Isabelle Arc is a sensible, hard-working, God-fearing woman. Her headstrong daughter, on the other hand, communes with Saint Catherine, dons men’s clothing and prepares to lead the French army into battle. Motherhood in the fifteenth century is not easy. In her riveting new play, Jane Anderson reimagines Joan of Arc’s epic tale through the eyes of her mother. Isabelle follows the baffling journey of her odd and extraordinary daughter with a mother’s loving persistence—facing her own fears and upended faith along the way.

"Marin is where my heart is, it’s where I go to soothe my soul. I’m so glad that this very raw and personal piece of me is getting a home on the MTC stage.” — Jane Anderson

Run time is approximately 1 hour and 40 minutes + one 15-minute intermission.
Special effects advisories: This production uses theatrical haze.

MTC provides advisories for each production regarding special effects that may affect patron health and physical sensitivities as necessary. MTC does not provide advisories relating to content, because content sensitivities vary from patron to patron. If you have questions about content, please contact the box office prior to purchasing your tickets as we do not offer refunds to patrons who choose not to see a show based on subject matter. 

Generous season and program support for Mother of the Maid provided by The Shubert Foundation, William & Flora Hewlett Foundation, and Relevant Wealth Advisors.


Performance Schedule

Press Opening Night 
Tuesday, Nov 19, 7:30pm.  
Opening nights are not available for sale online. 
Seating is extremely limited.   

Questions? Please contact the Box Office directly: 
(415) 388-5208 | 

Tue - Sat 7:30pm   
Sunday Nov 24, 7:30pm

Sunday (Preview) Nov 17, 4pm     
Thursday (Perspectives) Dec 5, 1pm     
Saturdays, Nov 23 & 30, Dec 7 & 14, 2pm     
Sundays Nov 24, Dec 1,8 & 15, 2pm

Ticket Prices

Performance Center
Performance Center seating Side seating
Previews $39 $39
Sat Eve & Weekend Matinees $60 $55
Tue*, Wed, Thu, Fri & Sun Eve $52 $47
Perspectives Matinee $52 $47
Best Deal (see info below) $25 $25


Phone & online orders subject to a $6 fee per order.

Tickets are subject to resale starting 5 minutes before curtain. Late seating is based on available seats.

Disabled seating is currently only available through the MTC Box Office (415.388.5208 or in person). We apologize for any inconvenience.


  • BEST DEAL: $25 tickets in select seats available for all performances beginning one week before opening night. Available online. Questions? Call the box office at 415-388-5208
  • GROUPS: Bring eight or more people to receive a $7 discount on tickets. The group discount is automatically applied online. Questions? Call the box office at 415-388-5208.
  • SENIORS (65+): $4 off single tickets to all performances, available online.
  • UNDER 35: $25, all performances, available online.
  • TEENS: $10 tickets, all performances, available online.
  • EDUCATOR: $12 tickets, all performances (limit 2). Must teach at a Marin County School. Call the box office to reserve at (415) 388-5208.
  • MILITARY: $6 off all performances. Thank you for your service! Please call the box office to reserve at (415) 388-5208.

Only one promotional code can be used per order, and cannot be combined with any other discounts or offers.

Promo codes can be used when purchasing tickets online, or when mentioned to the Box Office associate over the phone or in person at the MTC Box Office counter.

Promo discounts will be taken from General priced tickets ONLY, so be sure to select the General price type after selecting your preferred seats online.

Promo codes cannot be applied to Senior tickets, Under 35 tickets, Teen tickets or Best Deal tickets.

If purchasing tickets online, type your promo after selecting your seats and price type. The system is case sensitive so if the code you're given is in all-caps, make sure it is entered in all-caps!

If you don't see the discount applied in your cart at checkout, please contact the Box Office before confirming your payment as refunds will not be issued for failed web applications.

