Isn’t it interesting how men in power hate it when women speak out?

Even men without positions of authority can feel this way, their insecurity leading them to believe a woman’s strength somehow diminishes theirs.

In “Bedlam’s Saint Joan” at Gulfshore Playhouse, the French are enamored with Joan of Arc, a young teen who leads them to victory over the English. But the feudal aristocracy and the church leaders grow concerned about potentially losing control of the land and losing power.

And so they plot to squelch her.

“If only she will keep quiet, or go home,” moans King Charles, though it is Joan who crowned him king in Rheims Cathedral.

But Joan refuses to do either. She hears voices speaking to her, the voice of God through St. Catherine, St. Margaret and Michael the Archangel; they urge her on.

And Joan’s own voice, when she speaks, is compelling. It leads the French soldiers into battle to victory. It gives them hope and breathes strength into them. And her words confound those who try to argue with her.

Dria Brown is perfect as Joan: energetic, inspired and pure of heart and spirit, she possesses an inner glow. When she first bounds onstage, she appears like a girl who has just put dropped her jump rope and run inside. But when she opens her mouth to speak, wisdom and poise beyond her years make themselves evident.

She is the type of Christian you wouldn’t mind being trapped in an elevator with; by the time you were rescued, she would have inspired you to start your own business with only a dime in your pocket and you’d firmly believe you could conquer the world.

And so you would.

Her faith is simple, strong, unwavering.

Throughout George Bernard Shaw’s classic play, Joan is called an angel and a saint by some, but also a crazy wench, a village sorceress, a witch, a heretic, “this girl” and a slut. She’s judged as being “indecent, unnatural and abominable” because she wears men’s clothes.

Though this play is set in 1429, it seems that some things never change. We’ve heard this name-calling and accusations from our own current politicians.

But when the 15th century aristocracy and church leaders plot to squelch Joan, what they really mean is: Jail her, put her through an inquisition/kangaroo court and burn her alive at the stake.

“I might almost as well have been a man,” she says to her accusers. “I should not have bothered you all so much then.”

This production of “Bedlam’s Saint Joan” is the first time in the 15-year history of Gulfshore Playhouse that another company has been invited to perform on its stage at The Norris Center in Naples. Bedlam is an Off-Broadway troupe that performs classics on a shoestring budget with minimal sets, props and costumes — and also a minimal number of actors. Ms. Brown plays Joan throughout, while three other actors — Andy Rindlishbach, Edmund Lewis and Mike Labbadia — play everyone else, populating the stage with more than two dozen distinct characters. Sometimes, this means humorously also playing the character who announces the next character’s entrance, or portraying two characters having a conversation. At one point in the second scene, two of the actors suddenly switch characters.

Their range is remarkable. Mr. Rindlishbach plays a military squire, the Lord Chamberlain and a nobleman, among many other roles. Mr. Lewis is initially introduced to us as a captain’s steward but later transforms into the Dauphin (who becomes King Charles) and a chaplain who is hell bent on Joan’s death. And among Mr. Labbadia’s many characters is a French soldier who so believes in Joan that he buys her a horse, then transforms into a chaplain and an archbishop who plot her demise. The quality of this trio’s acting matches Ms. Brown’s; their performances are all superlative.

Eric Tucker, Bedlam’s artistic director, directed this production, mixing humor and drama, pathos and hope. His innovative and clever restaging of the Shavian classic is nothing short of genius. He makes the most use of the space, with actors running, striding and slinking throughout the theater. In so many other productions, doing so would ruin the magic, bringing us out of the play; in this case, however, it draws us in and makes us part of it.

Particularly chilling is a scene where the inquisitors and clergy accuse Joan from the darkness of the theater; they literally stand in the shadows while plotting her fate. It is disconcerting. It is evil.

For those who crave tap-dancing and fluff: This is not that type of show, though “Bedlam’s Saint Joan” does provide some lunacy and slapstick, and Mr. Shaw’s script contains much humor. And though it’s longer than most contemporary plays, the action moves swiftly.

This play is not only food for thought, it’s an entire banquet for contemplation. And this production is not to be missed. I hope it won’t be the last time Bedlam comes to Gulfshore Playhouse, as I would love to see how the company brings other classics to life.

“Bedlam’s Saint Joan” is not only a story about a woman with a vision and men with their egos, but also a story of good vs. evil, the faithful vs. the hypocritical, the establishment vs. rebels and sheep vs. independent thinkers.

“What will the world be like when every girl thinks herself a Joan?” the men in power ask fearfully.

Pretty damn incredible, I think. ¦

In the KNOW

“Bedlam’s Saint Joan”

Where: Gulfshore Playhouse, The Norris Center, Naples 755 8th Avenue South, Naples

When: Through Nov. 3

Cost: $22- $67

Info: 239-354-7955 or www.gulfshoreplayhouse.org

Note: Evening shows start at 7 p.m.