Faith, Trauma and Mystery Collide in 'Agnes of God' at Lumen Repertory Theatre

Lumen Repertory Theatre’s production of Agnes of God offers a haunting, emotionally charged evening of theater, balancing psychological tension with profound spiritual inquiry. Under the direction of Joshua Britton Andrews and Brian Niece, this taut three-character drama unfolds with gripping intensity, drawing the audience into its web of doubt, faith and trauma.

John Pielmeier’s Agnes of God revolves around the interrogation of Sister Agnes (Maggie Cox), a young novice nun accused of an unspeakable crime. Tasked with evaluating Agnes’ mental state is Dr. Martha Livingstone (Karen Konzen), a psychiatrist who approaches the case with skepticism, while Mother Miriam Ruth (Katie Johnston), the convent’s formidable superior, fiercely guards the young woman’s innocence. As the drama unspools, it becomes less about the crime itself and more about the nature of belief, suffering and the limits of human understanding.

A Trio of Raw, Riveting and Unforgettable Performances

Maggie Cox delivers a mesmerizing performance as Sister Agnes. She captures both the character’s childlike innocence and underlying turmoil with an authenticity that makes every moment feel heartbreakingly real. Her portrayal of a woman torn between divine rapture and psychological trauma is deeply affecting, particularly in moments of raw vulnerability. Her exquisite singing voice, flawless in tone and purity, elevates the production, making it easy to believe in Agnes’ supposed divine connection. Cox’s ability to shift from wide-eyed wonder to gut-wrenching anguish gives the production its emotional core.

Karen Konzen brings a crisp, clinical professionalism to Dr. Livingstone, creating a strong counterbalance to Agnes’ nature. She navigates the character’s intellectual certainty with a growing sense of personal investment, allowing glimpses of Livingstone’s own wounds to surface without losing the role’s professional detachment. Her scenes with Cox crackle with tension as her scientific certainty is repeatedly challenged by Agnes’ unsettling sincerity. The genuine care and love she develops for Agnes add immense depth and warmth to her character, making her eventual crisis of faith all the more poignant.

Katie Johnston’s Mother Miriam Ruth is a commanding presence, effortlessly wielding authority with kindness. She is no caricature of strict religious dogma; rather, she is a deeply compassionate woman who believes in her faith just as fiercely as Livingstone believes in science. She exudes both warmth and steeliness, making it clear that her fierce protection of Agnes is driven by deep personal conviction rather than blind obedience. Johnston’s chemistry with Konzen is especially compelling, as their ideological battle plays out in sharp, riveting exchanges.

Fabric, Light and Sound Shape a Dreamlike World

Visually, the production leans into abstraction. Claire Cimino’s set design — a series of massive bolts of fabric in black, grays, white and translucent shades draped from the ceiling — creates a beautiful, ethereal, dreamlike quality that enhances the play’s themes of memory and faith. However, the draped fabric, particularly at the side exits of the stage, feels cluttered and even hazardous, occasionally pulling attention away from the action.

Sound production and design, on the other hand, are a triumph. The audio mix is incredibly crisp, clean and well-balanced, capturing even the most delicate nuances of emotion, tone and dynamics. In a production so reliant on intimate conversations and inner turmoil, this clarity is invaluable. Equally, Niece’s sound design adds to the otherworldly quality of Agnes’ visions, leaving room for ambiguity about whether they stem from trauma or divine intervention. Carl Liberatore’s lighting design is also impressive, subtly breathing, ebbing and flowing throughout the show. It enhances the dialogue, adding dimension to each conversation and underscoring emotional shifts with finesse.

The pacing is another highlight — the dialogue feels utterly honest and natural, never forced or overly theatrical. The actors engage in an emotional push-and-pull that keeps the show gripping without ever feeling rushed or lagging. The way the script seamlessly weaves narration and dialogue — and how the actors expertly navigate those segues — makes the transitions between storytelling and real-time exchanges feel effortless and fluid.

A Drama That Demands More Than Just Answers

Lumen Repertory Theatre’s Agnes of God is an intensely dramatic, exquisitely beautiful and deeply moving production. The raw authenticity of the performances, the atmospheric design choices and the seamless pacing make for a theatrical experience that is both intellectually and emotionally gripping. At times, I lost myself completely in the world of the play — a testament to the strength of the cast and creative team. Rather than offering easy resolutions, the production lingers in the mind, unsettling, provoking and refusing to be neatly resolved.

Agnes of God runs Friday, March 14 through Saturday, March 29 at the San Marco Church.

For more information, full cast and crew credits and links to tickets, visit the Agnes of God page here on JaxPlays.