Select a Performance

To begin your ticket purchase, select a performance from the calendar below:

November 2019
Sun Mon Tues Wed Thurs Fri Sat


  • Scott Coopwood*

    Scott Coopwood*

    Jacques Arc

    Scott Coopwood Regional favorites include: The title roles in Hamlet, MacBeth, Cymbeline, King John, Edward III and Cyrano De Bergerac, Iago in Othello, Edmund in King Lear, Angelo in Measure for Measure, Carl in Lonely Planet, Charlie in The Scene, Kippy in Take Me Out, Shylock in The Merchant Of Venice, Jacques in As You Like It, Trigorin in The Seagull, Benedick, Don John, and Dogberry in Much Ado About Nothing, Petruchio in The Taming Of The Shrew, Brutus in Julius Caesar, Harry Brock in Born Yesterday, Brennan in Frost/Nixon, Edward in Someone Who’ll Watch Over Me, Johan in Groundswell and Apis in Archduke. Regional Theatres include: Arkansas Rep., Artists Rep., Capital Rep., San Jose Rep., Center Rep., Berkeley Rep., Capital Stage, The Utah, Colorado, Orlando and Lake Tahoe Shakespeare Festivals, Arizona Theatre Co., Sacramento Theater Co., Marin Theatre Co., Portland Center Stage.,Theatreworks.,The Seattle and Marin Shakespeare Companies, Profile Theatre Project, Shotgun Players, San Francisco Playhouse, and Jewel Theatre Co., as well as work with the Toronto, Windsor, and Oregon Symphony Orchestra’s. 

    + Show more
  • Sherman Fracher*

    Sherman Fracher*

    Isabelle Arc

    Sherman is always grateful to return to Mill Valley and Marin Theatre Company. She was most recently seen in August: Osage County,and also appeared in Tennessee Williams’ The Glass Menagerie.  Regional Theatre:Actors Theatre of Louisville (A Christmas Carol, The Curious Incident of the Dog in the Nighttime),Cincinnati Shakespeare Company (Much Ado About Nothing, Hamlet, Lion in Winter, The Seagull, A Streetcar Named Desire), The Human Race Theatre Company (Vanya and Sonia and Masha and Spike, Other Desert Cities), Actors’ Express (Bug) Athens West Theatre Company (Who’s Afraid of Virginia Woolf?), and Georgia Shakespeare (Macbeth, A Christmas Story).  Sherman lives on a small farm in Kentucky with her husband, director Drew Fracher. 

    + Show more
  • Rosie Hallett*

    Rosie Hallett*

    Joan of Arc

    Rosie Hallett is delighted to be returning home to Marin Theatre Company, where she has appeared in peerless, Native Son, Thomas and Sally, and The Way West. Other recent credits include Top Girls and Men on Boats (American Conservatory Theatre), Red Speedo (Center Repertory Company), The Country House (TheatreWorks), and numerous productions and tours to France with Word for Word Performing Arts Company, where she is an Associate Artist. She has participated in new works development at MTC, ACT, Berkeley Rep, Classic Stage Company, TheatreWorks, Ojai Playwrights Conference, and others. Hallett earned degrees in Drama and English from Stanford University.

    + Show more
  • Brennan Pickman-Thoon*

    Brennan Pickman-Thoon*


    Brennan Pickman-Thoon is thrilled make his Marin Theater Company debut! Born and raised in San Rafael, he was lucky enough to train and attend classes here at MTC. Recent roles include Tennessee Williams in The Gentleman Caller at New Conservatory Theatre Center, and Claudio in Measure For Measure at Marin Shakespeare Company. Other Bay Area credits include Timon of Athens and Phèdre (Cutting Ball Theater), Metamorphoses and The Good Book (Berkeley Repertory Theatre, u/s), Julius Caesar and The Winter's Tale (California Shakespeare Theater). Award nominations: Performer in a Principal Role (Theater Bay Area), Performer in a Featured Role (SFBATCC). Brennan received a BFA from NYU’s Tisch School of the Arts and trained at the Stella Adler Studio of Acting. For more, visit!

