When Athol Fugard moved to the small village of New Bethesda, South Africa, he became intrigued by the stories about Miss Helen Martin, an eccentric old recluse who was ostracized by local residents for displaying strange sculptures in her yard, and not attending church.

His play, “Road to Mecca,” which opens the Marsh Island Stage Company season on March 23, tells his version of Miss Helen’s story, and the related stories of two of her closest companions: Elsa, a young Englishwoman struggling with her own guilt; and Marius, the community pastor whose conservative values often infringe upon the lives of his flock.

The play focuses on a crucial moment in Miss Helen’s life when arthritis, depression, and failing eyesight force her to make decisions about her own welfare and safety. Marius urges her give up her home and her idolatrous artwork, and move into the old-age home run by the church. Elsa intervenes and demands of Miss Helen that she maintain her artistic and personal integrity. The ostensible conflict is really between Elsa and Marius, but, while they are battling, Miss Helen reaches her own conclusions about self-enlightenment and individual choice.

The most powerful images in the play are the candles that line the walls of Miss Helen’s home. They serve to remind us of the interplay between spiritual illumination and darkness, and the choices we have the power to make when confronted with shadows.

Charlotte Herbold is dazzling as the heroic Miss Helen. With skillful simplicity and unusual theatrical depth, she creates a character for whom we feel heartfelt sympathy and love. Her monologues are riveting, and, like Miss Helen, Herbold is a bright star in the show.

Although Anita Wilkinson looks the part of Elsa and is, in general, competent in the role, her performance is sometimes one-dimensional and lacks the proper blend of anger and compassion necessary for her character.

Burton Hatlen, as Marius, is quite stiff as an actor, but somehow this quality combines with a sincere and comprehensive understanding of the language and emotion of the play, and Hatlen offers a very satisfying performance.

A special round of applause goes to Susan Dexter Camp for designing a set that is vibrant, funky and convincing.

Director Christopher D. Bates has indeed created a show that is very moving and beautiful and a theater atmosphere that is informal, engaging and unrivaled.