"Joan of Arc" at Open Window Theatre

Open Window Theatre's latest original play takes on the legendary figure of Joan of Arc, warrior saint of France. It's an epic and complicated story, and while there's a lot to like about this new play, at three and a half hours (including intermission), it's just too long. Written by Artistic Director Jeremy Stanbary in modern language that's easy to follow and understand, with even some lightness and humor, the characters are interesting and compelling. But there's just too much of it, and in particular the almost two-hour long second act feels like it, with a dragged out ending. The website lists the runtime as three hours, so maybe it'll tighten up throughout the run, but the script could also use some editing to condense characters, streamline (or cut out) some scenes, and focus the story more on Joan, who doesn't even show up until halfway through the first act. The cast is great, the design impressive, and I'd love to see a more condensed version of it someday. If you have three and a half hours to spare, check it out and see what you think. Grab a coffee or a nap, bring snacks, and head out to Inver Grove Heights for Joan of Arc through May 31. 

The play begins at the end of Joan's life (referred to in the play as Jehanne d'Arc), facing execution by fire for the sins of blasphemy and cross-dressing. We then flash back to the beginning, or even before the beginning, of Joan's story. The famous Battle of Agincourt from Shakespeare's Henry V (which, BTW, is shorter than this play) sets the scene. But it's 1415, and Joan is just a toddler. We hear about this English King whose God told him he's the rightful King of France. Then we flash forward some 14 years to when there's a civil war in France, the now dead Henry V's young son the king of part of France, the Dauphin Charles the king of the other part. This is where teenage Joan comes in, when her God tells her that Charles is the rightful king, and it's up to her to save him, and France. What to do when God is telling both sides they're right? Personally, I think God would be on the side of peace, but She's never spoken to me directly, so I can't say for certain. This conflict sets up many battles and much political maneuvering by the many factions fighting for power, and at the center of it stands a brave and confident teenage girl, who does in fact change history. We eventually get back to the beginning, and Joan pays the ultimate price - another woman caught in the scheming of men in power, and blamed for the ills of the world.

Joan goes to battle (Audryn Hegewald with Rob Ward)
(photo by Richard Mailand, Up North Creative)

Fortunately, much of the too-much-exposition is charmingly delivered by Michael Quadrozzi as a French Herald, which allows him to speak to the audience directly, with an occasional wink or a nod or a "did you get all that?" As Joan, Audryn Hegewald looks like a teenager, and embodies all of Joan's clear-thinking confidence as she enters this world of powerful men. And even though Joan is advocating a righteous war, she's not without awareness of the cost and compassion for souls lost on both sides (maybe if we had more women in power, we'd have fewer senseless wars in the world).

Other highlights in the strong ensemble cast (many of whom play multiple characters) include Josh Zapata-Palmer as the Dauphin-turned-King of France, who accepts Joan and becomes stronger because of her, yet still betrays her in the end; Faith Winship Smith as his wife, whose crystal-clear voice begins and ends the play in song; Meg Bradley as the King's strong mother-in-law; Dawson D. Ehlke, Jonah Smith, and Rob Ward as the King's supporters who gradually warm to Joan (the latter quite humorously); and Sam Sweere embodying the enemy in the Duke of Bedford (Henry V's brother and representative in France).

the Duke of Bedford schemes (Keith Prusak, Ian Hardy, and
Sam Sweere, photo by Richard Mailand, Up North Creative)

The set is dominated by an impressive structure that looks like part of a medieval castle, with multiple levels, beautiful ironwork gates, and tiny doors that look like they lead to secret passages. Lighting and sound effects create the atmosphere of the story. Soldiers are bedecked in armor, the women in long gowns with elaborate headwear, and Joan in her boys' peasant gear. There are several gripping fight scenes, the clash of sword and shield ringing out through the air. (Scenic design by Robin McIntyre, lighting design by SueBerger, sound design by Jeremy Stanbary, costume design by Bronson Talcott, fight direction by Mason Tyler.)

Joan of Arc is almost like a sequel to Shakespeare's History Plays, from the other side of the battlefield. It brings to life a legendary woman from history in a way that is at times compelling, but could be done more succinctly to greater effect.