Herbert Wolff Reviews "Mother Of The Maid"

The story of Joan of Arc has evoked mythology and themes for centuries, and has inspired numerous playwrights – including Shakespeare, Voltaire, Bertolt Brecht, George Bernard Shaw, and Maxwell Anderson – to craft interpretations of the legends that surround the Maid of Orlean.

Now comes contemporary playwright and Emmy Award winner Jane Anderson, to have her go at giving the Joan story a fresh – and, indeed, unique – slant.  Many seasons ago – and early in her career – two of Jane Anderson’s plays had their premieres at Williamstown Theatre Festival.  Both works centered on bold themes challenging audiences to rethink the status quo.

Ms. Anderson has returned to her bold stance as a playwright.  By the very title of her new play – Mother ofthe Maid…now having its world premiere at Shakespeare & Company – the focus would be not only on just the doomed martyr, but on her family, especially Joan’s mother, Isabel.

So far so good – especially since the title role has been assigned to the incomparable Tina Packer…founder and creative force behind Shakespeare & Company.  Indeed, the brilliant performance by Ms. Packer captures the deep emotional impact of Joan’s tragic fate – taking it from myth to reality.  We experience a mother’s pride, fear, and confusion, as she becomes aware that her child is not only very special but altogether intent on setting her own destiny.

The compelling script and exceptional actors are in sync with each other to carry the story – from Joan’s hillside visions …to elegant surroundings of noble castles, as her mission and leadership are accepted…to the squalor of a dungeon before her execution.  There are many serious, poignant moments within the play – such as Joan’s rebellion against her parents, and her dictating a defiant letter to the English King before their battle, expressing her conviction that God called her to save France. 

But, hold on just a moment.  There is a disturbing disconnect between these touching, moving scenes…and the play’s use of the legendary Saint Catherine, whom Joan believes visits and guides her.  Serving as an interlocutor throughout the play, St. Catherine – played by Bridget Saracino – addresses the audience directly, often in a brightly humorous manner, with such phrases as: “no big deal” and “You think I’d be with her 24/7?”

This modern vernacular isn’t really useful in explaining what’s happening in Joan’s life, imprisonment and eventual burning on the stake.  And…why is each actor speaking in his or her particular dialect: American English, stage English, Cockney, whatever?  Cute maybe, but what’s the point?

In the director’s notes in the program, Matthew Penn writes, “The center of this play is not the commitment to the ideals and horrors of religion and politics.  It is the boundless love that a mother feels for her daughter – a love that even death cannot diminish.”

There is no question that is the message.  And the concept, as envisioned, has great merit – and a fine cast capable of delivering that message.  In addition to Tina Packer, Ann Troup is excellent in the difficult role of Joan…Nigel Gore comes across well as her conflicted father…Elizabeth Aspenlieder lends a welcome ironic touch as gracious noblewoman.

But their impact would have benefited without “distractions” – and Shakepeare & Co.’s labeling this as a “wry comedy.”  There is no comedy in spiritual conviction that can lead to warfare and martyrdom.

Still, this production surely will awaken you to new insights as to why, centuries later, Joan of Arc still fascinates us.

Mother of the Maid plays now through September 6^th at Shakespeare & Company, Lenox, Massachusetts.

 
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