Blistering, Bare and Impossible to Ignore
Saint Joan, based on George Bernard Shaw’s classic play, comes to the Citizens’ Theatre in a stripped-back, modernised take drawn directly from the unseen screenplay. The play follows the true story of Joan, a 16-year-old girl who led France to victory in the Hundred Years’ War, tracing her journey from a young peasant girl inciting change, to leader of the French army, to her downfall, trial and execution. This production puts Joan firmly at the forefront, highlighting her as a figure of power and change, and emphasises this throughout.
We open to very stripped-back staging – nothing more than a simple screen and lighting – with actors emerging in modernised costume; shellsuit jackets, Adidas shorts and trackies. It felt up-to-date and relevant, pushing the audience to see Joan’s story through a modern lens. The sound and lighting from Yaseen Clarke and Michaella Fee, respectively, was modern, utilitarian and introspective – a perfect complement to the raw simplicity of the staging.
Despite the minimal set, the cast more than held their weight within the piece, and what a cast it was, with an energy that radiated off the stage collectively, pulling you in from the very first moment. Mandipa Kabanda as Joan brought an innocence and naivety that truly had us believing in this young schoolgirl, while a quiet strength and simmering rage drew us further in. Martin O’Connor, as Chorus, Steward and Inquisitor, garnered by far the most laughs in the room – he made the words entirely his own, offering lighthearted quips and stony observations as he narrated the action. If anyone could be deadpan and still have charisma radiating off them, it was him. Lewis MacDougall as Bluebeard, Dunois and Ladvenu played complex and fascinating, adding real layers to the ensemble. Ross Mann as Poulengy, Charles and Chaplain was the welcomed fire of the piece, his angered outbursts a nice contrast to the, at times, sombre tone. Manasa Tagica as Archbishop, Salisbury, Gladstone, Warwick and Executioner brought a steady, quiet strength that did not go amiss. Thierry Mabonga as Robert, La Tremouille and Cauchon was on fire – his energy, as soon as he walked on stage, was incredibly captivating.
I will say, at times, the dialogue was spoken a little too quickly. Enunciation was lost, and sentences became a muddle, losing that punch that Shaw’s writing has. That aside, the dialogue itself fitted incredibly well within the modernised setting, and the themes and messages carried through beautifully. For that, we have Stewart Laing to thank – his direction was raw, shocking and relevant, not hiding these words behind set but staring them right in the face. We, as an audience, simply can’t hide. It was stripped back, emotional and real.
The film at the end was a highlight, showcasing the genius of Adura Onashile – pulling together the rumblings and issues of today’s protests, the problems in Palestine, among others. It connected the piece directly to our own situation, making the impact soar.
That said, there was a Charli XCX music break around the halfway point, which, dare I say, felt slightly random. I don’t know if it was there to illustrate how people make change – the ‘brat era’ was such a phenomenon, after all – but I could be grasping at straws with that one. The second half also felt rather slow; the entire cast seated in a line, long pauses punctuating the action without quite adding the weight or impact you might expect before the next line lands.
Altogether, though, Saint Joan is a striking and necessary piece of theatre – urgent, human and impossible to look away from.
For tickets and listing, please find here.