Although written over 100 years ago, the play’s themes and human drama hold up surprisingly well. Religion, gender, pride, nationalism, socialism, royal prerogative, war, cowardice — all interweave into a compelling political thriller brimming with loyalty, betrayal, and ideological struggle.
This historical drama is rooted in the chaos of the Hundred Years’ War, tracing the turbulent rise of Joan of Arc — from divine visions to battlefield triumphs — and ultimately her martyrdom. Her courage and conviction galvanised a nation and shifted the tide of war, and Shaw captures this legacy through sharp, intricate dialogue.
While uncredited in the programme, the Flyleaf Theatre Co’s costumes deserve special mention. Lavish and evocative — almost reminiscent of Blackadder in their theatricality — they help distinguish the multitude of characters played by a tight ensemble cast. The actors transition between roles with remarkable skill, though the repeated onstage costume changes, a Brechtian choice, begin to risk interrupting the epic narrative’s momentum.
Aaron Richardson’s set design surrounds the stage with a tangle of branches and firewood — a subtle but powerful allusion to Joan’s fiery fate. The overall staging is sparse, with minimalist props (primarily tables and chairs) ceremoniously arranged by the cast to delineate shifts in time and place, defining the formal vs. informal tone of each scene.
Led by Bronwyn Ensor as Joan of Arc, the ensemble — Aaron Richardson, Dylan Underwood, Joseph Wycoff, Justin Benn, Mauritz Badenhorst, and Mustaq Missouri — bring vivid caricatures to life with flair and energy. At times, this heightened characterisation flirts with undercutting the gravity of certain scenes, but it never completely loses its footing.
Ensor’s performance as Joan is a masterclass in nuance. She brings a sublime blend of faith, conviction, and steely defiance, slicing through the stodgy French bureaucracy with ease. Her portrayal balances intellect and vulnerability in a way that feels deeply human — a testament not only to her skill but to the deft direction of Grace Augustine.
Justin Benn is another standout, expertly walking the tightrope between comic relief and statesman-like gravitas. His character work is both endearing and grounded. That said, the entire ensemble impresses with their relentless pace and commitment to physical, dynamic storytelling.
Tim Jansen’s lighting design works like a gentle spell — quietly supporting emotional beats without overwhelming the action. Bold flourishes, such as isolated spotlights, are used sparingly for maximum effect. Similarly, Laika Rountree’s sound design subtly underscores key themes and maintains energy between scenes, particularly during transitions. A simple AV touch — white text projected on the rear curtain — efficiently signals scene shifts in time and place without disrupting the flow.
Despite its relevance to today’s sociopolitical landscape — echoing what feels like our own prolonged war between authoritarian greed and collective decency — St Joan adheres to Shaw’s stylistic tendency toward exposition. Battles, coronations, betrayals, and Joan’s near-death injury are often recounted rather than dramatised. While this lends itself to rich, intelligent dialogue, one might still yearn for the theatrical pomp and spectacle that the subject matter naturally evokes.
Ultimately, this is a play that continues to unfold in the mind long after the final blackout – the conflicts, language, and emotional weight of this production will linger well beyond its 90-minute run.
Augustine’s direction ensures the play’s courtroom drama and religious politics resonate clearly, yet we’re left suspended — should we feel outraged, heartbroken, inspired, amused? Maybe all at once? The ambiguity may be the point — a reflection of Shaw’s intellectual style and the timelessness of Joan’s plight. Go, and decide for yourself.
[Review by Tim Booth & Sharu Delilkan]
Saint Joan by Bernard Shaw is on now in Q Loft until Sunday 5 July. Click here to book now.
Image credit: Jinki Cambronero.
