![]() ![]() Soon, Moxie grows from a one-woman anonymous publication into a core group of students rallying for change. As more of the school - boys included - starts to catch on to the zine’s call to action, they draw Sharpie hearts and stars on their hands to signify solidarity. (Especially since she never actually… talks to her mom about it.) But generally, it’s satisfying to see Vivian’s evolution from shy wallflower to leader emboldened by anonymity. The connection between Vivian randomly remembering the lyrics to “Rebel Girl” and finding her mom’s old stash of zines, then creating her own zine, is thin. Fueled by this attack, and a Bikini Kill song her mom (Amy Poehler) played for her at one point - Vivian pours all her rage into a zine she dubs “Moxie,” and plasters it all over her school. Every year, a group of popular boys, led by football captain Mitchell (Patrick Schwarzenegger, who pulls off the charming-douchebag role with almost alarming finesse), roll out a ranking of female students, giving them degrading titles like “Most Bangable” and “Best Rack.” When new student Lucy (Alycia Pascual-Peña) dares to speak up against Mitchell, she gets blasted on the list. Where: Moxie Theatre, 6663 El Cajon Blvd.Based on a 2015 YA novel of the same name, Moxie follows shy high-school junior Vivian (Hadley Robinson) who grows increasingly fed up with the sexist culture at her school. Joan’s conviction was overturned, 25 years after she was put to death, but her mother lived to see justice done and faith rewarded. Thorn is powerful and unwavering, and young Macias finally gets the chance to be something besides either entitled or imbued.Īs it turns out, Isabelle’s fighting was not completely in vain. These missteps are redeemed by the last half-hour or so of “Mother of the Maid,” when Isabelle fights for her condemned daughter’s life, right up until the moment when it is too late to keep fighting. ![]() As does a later sequence in which the Arc family is oohing and aahing over the royal premises when guests at the Dauphin’s coronation. If the encounter is meant to emphasize the contrast with Isabelle’s plainspokenness, it only comes off as silly. In a scene in which Isabelle visits Joan at the Dauphin’s castle, she is hosted by a Lady of the Court (Sarah Alida LeClair) whose sheer vacancy and overplayed gentility suggest a comic role the late Madeline Kahn might have taken on. It’s shortly afterward that the weighty tenor of “Mother of the Maid” takes a temporary hiatus. What’s more, whether Thorn’s character actually believes in her daughter’s “visions” is never truly clear. It doesn’t seem necessary and, at times, it detracts from Isabelle’s demonstrations of fortitude. For one, the members of the Arc peasant family in the farming town of Domremy are given to dropping their g’s and employing words like “ain’t” and “arse” to imply their lack of education. This comes with some built-in challenges. Hers is a committed performance that grows ever stronger as the two-act play evolves. She is portrayed by Moxie’s executive artistic director, Jennifer Eve Thorn, onstage for the first time in six years. Catherine of Alexandria propel her destiny is told through the actions and reactions of a fiercely protective and loving mother. The story of a young girl whose divine visitations by St. It’s not just stage time that Isabelle dominates, as is clear in Moxie Theatre’s production of “Mother of the Maid” directed by Desireé Clarke. Not on her daughter, Joan, who became a soldier, a martyr and, nearly 500 years after her death, a saint. Note the title of playwright Jane Anderson’s “Mother of the Maid.” The emphasis is on the right character, because this historical drama with a fair share of contemporary vernacular is centered around Isabelle Arc of France in the early 1400s. ![]()
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