On a personal level, Joan's friendship with the young acolyte
Lucius in the papal court forces her to confront her beliefs
about God and her mission. As part of a fiery trio that ends of
the first act, Louis schemes to depose the newly-elected pope,
Anastasius, and install his own candidate, the ambitious
Cardinal Nicholas.
As the second act begins, Louis and Nicholas' plans are thwarted
when Joan herself is elected pope by popular acclamation. We
watch her accept and live out the radical job that her life in
the Church has thrust upon her. She battles with Louis for
control of money and land. She finds tragedy in the loss of the
innocent love of Lucius. When her real identity is discovered,
she is brutally murdered in the streets. Ranks close, and the
Church determines that it will forever preserve itself as an
inviolate masculine power.
The centrality of religion
is axiomatic to the world of Pope Joan. Questions of faith,
morals, and politics are inseparable. What is the nature of the
faith experience? What is the role and responsibility of the
Church in the definition of one's personal experience of faith,
miracles, and healing? What leadership role did the Church
choose in 855 A.D. that still defines its essential nature and
way of relating to the community of believers?
The
paradigms that form the human quest for meaning, truth and
community are direct results of the Church's definition of
itself, then and now, and each believer's relationship to the
institution as it spoke for them in the past and will speak for
them in the future.
With its use of period and ecclesiastical accents to flavor a pop score,
the music of Pope Joan guides the listener
through the very human stories it tells. Set against the
backdrop of the pageantry and ritual of the Vatican, Pope Joan
explores themes both ancient and in today's headlines: the
longing for a meaningful spiritual experience, the quest for
means to express faith in both words and actions, and the impact
of women in power.