The following dramatic text and artist statement investigates the use of the theatrical convention of the play-within-a-play in the process of research, development, and creation of the musical The Book of Joan. The focus of this paper is on how the interplay between the inner play (a secondary, internal performance) and the outer play (the more extensive narrative within which the inner play exists) might be used to strengthen both narratives and reduce the length of the overall piece. Research was first conducted through the creation of a pre-thesis musical, Susan’s Dream Date, which revealed the importance of self reflection in the creative process and led to a near sung-through aesthetic inspired by the dream/abstract nature of the piece. Through the development of the thesis piece, research took place into the importance of the choice of protagonist, Social Justice Theatre, and Linda Hutcheon’s theory of adaptation in the context of adapting the text of The Book of Job. Through the creation of The Book of Joan, it became evident that utilizing the play-within-a-play convention (especially when developing both the inner and outer narratives simultaneously) enhanced the piece. The metatheatrical interaction between the narratives helped shorten the overall length, making “the whole greater than the sum of its parts.” This research may be a resource for artists using the play-within-a-play convention, musical theatre writers, and those interested in Theatre for Social Change.