pope Francis is a Jesuit, this is a timely exploration of one of history's major spiritual leaders and reformers. "This is the most interesting play text to have reached me for a while... Ignatius of Loyala, founder of the Jesuits is not the most obvious choice for a play subject until you remember that he was effectively a counter-cultural radical fighting an implacable establishment suddenly it s both topical and relevant. I hope this thoughtful, engaging and very funny in places eight-hander will get more outings very soon. If not read the text anyway." --Susan Elkin, The Stage "Impressive...entertaining. Enlightening." ★★★★ LondonTheatre1 "Historically accurate, comic and thought-provoking while still incredibly relevant." ★★★★ Plays To See "Brilliantly written and acted...a great evening of thoughtful and dynamic theatre" --Mark Lawson (Writer, Arts Broadcaster and Journalist) "The intelligence of the production, and especially the vitality and versatility of the performances make for a moving, stimulating and enjoyable experience. The structure and dynamism of the play, the art with which Jonathan Moore makes Ignatius accessible to us, capturing much of the drama of the Spiritual Exercises themselves, would also make ‘Iñigo’ an excellent discovery for schools and colleges. I hope that is something we may look forward to." --James Hanvey , Master of Campion Hall, Oxford University. (on thinkingfaith.org) (Full article: http://www.thinkingfaith.org/articles/forging-soul-‘iñigo’-white-bear-theatre) "Condensing a life so full of internal struggle, complex relationships and momentous incident into two hours of drama is an astonishing achievement. Jonathan Moore has honed the story with skill and passion and also a good measure of humour." --Jane Hellings, Jesuits and Friends Jonathan Moore is an award-winning actor, writer and director. As an actor he has played leading roles at the Royal Shakespeare Co, Royal Court, Donmar, the Royal Exchange and on BBC TV. He has directed theatre and opera world premieres at the Almeida, Donmar, West End, Royal Exchange, Gate, English National Opera, Covent Garden, La Fenice in Venice and on TV among many others. He has directed world premieres by composers such as Turnage, MacMillan, Henze, Schnittke, Nyman, Copeland and more, and his early work was sponsored by Joe Strummer of The Clash. He has collaborated with members of punk band Killing Joke and on several projects with Industrial group Test Dept. A published playwright and librettist, his work has been performed at leading theatres including the Donmar, Royal Exchange, Gate, BBC TV, radio and internationally. Jonathan was asked by Mark Rylance to direct the large-scale immersive project for over fifty performers What You Will, a co-production for Shakespeare s Globe, The Cultural Olympiad and Mayor s Office and several subsequent Shakespeare projects. He is due to direct a large-scale site-specific immersive project for Ludovico Einaudi in Italy and a new opera project with Stewart Copeland. He is on the Artistic Advisory Committee of the Royal Academy of Dramatic Art. He has had a Who s Who entry since 2007. A collection of Moore's plays has been previously published by Aurora Metro Books. www.jonathanmooreuk.com

Written by a geologist rather than an art historian, Inigo’s Stones has a down to earth narrative which reveals Inigo Jones as a stone expert who dealt with masons to became a shrewd businessman, bringing Portland stones to London, and founding the modern Portland stone industry.Why are so many of London’s famous buildings, for example Buckingham Palace, the British Museum, the Bank of England, the government offices in Whitehall, faced with stones from the Isle of Portland, more than a hundred miles away? Until now the reasons that prompted famous architect Inigo Jones to bring blocks of this creamy limestone all the way by sea from the Royal Manor of Portland and thereby found the modern Portland stone industry had been something of a mystery.Working with archival research specialist James Derriman, geologist Tom Williamson has now reconstructed a scenario that solves the mystery. It is a complex tale that involves the marriage of Inigo’s chief Banqueting House mason Nicholas Stone to the daughter of the City Mason of booming Amsterdam, a nasty incident at the stone-loading pier at Portland and Inigo Jones’s struggles to pay stone workers from King James’s bankrupt Treasury.The new findings presented in Inigo’s Stones also see Inigo Jones studying Roman stones and marbles in Italy with Lord and Lady Arundel, initiating the first geological study of Stonehenge, searching for Portland stones big enough to replicate the Carystian marble monoliths of the Roman temple of Antoninus and Faustina in London and procuring Irish marbles to reflect imperial glory on his friend King Charles I. Inigo emerges not just as a Court propagandist and Vitruvian architect, but also as a resourceful businessman doing his best to cope at a time when the government was even shorter of cash than it is today.Reflecting on the questions raised by Inigo’s work for the Stuart kings, the author Tom Williamson extends the story to cover the whole field of how rulers have used stones and marbles to project imperial power. Focusing on the stones of three once-mighty empires, the Roman, the Mughal and the British, the book ends with a surprising twist.

An examination of Inigo Jones's work within the context of the European early seventeenth century classicist movement. Includes a broad survey of contemporary architecture in Italy, Germany, France and the Netherlands, as well as a close examination of Jones's buildings.

Remembering Inigo gives us an intimate picture of Saint Ignatius of Loyola as a person and as a religious superior. Luis Goncalves da Camara was the Jesuit whom Ignatius chose to record his personal recollections of his own religious experiences and development in a document that later came to be known as Ignatius's Autobiography. Da Camara was also convinced however, that, if a religious order was to maintain its pristine spirit and purpose, it would do so especially through imitation of its founder. So he set out to get to know, through direct experience, Ignatius's particular and special characteristics. Living for a time (1553-1555) with St Ignatius in the Jesuit headquarters in Rome, da Camara, for a period of seven months in 1555, recorded concrete examples of how Ignatius actually behaved: how he treated those at varying stags of Jesuit life, those in consolation and those in desolation, those tempted, those in need of encouragement or of a reprimand. More than this, da Camara relates how Ignatius prayed and celebrated Mass, how he put questions and answered them, what topics he liked or disliked in conversation, how he ate, how he dressed - in a word, everything that could be found out about him from personal observation. Then, almost twenty years later, he added a commentary to his original notes. Da Camara had in mind in-house audiences of fellow Jesuits, men whom he hoped to encourage by recalling the Inigo he so admired. But the picture of Ignatius which he provided is astonishing even to Jesuits. To say that da Camara's work makes it clear that Ignatius had a fallible humn side is to phrase the matter very softly indeed. In fact, Roman authorities for long were uncertain whether to allow publication of the work; indeed, the first edition of it appeared only in 1904. Nonetheless, it provides us with a valuable insight into a man who towered into sanctity and vision among his contemporaries and still does today.

A full-length study of Inigo Jones as a stage-designer.