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I, Joan
"Oh if we can just quiet the world for a moment. And listen within. There's a voice guiding you. I promise it's there. And until you can hear it, I'll be it for you." The men are all fighting, again. An endless war. From nowhere, an unexpected leader emerges. Young, poor and about to spark a revolution. Rebelling against the world's expectations, questioning the gender binary, Joan finds their power within, and their belief spreads like fire. I, Joan is a powerful and joyous new play which tells Joan of Arc's story anew. It's alive and queer and full of hope.
170 pages, Paperback
Published August 23, 2022
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59 people want to read
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Displaying 1 - 12 of 12 reviews
November 4, 2023
4.5, rounded down.
J.K. Rowling, prepare to clutch your pearls!
It's certainly an audacious, if perhaps inevitable, premise - reimagining Joan d'Arc as a non-binary trans AFAB warrior. And for the most part, I felt prolific playwright Josephine pulled it off. My only quibbles are that the 'war' scenes seemed both repetitious and too similar (according to the stage directions, at least), and Joan gets a bit TOO polemical/didactic at times (especially in the final moments, when the language devolves to current vernacular - we 'get it' without resorting to such ham-fisted tactics!) - which is most probably preaching to the choir anyway. Would have loved to have seen the original Globe production, though, and am curious about Josephine's new play, Cowbois (sic).
https://www.theguardian.com/stage/202...
https://www.independent.co.uk/arts-en...
https://www.timeout.com/london/theatr...
https://www.telegraph.co.uk/theatre/w...
https://www.broadwayworld.com/westend...
https://www.theguardian.com/stage/202...
https://www.timeout.com/london/news/t...
J.K. Rowling, prepare to clutch your pearls!
It's certainly an audacious, if perhaps inevitable, premise - reimagining Joan d'Arc as a non-binary trans AFAB warrior. And for the most part, I felt prolific playwright Josephine pulled it off. My only quibbles are that the 'war' scenes seemed both repetitious and too similar (according to the stage directions, at least), and Joan gets a bit TOO polemical/didactic at times (especially in the final moments, when the language devolves to current vernacular - we 'get it' without resorting to such ham-fisted tactics!) - which is most probably preaching to the choir anyway. Would have loved to have seen the original Globe production, though, and am curious about Josephine's new play, Cowbois (sic).
https://www.theguardian.com/stage/202...
https://www.independent.co.uk/arts-en...
https://www.timeout.com/london/theatr...
https://www.telegraph.co.uk/theatre/w...
https://www.broadwayworld.com/westend...
https://www.theguardian.com/stage/202...
https://www.timeout.com/london/news/t...
August 31, 2023
I understood that this was intended as a sort of epic-length production like many of Shakespeare's plays, but with a different story at the center, but unfortunately it wasn't very good. The female characters were very one dimensional, which felt... not good given the subject matter. The tone in the stage directions annoyed me. It felt self-indulgent.
August 31, 2023
Interesting ideas, would have loved to see it in person.
Verges on preachy at times & some of the characters feel like caricatures rather than real people.
At times Charlie Josephine uses historically-inspired, heightened language that comes across as forced/stilted. The use of the informal “thee” when addressing the King and God was annoying, but that’s very much a nit pick.
Verges on preachy at times & some of the characters feel like caricatures rather than real people.
At times Charlie Josephine uses historically-inspired, heightened language that comes across as forced/stilted. The use of the informal “thee” when addressing the King and God was annoying, but that’s very much a nit pick.
March 16, 2024
Okay, first of all, I need to direct this play.
And here are all the things I love about it.
Joan’s opening speech felt like Prior’s ending speech in Angels in America. I love the concept of “queer as prophet, queer as sacred, queer as visionary.” Because queer people ARE! We envision a world that hasn’t yet been fully built, and we are sacred in the way we encompass things outside of the imagination of so many. We see the beautiful possibilities of the future.
I also love how this play embraces the idea of the body as the keeper of wisdom. It’s evident when Joan has visceral reactions to being called by feminine names, and it’s so evident in the descriptions of the battle scenes.
And oh, dear god, the battle scenes. I am obsessed with the descriptions of the battle scenes. How they are full of sex and violence and power and joy all at once. I have visions of the opening sequence of the RSC’s 2017 production of Titus Andronicus, mixed with raves mixed with mosh pits.
One of the other things I love about this script is the way it handles a central question in all social movements. Do we play the long game within the system, moving slowly but steadily, taking little wins where we can until the goal is met? (Thomas’s view) Or do we burn the whole thing to the ground and rebuild something better? (Joan’s view) Both methods of change have casualties, and both take different types of courage.
When it comes to working inside the system, Yolande’s embrace of a kind of violent masculinity beneath feminine guise is such an interesting foil to Joan. Yolande’s gender experience is purely societal, not personal. She still upholds the gender binary, even while manipulating it to her own ends. Her line about Joan is so telling: “The power she has is far too dangerous when not in our hands.” Oh, how I have seen modern-day politicians be guided by this same view.
