Contemporary theater makers aiming to present feminist-inflected interpretation of Shaw\u27s Saint Joan could benefit from the practice of intertextuality: examining feminist playwrights\u27 versions of Joan\u27s story. Two plays by contemporary writers, Carolyn Gage\u27s The Second Coming of Joan of Arc and Martha Kemper\u27s Me, Miss Krause and Joan can illuminate the most pressing contemporary issues, highlighting the ways that Shaw\u27s version overlaps with current feminist concerns, including intersectionality, positionality, and sexual assault. Such a process would empower performers and audience members alike, and would help playwrights, directors, and dramaturgs avoid some of the pitfalls exhibited in the recent rock musical Joan of Arc: Into the Fire. Also, since audiences in the United States and Canada are increasingly female-dominated and plays by women often make more money, such strategies not only could engender more culturally sensitive productions but also possibly even result in a higher box office return