    + Show more
  • Robert Sicular*

    Robert Sicular*

    Father Gilbert

    Robert is delighted to return to the Marin Theater Company where he was previously seen in Arms and the Man, The Seafarer, Magic Forest Farm, Fetch Clay Make Man, August: Osage County, Thomas and Sally, and Shakespeare in Love. Other theater credits include ACT, Berkeley Rep, Word for Word, TheatreWorks, San Jose Rep, San Jose Stage, Center REP, the San Francisco Shakespeare Festival, the California/Berkeley Shakespeare Festival, South Coast, Seattle and Saint Louis Repertory Theatres, the Denver Center Theatre Company, Actors Theatre of Louisville, Sacramento Theatre Company; the Colorado, Lake Tahoe, Santa Fe Shakespeare Festivals, the Shakespeare Theatre in Washington, DC, and for eight years, the Oregon Shakespeare Festival in Ashland. Screen credits include the Sci-Fi comedy thriller, Never Die Twice; the Bollywood potboiler, Dil Pardesi Ho Gaya; and the role of “Dad” in Josh Kornbluth’s Love and Taxes. Robert attended the University of California at Berkeley and the London Academy of Music and Dramatic Art.

    + Show more
  • Liz Sklar*

    Liz Sklar*

    Lady of the Court

    Liz Sklar is thrilled to be back at Marin Theater Company where she last played Sofie in Wink. Recently she was seen at A.C.T. in Men on Boats as Major Powell. Other bay area credits include Annie in The Real Thing at Aurora Theatre Company, Desdemona in Othello at CalShakes, Trouble Cometh and Becky Shaw at San Francisco Playhouse, Care of Trees at Shotgun Players and The WolvesAnne Boleyn, The Whale, Failure: A Love Story, Lasso of TruthOthello, Seagull and Bellwether all at Marin Theater Company. Sklar holds a B.A. in Theater Arts from Brown University and an M.F.A. in Acting from A.C.T.

    + Show more

Creative Team

  • ​Jane Anderson

    ​Jane Anderson


    Jane Anderson is an Emmy award-winning writer and director for theater, film and television. Plays include: The Baby Dance, Defying Gravity, Looking for Normal, The Quality of Life,The Escort, Lynette at 3AM, Food & Shelter and The Last Time We Saw Her.

    Her plays have been produced Off-Broadway and in theaters around the country, including ACT, Arena Stage, Actors Theater of Louisville, Williamstown, Shakespeare & Company, The McCarter Theater, Long Wharf, Geffen Playhouse, and the Pasadena Playhouse. Her latest play, Mother of the Maid, premiered at the Public Theater in 2018 and starred Glenn Close.

    Screenwriting credits: The Wife, starring Glenn Close, How to Make An American Quilt, It Could Happen to Youand The Prizewinner of Defiance, Ohio, starring Julianne Moore & Woody Harrelson, which she also directed. Documentary film: Packed in a Trunk: The Lost Art of Edith Lake Wilkinson, featured on HBO.

    Television writing credits: HBO’s Olive Kitteridge, starring Frances McDormand for which she received an Emmy Award for best teleplay and limited series, a Writers Guild Awardfor best teleplay and nominated for the Golden Globe for best limited series.  She wrote HBO’s The Positively True Adventures of the Alleged Texas Cheerleader Murdering Mom, for which she received an EmmyPenn Award and Writers Guild Award for best teleplay. She wrote and directed The Baby Dance for Showtime which she adapted from her play and received the Peabody Award as well as Golden Globe and Emmy nominations. She wrote and directed Normal for HBO (starring Jessica Lang & Tom Wilkinson) adapted from her play Looking for Normal which received EmmyGolden Globe and Directors’ Guild and Writers’ Guild nominations for best writing and directing.  She wrote and directed When Billie Beat Bobby starring Holly Hunter and Ron Silver.  And wrote and directed the first segment of HBO’s If These Walls Could Talk II which starred Vanessa Redgrave for which she received an Emmy nomination for best teleplay. 

