A centuries-old court case gets a renewed day in court with the opening of “It’s True, It’s True, It’s True” this week at Marin Theatre.

Conceived and written by the United Kingdom’s Breach Theatre from surviving old court transcripts, “It’s True, It’s True, It’s True” details the riveting 1612 trial of Agostino Tassi for the rape of 17-year-old Baroque painter Artemisia Gentileschi. Well known among art fanciers but not a household name, Gentileschi was a pioneer not only in her pursuit of justice but in her choice of vocation in a field dominated almost entirely by men.

According to a press release, the drama combines a “central Renaissance courtroom conflict with powerful myths and contemporary commentary for an unforgettable theatrical experience.”

The show is slated for presentation in Marin Theatre’s intimate Lieberman Theatre, the smaller venue behind the company’s primary Boyer Theatre. The Lieberman Theatre has seen scant usage in recent years other than as a setting for pre-show gatherings.

The show’s director, Rebecca Wear, and Marin Theatre Artistic Director Lance Gardner took the time to reflect on this unusual production.

Q How did you learn about Artemisia Gentileschi? What hooked you?

Gardner: Artemisia’s story is hot right now. I’m aware of at least two other plays about her. Who doesn’t love a talented barrier breaker who’s able to find her own feelings in the classical subjects she paints, aware enough to paint her truth through them and brave enough to face her attacker in court — as a teenager?

Wear: I’ve seen Artemisia Gentileschi’s name in conjunction with her art for years but I really learned about the case through this script. In the transcripts, she’s fearless and strategic — traits that are extremely impressive for a teenager and also ones that we need in courts right now, arguably more than ever.

My first impression was of Artemisia as an outlier, but over the past year, that understanding has shifted as I’ve read more about the historical legal context, and revisionist feminist art history, which places her in a lineage of other female painters before and after her time. I still think of her as a maverick; she transmogrified her experiences, uniquely synthesizing her personal point of view and shifting artistic influences — famously Caravaggio, but also theater! — to create indisputable emotional impact.

Q The parallels of contemporary life are obvious. What are the standout features for you?

Gardner: The law is only as strong and has only as much integrity as those who enforce and interpret it. When your trust waivers, art is a safe, healthy and powerful way to express your desire for violence and revenge without acting on it. We all want to reclaim power when we’ve been made to feel powerless.

Wear: Artemisia’s story is painfully timeless. In addition to herself, she’s also Gisèle Pelicot, Chanel Miller, Anita Hill and folks in our communities. Our job (as theater artists) is not just to present the court transcripts of her case but also to bring forward some of the play’s audacity, and the art that she experienced in her life. Breach Theatre and our amazing group of artists have built a playground that, hopefully, honors both an interpretation of what actually happened in the courtroom and also Artemisia’s totality.Q Marin Theatre has a tradition of mixing historical plays with more modern ones in its repertoire. How does “It’s True” fit into this season’s offerings?

Gardner: Theater often helps us consider ourselves personally, interpersonally and societally. The context of the past and the observation of how little has changed are powerful and important in this consideration. It’s also important to me to curate a breadth of theater, especially this season, as I’m still working to learn about and grow our audiences. Providing diverse opportunities for them to respond to our work is important to that endeavor.

Q Your cast is performing in the smaller Lieberman Theatre rather than the larger Boyer Theatre. Why?

Gardner: In my first season, I wanted to explore all ways of using our space that were available to me. The main stage has a very presentational nature and not every play would be best served by its constraints. “It’s True” is set in a courtroom and I felt that proximity to the action would give the audience the kind of access a modern jury has. Also, in a larger city, you might find a variety of small theatrical spaces like the Lieberman Theatre doing adventurous work.

Here in the North Bay, there are very few options like this. We have a lot of seasoned theatergoers in our audience who enjoy traveling to places like New York to discover new and exciting work. This show in this space feels like something in Brooklyn that your coolest, most in-the-know friend might tell you about.

Q How do you expect audiences to perceive “It’s True”?

Gardner: This play is undeniable in its connection to reality both in the fact that it’s composed heavily of the (translated) language of an actual court transcript, and that elements of it feel as though they could have been drawn from the testimony of many contemporary victims, as mentioned by Rebecca: Christine Blasey Ford, Chanel Miller, Gisèle Pelicot, the women assaulted by Bill Cosby or Harvey Weinstein or Roger Ailes, and any of the women and men whose rapists or assaulters weren’t famous enough for their stories to see daylight.

I try to avoid creating expectations of audiences because the effects of art are so personal. Audiences are made up of individuals and that’s who I’m programming for. Once you start programming for groups, it’s no longer art, it’s only entertainment.

Wear: I hope audiences will come artistically hungry. We’ve greedily partaken in a lush swathe of influences, including Baroque art, commedia dell’arte (Italian clowning), courtroom dramas and 1970s punk bands. There are a lot of ways into “It’s True, It’s True, It’s True.”

Q Can you say a bit about your cast and technical crew?

Gardner: It’s important to us at Marin Theatre to hire as high a percentage as possible of artists and technicians who are local to the Bay Area. When you support Marin Theatre, you support local artists.

Wear: I’ve also been really inspired by the bravery, hilarity and playfulness of this ensemble, so I hope audiences come ready to relish their work.

Q Will the show travel once it’s done at Marin Theatre?

Gardner: No. If you don’t see it here, you won’t get to see it at all, so you’d better get your tickets soon.