AGNES OF GOD, by John Pielmeier, tells the story of a novice nun who gives birth and insists that the child was the result of an immaculate conception. The title is a pun on the Latin phrase Agnus Dei (Lamb of God).
Summoned to a convent, Dr. Martha Livingstone, a court-appointed psychiatrist, is charged with assessing the sanity of Agnes, accused of murdering her newborn. The Mother Superior determinedly keeps young Agnes from the doctor, arousing Livingstone’s suspicions further as to the culpability of the senior nun. Who killed the infant and who fathered the tiny victim? Livingstone’s questions force all three women to re-examine the meaning of faith and the power of love leading to a dramatic, compelling climax.
Agnes of God is a theatrical journey like few others where a debate between faith and science is set against the story of a young nun accused of murdering her new-born child. It is like a musical chamber piece for 3 female actors of 3 different generations, allowing for a powerful presentation of real women, who are saviours and destroyers, nurturers and annihilators, angels and demons, all in one. The play investigates the timeless issues of faith and science, reason and miracles, confirming that what we donít know about the human condition are far vaster than what we do know about it. Ultimately the play is about the fragility of the human compared to the tumultuous forces of nature and the universe.