    + Show more
  • Jasson Minadakis

    Jasson Minadakis


    Jasson Minadakis is in his 14th season as artistic director of Marin Theatre Company, where he has directed OsloShakespeare In LoveThomas and SallyGuards at the TajAugust: Osage CountyThe Invisible HandAnne BoleynThe ConvertThe WhaleFailure: A Love Story, the world premiere of Lasso of TruthThe Whipping Man (San Francisco Bay Area Critics Circle Awards for Best Production and Best Acting Ensemble), Waiting for GodotOthello: the Moor of VeniceThe Glass Menagerie, Edward Albee’s Tiny Alice, the world premiere of Libby Appel’s adaptation of Chekhov’s SeagullHappy Now?Equivocation(SFBATCC Award, Best Director), the world premiere of SunlightLydiaThe SeafarerFrankie and Johnny in the Clair de LuneA Streetcar Named Desiresaid SaïdLove Song, and The Subject Tonight is Love. As artistic director of Actor’s Express Theatre Company, he directed The PillowmanBug; The Love Song of J. Robert Oppenheimer; Echoes of Another Man;Killer Joe; Burn This; The Goat or, Who is Sylvia?Blue/Orange; and Bel Canto. As producing artistic director of Cincinnati Shakespeare Festival, he directed Jesus Hopped the ’A’ TrainChagrin Falls (2002 Cincinnati Entertainment Award for Best Production), and numerous others, including 19 productions of Shakespeare. Regional credits include The Whipping Man at Virginia Stage Company, Cat on a Hot Tin Roof and Hamlet at Georgia Shakespeare, Copenhagen at Playhouse on the Square (2003 Ostrander Theatre Award for Best Dramatic Production), and Bedroom Farce at Wayside Theatre.

    + Show more
  • Sean McStravick*

    Sean McStravick*

    Stage Manager

    Sean McStravick is delighted to return home to MTC where they were last seen cheering on The Wolves from the booth. Currently based out of Chicago, Sean has been a member of the Stage Management team on over one hundred productions (21 here at MTC,) at companies including: Northbrook Theatre, Theater Wit, Porchlight Music Theatre, Music Theater Works, Berkeley Repertory Theatre, the Reduced Shakespeare Company, North Coast Repertory Theatre, R.H. Orman Inc., Shotgun Players, and the Willows Theatre Company. They are a proud member of Actors' Equity Association.

    + Show more
  • Sean Fanning+

    Sean Fanning+

    Scenic Designer

    Sean Fanning (scenic designer) is a Southern California–based designer. Previously at MTC: Oslo, Thomas and Sally, and My Mañana Comes. Elsewhere: Native Gardens (Center REP), Looking for Christmas, Full Gallop, A Doll’s House (The Old Globe), Nina Simone: Four Women (Alabama Shakespeare Festival), The Solid Life of Sugar Water (Deaf West Theatre), Bad Hombres, Good Wives, A Doll’s House Part 2, Fun Home, Manifest Destinitis, In The Heights (San Diego REP), Straight White Men (Florida Studio Theatre), Rock of Ages, Pride and Prejudice, HIR, The Last Wife, On the Twentieth Century (Cygnet Theatre, Resident Artist), Super Shiny Sara, Light Years Away (La Jolla Playhouse, POP Tour), The Wizard of Oz, Beauty and the Beast (Sierra Rep), Once, Silent Sky, Equivocation (Lamb’s Player’s Theatre). He received San Diego Critics Circle Awards for Designer of the Year in 2016, and for his design of Cygnet’s On the Twentieth Century in 2017.  Sean holds an M.F.A. in Scene Design from San Diego State University.

