St Joan

St Joan, an original production by the London based Pascal Theatre Company, is a brilliant, challenging show. Much original theatre lacks a complex, erudite script at its core. Even many great, original performances lack the courage to present a piece which could, in channelling avant-garde tendencies, potentially alienate their audience.

Challenging, erudite and above all, captivating

Julia Pascal's St Joan, however, does just this. I had to see the performance a second time before writing this review. This work is not dumbed down to achieve a high star rating from a disinterested critic and its subject matter confirms this. St Joan is concerned with many things. Primarily, it asks us to question the truly abstract notion of nationalism, though it considers nationalism from a variety of perspectives. It focuses on the displacement of Jews from Joan of Arc's time up to the collapse of colonialism and on to modern Britain. Secondly, St Joan is about the woman herself--it approaches her story from a distinctly feminist perspective.

If the play has one distinct argument, it’s an attack on the irony of politics and post-colonial attitudes in France. It travels through history in a far more inventive and less sci-fi manner than its somewhat unimpressive flyer would suggest. The work is highly historical, visiting Theresienstadt, Paris, London, Egypt, WW1, Verdun, Domrémy, Algeria, the Crusades, and the 100 Years’ War. After all this time travelling exploration, we discover Europe is a corrupt melting pot of cultures with no real reason for nationalistic thinking.

The three actors are outstanding. Julia Dante is a somewhat matriarchal figure, she towers above petite co-stars Rachel Halper and Géhane Strehler as she uses her deep voice to narrate the piece. Her excellent narration, however, is outshone by moments when she channels a sardonic tone of such ferocity that you feel yourself at fault. Halper plays the more traditional Joan. Her character importantly and poignantly highlights the gender themes of the play, especially in an existential speech giving the precise recounting of her burning. Strehler displays great versatility as an actor, moving from demonic to tender, from Arab, to Frenchwoman, to Londoner. She’s the actor asked the most by her director and she answers the call.

Director Katrin Hilbe keeps her cast moving beautifully across the stage. The props don’t simply aid the acting, they become part of the symbolism of the piece--the same prop is used for the cross and the sword, for example. Hilbe brilliant considers the folly of death in the name of king and country, often asking us what ‘country’ even is. Go and see this play – it is challenging, erudite and above all, captivating. The actors absolutely command the stage and the production is seamless. It’s a brilliant show.

Reviews by Duncan Grindall

theSpace on the Mile

Momma Was a Bad Mutha

★★
Assembly Roxy

The God Box: A Daughter's Story

★★★★
Bedlam Theatre

St Joan

★★★★★
Assembly George Square Theatre

Shirley and Shirley: Late Night Lock In

★★★★
Summerhall @ Roundabout

Britannia Waves the Rules

★★★★★
Scottish National Gallery of Modern Art

American Impressionism: A New Vision

★★★★

Performances

Location

The Blurb

Nationalist, heroine, witch, feminist, bisexual, schizophrenic, martyr... Who was St Joan? Only a dead saint is a useful saint. Three women from different cultures revisit the past as Joans of Arc. Can they find the right moment in history and change its bloody course? Is it a crazy dream? Three women return as modern warriors to challenge the idea that those who can't be controlled must be killed and thereby reclaim Joan as an anarchic force against the manipulations of power.