I have enormous sympathy for Thomas, and even Charles, for needing to navigate a hetero, binary world when they don’t fit those categories neatly. (I know Charles’ homosexuality is not explicit, and actually, neither is Thomas’ but I think there’s a lot of evidence in the script to justify that interpretation.) Thomas’ question of “aren’t we fighting for peace” and Joan’s reply of “no, for justice” reminded me of the MLK Jr quote: “True peace is not merely the absence of tension; it is the presence of justice.”
My final thought is that I love the beautiful, messy, glorious imperfection of Joan. I love that they turn to us when addressing god. Because God is found in community. I have such a clear vision of their armor as a punk denim jacket, all spikes and patches. They are perfect because of their humanity.
I love this play. Please someone let me direct this play.
And here are all the things I love about it.
Joan’s opening speech felt like Prior’s ending speech in Angels in America. I love the concept of “queer as prophet, queer as sacred, queer as visionary.” Because queer people ARE! We envision a world that hasn’t yet been fully built, and we are sacred in the way we encompass things outside of the imagination of so many. We see the beautiful possibilities of the future.
I also love how this play embraces the idea of the body as the keeper of wisdom. It’s evident when Joan has visceral reactions to being called by feminine names, and it’s so evident in the descriptions of the battle scenes.
And oh, dear god, the battle scenes. I am obsessed with the descriptions of the battle scenes. How they are full of sex and violence and power and joy all at once. I have visions of the opening sequence of the RSC’s 2017 production of Titus Andronicus, mixed with raves mixed with mosh pits.
One of the other things I love about this script is the way it handles a central question in all social movements. Do we play the long game within the system, moving slowly but steadily, taking little wins where we can until the goal is met? (Thomas’s view) Or do we burn the whole thing to the ground and rebuild something better? (Joan’s view) Both methods of change have casualties, and both take different types of courage.
When it comes to working inside the system, Yolande’s embrace of a kind of violent masculinity beneath feminine guise is such an interesting foil to Joan. Yolande’s gender experience is purely societal, not personal. She still upholds the gender binary, even while manipulating it to her own ends. Her line about Joan is so telling: “The power she has is far too dangerous when not in our hands.” Oh, how I have seen modern-day politicians be guided by this same view.
I have enormous sympathy for Thomas, and even Charles, for needing to navigate a hetero, binary world when they don’t fit those categories neatly. (I know Charles’ homosexuality is not explicit, and actually, neither is Thomas’ but I think there’s a lot of evidence in the script to justify that interpretation.) Thomas’ question of “aren’t we fighting for peace” and Joan’s reply of “no, for justice” reminded me of the MLK Jr quote: “True peace is not merely the absence of tension; it is the presence of justice.”
My final thought is that I love the beautiful, messy, glorious imperfection of Joan. I love that they turn to us when addressing god. Because God is found in community. I have such a clear vision of their armor as a punk denim jacket, all spikes and patches. They are perfect because of their humanity.
I love this play. Please someone let me direct this play.
August 7, 2025
3.5
Reading I, Joan by Charlie Josephine, I repeatedly found myself wishing I had seen the stage production — the text demands to be embodied, shouted, danced. The play is a reimagining of the story/legend of Joan of Arc, presenting Joan not merely as a historical or religious icon, but as a queer, non-binary force of resistance and transformation. It makes Joan not the object, but the subject of their story, which I loved!
The text is rich with language that resists containment, many lines challenged my own binary thinking with poetic beauty: "Because none of us fit these man-made boxes, none of us fit them at all." / "I must alter what they see, so that they can hear me!" / "I am burning with possibility! I have a vision of Infinite Grace! Of Limitless Expansion! Of Delicious Fluid Freedom, of Liberation of Joy!"
That said, I found myself wishing that Joan’s queerness had been more deeply woven into the narrative itself, rather than being expressed primarily through their monologues and interactions with others. It often felt like the framework of the story remained largely intact, while the character of Joan had shifted. This left me wondering: if the idea of a non-binary, queer Joan — someone driven by the desire to dismantle oppressive societal norms — were carried through to its fullest, wouldn’t it also require rethinking the premise of war, nationalism, and the binary of “us versus them” / “France vs. Britain”?
Reading I, Joan by Charlie Josephine, I repeatedly found myself wishing I had seen the stage production — the text demands to be embodied, shouted, danced. The play is a reimagining of the story/legend of Joan of Arc, presenting Joan not merely as a historical or religious icon, but as a queer, non-binary force of resistance and transformation. It makes Joan not the object, but the subject of their story, which I loved!
The text is rich with language that resists containment, many lines challenged my own binary thinking with poetic beauty: "Because none of us fit these man-made boxes, none of us fit them at all." / "I must alter what they see, so that they can hear me!" / "I am burning with possibility! I have a vision of Infinite Grace! Of Limitless Expansion! Of Delicious Fluid Freedom, of Liberation of Joy!"