    + Show more
  • Sarah Smith

    Sarah Smith

    Costume Designer

    Sarah Smith (costume designer) (she/her/hers) is a Costume Designer and Technician local to the Bay Area. Sarah was born and raised in Boulder, Colorado, and made her way to San Francisco after graduating from the University of Puget Sounds with a BA in Theatrical Arts and Classical Studies. She has been the Costume Shop Manager at Marin Theatre Company for the past two seasons, and has worked as a costume designer and builder in the area for the last five years. Sarah has designed throughout the Bay Area including: Pool of Unknown Wonders: Undertow of the Soul (Ubuntu Theatre), Black Eagles (African American Shakespeare Company); Big Love, The Inspector General (The Nueva School). She has also worked on costumes for A.C.T, Berkeley Rep, San Francisco Shakespeare Festival, Menlowe Ballet, Dawson Dance, Lines Ballet, San Francisco Ballet, and Colorado Shakespeare Festival. She is currently pursuing an Associates Degree in Fashion Construction and Design from Apparel Arts in Oakland.    

    + Show more
  • ​Chris Lundahl

    Lighting Designer

    Chris Lundahl is a lighting designer based in the San Francisco Bay Area.  Recent Lighting Design credits include: Rhinoceros (American Conservatory Theater); Mama Mia (Berkeley Playhouse); The Daughters (San Francisco Playhouse); Bright Star (Palo Alto Players); Kings (Shotgun Players); The Gentleman Caller (New Conservatory Theatre); Transfers (Crowded Fire Theatre). Other credits include: La Serva Padrona, Savitri, The Bear (Merola Opera), Rock of Ages, The Little Mermaid, Titanic, the Musical (Rocky Mountain Repertory Theater). Chris was also the Projection Designer for Vietgone (American Conservatory Theater).

    + Show more
  • ​Sara Huddleston

    ​Sara Huddleston

    Sound Designer

    Sara Huddleston (sound designer) previously designed sound for MTC for Sovereignty, Oslo, Straight White Men, Shakespeare in Love, Miss Bennett: Christmas at Pemberley, and Gem of the Ocean. Other favorite Bay Area sound design credits include The Chinese Lady, In Old Age, The Gangster of Love, Reel to Reel, Fool for Love, Dogeaters, And I And Silence, Every Five Minutes, Hir, Terminus, Se Llama Cristina, Any Given Day, Mrs. Whitney and Goldfish (Magic Theatre), Octopus (Magic Theatre and Encore Theatre Company), I Call My Brothers, 410 [Gone], and Invasion! (Crowded Fire Theater), We Swim, We Talk, We Go To War and Autobiography of a Terrorist (Golden Thread Productions) , T.I.C. and In On It (Encore Theatre Company), The Shaker Chair (Encore Theatre Company and Shotgun Players), Kiss and Macbeth (Shotgun Players), and Ripped (Z Space). Next up: Don't Eat the Mangos at Magic Theatre.

    + Show more
  • Chris Houston

    Chris Houston


    Chris Houston (composer) is a pianist and composer.  He records and produces as Implied Music. ( He has composed music and/or designed sound for over 30 productions at Marin Theatre Company, including Oslo, The Legend of Georgia McBride, Guards at the Taj, The Invisible Hand; The Oldest Boy; The Convert; The Whale;Failure: A Love Story; August Wilson’s Fences; Jacob Marley’s A Christmas Carol; The Whipping Man; Waiting for Godot; It’s a Wonderful Life: A Live Radio Play; Topdog/Underdog; Othello, the Moor of Venice; The Glass Menagerie; the world premiere of Bellwether; Seven Guitars; and In the Red and Brown Water. Locally, his designs and compositions have been featured at American Conservatory Theater, Aurora Theatre Company, SF Playhouse, Center REP, Magic Theatre, and the San Francisco Shakespeare Festival.

