A theatrical trial that turns pain into power
Historical Background
In 1612 Rome, 17-year-old Artemisia Gentileschi—already a gifted Baroque painter—accused fellow artist Agostino Tassi of rape. In a world where a woman’s testimony held little weight, her decision to press charges was not only radical—it was dangerous.
What followed was a grueling public trial based on real court transcripts, now dramatized in It’s True, It’s True, It’s True. Under Roman legal customs of the time, it was Artemisia—not her attacker—who had to undergo torture to “prove” she was telling the truth. Her fingers were crushed with thumbscrews, a method known as the sibille, designed to test whether she could remain consistent in her testimony under excruciating pain. She did. Repeatedly, she declared, “È vero, è vero, è vero”—It’s true, it’s true, it’s true.
Gentileschi’s significance goes far beyond this act of bravery. She became one of the most acclaimed painters of her era, known for her vivid, emotionally charged portrayals of heroic women—often biblical figures exacting justice. Her work, especially Judith Slaying Holofernes, is often read as an act of artistic revenge and feminist defiance.
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Marin Theatre’s U.S. premiere of this award-winning Breach Theatre production is urgent, intimate, and emotionally arresting. The script, originally created by playwrights Billy Barrett and Ellice Stevens, fuses classical language with feminist commentary and unexpected theatrical devices.
Artemisia is portrayed with restrained strength and rising intensity by Emily Anderson, whose performance is both grounded and electrifying. As Tassi, Maggie Mason delivers a disturbing portrayal with calculated charm and menace. Supporting players Keiko Shimosato Carreiro as Tuzia and Alicia M. P. Nelson as the Judge/Judith bring clarity and depth to the courtroom ensemble.
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In an unexpected twist, the cast also moonlights as a punk/goth rock band, delivering bursts of LOUD music between scenes. Where this fits into the dramatic arc is not entirely clear—but it does keep you awake.
The story (true) is arresting, but the loud goth band takes getting used to — you are warned!
Director Rebecca Wear keeps the tempo tight and the tone volatile, drawing tension from every moment. The integration of modern movement, physical confrontation, and sly humor makes this more than a courtroom drama—it’s a reckoning.
Set designer Mikiko Uesugi keeps the visuals spare and symbolic, allowing Marshall’s lighting and Matthew Stines’ sound design to fill in the emotional textures. Costumes by Pamela Rodriguez-Montero offer period nods with a contemporary edge. Even the silences in this show speak volumes, thanks in part to intimacy coordinator Maya Herbsman’s precision and care.
Stage management is by Kevin Johnson, with production assistance from Sam Hannum.
In the final scene, Artemisia repeats “It’s true” not just as testimony, but as a kind of incantation—spoken dozens of times in this production. The sheer volume and repetition turn the phrase into something beyond words: a defiance, a protest, a reclaiming of power.
Gentileschi’s story may be centuries old, but It’s True, It’s True, It’s True makes it painfully relevant. This is not just about one woman’s testimony—it’s about who gets to tell the story, and who is believed.
Recommended for those who want their theatre with a pulse, a message, and a righteous fury.
Marin Theatre
397 Miller Avenue, Mill Valley
April 16 – May 4, 2025
Tickets: $47–$81
www.marintheatre.org | 415-388-5208