That said, I found myself wishing that Joan’s queerness had been more deeply woven into the narrative itself, rather than being expressed primarily through their monologues and interactions with others. It often felt like the framework of the story remained largely intact, while the character of Joan had shifted. This left me wondering: if the idea of a non-binary, queer Joan — someone driven by the desire to dismantle oppressive societal norms — were carried through to its fullest, wouldn’t it also require rethinking the premise of war, nationalism, and the binary of “us versus them” / “France vs. Britain”?
March 11, 2025
This was so fun and joyful, yet powerful and moving.
Some standout lines:
"Not even the slightest tremor in my hand, no restlessness or unease in my skin no, no breathlessness or, or panicked / .. but standing, proud? Like I owned the very ground I stood upon? Like I deserved to be there, unquestionably, just, here. Being heard. They listened! Is this what it's like to be a man?" (26)
"I mean, these men? They honestly think I'm a stranger to war? Are they that blind? Cus like, isn't it true, that to be born in a female body, in this world of men is to be at war every day?! And then, to be born a girl when you're not a girl? That's a civil war. Bloody and brutal." (49)
"The Man is too big, so hating on me seems the only available option. The women are angry, and for good reason. But the men saw that anger and had it diverted. Man tricked woman into hating trans. The women are angry about pronouns and toilets and twitter and all the wrong things." (149)
Some standout lines:
"Not even the slightest tremor in my hand, no restlessness or unease in my skin no, no breathlessness or, or panicked / .. but standing, proud? Like I owned the very ground I stood upon? Like I deserved to be there, unquestionably, just, here. Being heard. They listened! Is this what it's like to be a man?" (26)
"I mean, these men? They honestly think I'm a stranger to war? Are they that blind? Cus like, isn't it true, that to be born in a female body, in this world of men is to be at war every day?! And then, to be born a girl when you're not a girl? That's a civil war. Bloody and brutal." (49)
"The Man is too big, so hating on me seems the only available option. The women are angry, and for good reason. But the men saw that anger and had it diverted. Man tricked woman into hating trans. The women are angry about pronouns and toilets and twitter and all the wrong things." (149)
December 20, 2023
this was the most compelling play i’ve read in a long time, and i cant wait to read it again. a truly glorious and raw portrayal of divinity and transness. joan is constantly in the beautiful state of Becoming, and their journey and solidity in that is astounding to witness. this play is honestly electric and i can’t imagine what watching these war-dances in person could make a person feel- reading it alone was moving.
as a non-binary person that loved joan of arc enough to try to read books about them in french, reading this play felt a little bit like nurturing and understanding that part of myself. a little (not)girl who didn’t believe in god but was fascinated by the great french warrior. i hope that one day a child finds this play and it changes in them what i know it would have changed in me.
truly phenomenal.
- f (dec 20)
as a non-binary person that loved joan of arc enough to try to read books about them in french, reading this play felt a little bit like nurturing and understanding that part of myself. a little (not)girl who didn’t believe in god but was fascinated by the great french warrior. i hope that one day a child finds this play and it changes in them what i know it would have changed in me.
truly phenomenal.
- f (dec 20)
August 14, 2024
This one broke my heart a lot. I just. Was so excited for non binary Joan of arc until i got my copy (after waiting for literally 6 months) and they were afab in the description. I understand there are specific non binary stories to be told, but I don’t think this is truly non binary casting if it’s specified afab :(
I guess I am just butt hurt I will never play Joan of arc, but for something that marks itself as super progressive, this felt regressive in a weird way. I’ve never felt this specific disappointment but it kind of crushed some dreams.
Time to get to writing.
I guess I am just butt hurt I will never play Joan of arc, but for something that marks itself as super progressive, this felt regressive in a weird way. I’ve never felt this specific disappointment but it kind of crushed some dreams.
Time to get to writing.
November 6, 2024
This maybe changed my life a little bit… Which is kinda embarrassing but HEY!! What can ya do! The whole piece is just so…. fulfilling. The writing, the staging, the tone—I was deceased, tbh. And, yes, there are parts that are kinda cheesy and self indulgent, but the prose cancels that out, I think. I think time travel is scary as fuck but I think I genuinely would take the risk of using a goddamn time machine to go back two years and see this live at the Globe. Not even joking. I should’vE BEEN THERE!
June 18, 2025
3/5 🌟
May 16, 2025
The idea seemed great. Non-binary Joan of Arc? Yes, please! I admit that I first saw the stage play, and after many dramaturgical changes, so I went into the reading with some knowledge. I liked the basic storyline, but what I didn't like was the black-and-white portrayal of the characters. From the beginning, you can tell who is supposed to be the good guy or the bad guy. I missed the tension I felt while watching the stage play. I didn't mind the manifestation of the production, but I had a bit of a problem with the play, probably because I saw those words and not heard them. Yes, I agree with everything Joan says, but they don't have to repeat the same idea over and over again. Overall, though, I'm thrilled with the play and glad it exists. Queer characters deserve to be seen!
July 29, 2023
Yes. Good. I am empowered.
Displaying 1 - 12 of 12 reviews