    + Show more
  • Trevor Scott Floyd

    Trevor Scott Floyd

    Artistic Producer

    Trevor Scott Floyd (he/him/his) started as an Artistic Direction intern with MTC in 2015 and, prior to his current role as Artistic Producer, spent two seasons as Director of Ticketing, Artistic Associate, and Company Manager. As Artistic Producer, Trevor serves as MTC's local Casting Director. Originally from the beaches of South Carolina, he graduated with a dual major in Theatre and Political Science from Clemson University before trading in the Palmetto trees for the Redwoods. In addition to his role at MTC he is a freelance director and writer. You can read his latest work on the New Play Exchange.

    + Show more
  • Laura A. Brueckner

    Laura A. Brueckner

    Literary Manager & Resident Dramaturg

    Laura A. Brueckner has been supporting productions and playwrights with her dramaturgical work for over 20 years, with an emphasis on digital dramaturgy, world premieres, and commissions. During this time, she has been proud to count among her collaborators artists such as Marin Theatre Company’s playwright in residence, Lauren Gunderson; Christopher Chen; Frances Ya-Chu Cowhig; Mina Morita; Marissa Wolf; Idris Goodwin; Lachlan Philpott; and Dominique Serrand, as well as groundbreaking companies Berkeley Repertory Theatre, Crowded Fire Theater, The New Harmony Project, Playwrights Foundation, and, now, MTC. As an artist, she is committed to theatre as a path of social action, critical inquiry, discovery, and delight. Her journalistic writing on artistic process and audience engagement has been published by HowlRound and Theatre Bay Area; her dramaturgical writing has been published by Berkeley Rep, California Shakespeare Theater, and Crowded Fire. A member of Literary Managers and Dramaturgs of the Americas, she holds a B.A. in English Dramatic Literature (magna cum laude) from U.C. Berkeley and a Ph.D. in Dramaturgy from U.C. San Diego.

    + Show more
  • Goñi Montes

    Goñi Montes

    Graphic Illustrator (promotional artwork)

    Goñi was born in Ponce, Puerto Rico, got a BA from the UPR at Mayagüez, and an MFA from SCAD Atlanta. I began working as a scientific illustrator for the Puerto Rico Sea Grant. Now I mostly do editorial illustrations & comics with some fantasy here and there.

    Adobe // Adweek // American Way // Architectural Review // Arena Stage // BOOM! Studios // Canadian Business Magazine // Chicago Tribune // Draft FCB // Dwell // Entertainment Weekly // ESPN // Euroman // Field & Stream // Golf Magazine // Guideposts // Guitar World // Intel // Label Mag // Ladies’ Home Journal // Leo Burnett // Lighthouse Catholic Media // Macmillan // McDonald’s // The New Republic // The New York Times // The New Yorker // Oz Magazine // Pearson Education // Playboy // Puerto Rico Sea Grant // Rolling Stone // San Francisco Magazine // San Francisco Chronicle // Simon & Schuster // Scientific American // Skiing Magazine // Society of Illustrators LA // Spin Master // // The Village Voice // The Wall Street Journal // The Washington Post // Wired // Wizards of the Coast // The Work Style Magazine // Young & Rubicam

    + Show more
  • Penina Biddle-Gottesman

    Penina Biddle-Gottesman

    Vocalist and Cellist

    Penina Biddle-Gottesman is a senior at Berkeley High School. She has been playing the cello since fourth grade, writing music since sixth grade, and singing since she could speak. She is currently in the process of applying to college, but intends to study music production. She plays local gigs with her band Good for Janus and records solo music which she releases on Soundcloud. Currently she has been focusing on songwriting and production, learning technical skills from her mentor Chris Houston.

    + Show more

* Denotes member of Actors Equity Association
+ Member, United Scenic Artists
^ Member, Society of Stage Directors and Choreographers


  • A saint’s best friend is her mother in MTC Joan of Arc play

    Whether or not you buy into the idea of history as a collection of exploits of various remarkable individuals, Joan of Arc stands out as a startlingly exceptional figure.

    Born a French peasant in 1421, Jeanne d’Arc declared that visions of saints and angels had instructed her to help free France from English rule in the latter days of the Hundred Years War. Becoming a major inspirational figure, she led troops into battle, was finally captured and handed over to the English, tried for heresy and burned at the stake at age 19.

    A new play at Marin Theatre Company asks the obvious question: What must Joan’s mother have thought of all this?

    “Mother of the Maid” premiered last year at New York’s Public Theater starring Glenn Close, but its West Coast premiere in Marin is a bit of a homecoming for playwright Jane Anderson, a Bay Area native and longtime part-time Nicasio resident whose play, “The Quality of Life,” was performed aT ACT in 2008.

    The play follows Joan’s mother, Isabelle, from her early bewilderment at her daughter’s talk of visions of St. Catherine to struggling to keep up with Joan’s sudden rise to prominence and prestige, and her equally sudden fall.

    Some of the early scenes are packed with humor, especially in the rough manners of Rosie Hallett’s sullen, stubborn and plain-spoken Joan. Mission from God or no, Hallett’s Joan is formidable, more than able to hold her own in the sudden bursts of violence that pepper family arguments.

    The resonant staging by artistic director Jasson Minadakis (fresh from helming MTC’s last show, “Sovereignty”) features a pitch-perfect cast of MTC veterans.

    Sherman Fracher is funny as Isabelle in her easy acceptance of her daughter’s holy visitations — at least until she starts talking about running off with the army. She’s almost blindly reverent of authority, especially from clergy, but she’s also proud in a way that comes out beautifully in dialogue with Marin-bred Liz Sklar as a relentlessly friendly and well-meaning, but also deeply privileged, lady of the court who can’t help but condescend, even when she doesn’t mean to.

    San Anselmo’s Scott Coopwood is fumingly curmudgeonly as father Jacques, but in a way that makes it clear that his stubborn contrariness is deeply rooted in worry about his daughter’s safety. His quiet, brooding reaction to Joan’s fate is even more heartrending than Isabelle’s understandably much more dramatic display of grief.

    San Rafael native Brennan Pickman-Thoon, the sole newcomer to MTC’s stage, is amusingly boisterous and quarrelsome as Joan’s brother, Pierre, who accompanies her to court and revels in how cool it all is, while she more fixedly goes about her mission.

    Robert Sicular exudes a fascinating mixture of genuine sympathy and priestly posturing as Father Gilbert, the local priest who confidently parrots the latest word from his superiors, as if it’s what he’s always said and indeed the only thing that could be said.

    In Sean Fanning’s impressive set, the skeletal wooden kitchen of the humble family home obscures the grand marble arches of the palace. The only shame is that later events move too quickly for the terrific shack set to be reassembled for brief returns home.

    Sara Huddleston’s sound design is liberally peppered with birdsong, hauntingly echoed in Penina Biddle-Gottesman’s birdlike wordless vocals in Chris Houston’s lovely score. Sarah Smith’s period costumes aptly highlight class divides between the peasants and nobility, and Chris Lundahl’s lighting practically becomes a character in all the talk of divine visitations.

    The second act is inevitably far less irreverent than the first, as Joan and her family get caught up in the merciless machine of war, politics and history. That’s when the real tragedy comes for Isabelle, but it’s also when the play becomes a lot more straightforward in its retelling of the story of Joan of Arc. Isabelle remains a refreshing and sympathetic point of view character, however, and Anderson cleverly finds excuses for her to be present at key moments.

    There have been many depictions of Joan of Arc onstage, from the mocking depiction in William Shakespeare’s “Henry VI, Part 1” to George Bernard Shaw’s heroic “Saint Joan” and several versions by Bertolt Brecht. Those are hard acts to follow, but Anderson’s play is a welcome addition to the mix.

    — Sam Hurwitt, Marin IJ Read full review

Learn More

Select a Performance

To begin your ticket purchase, select a performance from the calendar below:

November 2019
Sun Mon Tues Wed Thurs Fri Sat