Thierry Mabonga

Saint Joan

21/03/26

Traverse Theatre, Edinburgh

Stewart Laing’s stripped-back adaptation of George Bernard Shaw’s Saint Joan is based not on the 1923 original, but on a screenplay Shaw wrote later (presumably with an eye on Hollywood), a script which eventually made it into print in the1960s but never transitioned to the big screen. It’s a shorter, tauter version of the story, which focuses on Joan’s origins – and on her subsequent trial.

The piece is initially narrated by Chorus (Martin O Connor) as a series of action lines, inviting the audience to picture the scenes as they unfold. Joan (Mandipa Kabanda, in her theatrical debut), a sixteen-year-old peasant girl, turns up unexpectedly at the farm of Robert de Baudricourt (Thierry Mabonga), insisting that she be given a horse and a suit of armour. (Well we’ve all been there!) Voices in her head have told her that she must ride to the rescue of the city of Orléans, which is currently under siege by the English army. Those same voices assure Joan that not only can she save the city but, furthermore, she’s destined to be the one to crown the Dauphin in Rheims Cathedral.

Against all the odds, Robert is convinced by Joan’s visions and grants her request. The ensuing carnage in Orléans does appear to have a seemingly miraculous outcome with the French defeating the English, providing a turning point in the 100 years war. But of course, as we all know, history doesn’t have a happy ending planned for Joan – and all too soon, she finds herself on trial for witchcraft, judged and assessed by a bunch of toxic males, who feel threatened by her seemingly supernatural abilities. Only Ladvenu (Lewis MacDougall) finds some sympathy for her plight, but he is shouted down in the general chorus of ‘burn the witch!’

As I said earlier, it’s stripped-back and spare, but the harsh declamatory style of the dialogue sometimes makes it hard to follow proceedings – and it seems ironic that a huge blank screen standing onstage throughout is barely utilised as anything more than a handy barrier to conceal costume changes. There’s one brief sequence with a few static images and music by Charli XCX – and a longer filmed epilogue, created by Adura Onashile, which features a tarred-and-feathered Joan speaking directly to camera, evoking comparisons between her mission and the work of protestors against the current conflict in Palestine. Are social media activists channelling Joan as a prototype? This seems to suggest that they are – but, the inevitable effect is to make those earlier scenes seem even starker by comparison – and wouldn’t Joan’s immolation benefit from some suitably fiery visuals? I can’t help feeling this is a missed opportunity.

Still, this is a serious, thought-provoking performance piece with the six-strong cast moving from character to character with total commitment. MacDougall is particularly compelling as Ladvenu and Ross Mann manages to imbue elements of humour into the bullish, vengeful Chaplain. A four-way production between Raw Material, Perth Theatre, Aberdeen Performing Arts and Citizens Theatre, Saint Joan in at the Traverse until the 21st of March.

3.4 stars

Philip Caveney

First Snow/Première neige

03/08/18

Canada Hub, King’s Hall, Edinburgh

The press launches are pretty much done and dusted, the complimentary wine dutifully sipped, the introductions have all been made and now it’s eyes down for our first show of the Edinburgh Fringe 2018. Happily, it’s an auspicious start, an impressive and ambitious slice of theatre, a co-production between the National Theatre of Scotland, and Canada’s Theatre Pap and Hotel-Motel. In the interests of inclusivity, the piece is performed multi-lingually – in English, French and two different sign languages. If that suggests the results might be confusing, don’t worry – this is skilfully directed by Patrice Dubois and memorably acted by an ensemble cast.

Artist Isabelle (Isabelle Vincent) summons her family back to the ancestral home in Quebec. Her visitors include her daughters, Mina (Guillermina Kerwin) and Zoe (Zoe Tremblay), with Zoe’s Scots/Congolese boyfriend, Thierry (Thierry Mabonga), along for the ride. There’s also Isabelle’s conservative brother, Harry (Harry Standjofski), whose political views are anathema to the assembled crowd. Isabelle is keen to talk about the family’s future. After all, she’s seen her hopes for an independent Quebec dashed in the 1995 referendum and, more recently, her old friend Fletcher (Fletcher Mather)’s hopes of a ‘leave’ vote in Scotland have been similarly scuppered. Now the spectre of Brexit hangs over the UK. What does it mean for those who dare to dream of a different world?

Though the theme of family ties is uppermost here, it’s nonetheless a politically charged piece and the observation that people’s ambitions are so often dashed by cautious conservatism is eloquently told. From such an accomplished cast, it’s hard to single out an actor for particular praise, but I do relish Standjiofski’s turn as the snarky, sneering Harry, a man capable of offending everyone in the room with a single offhand remark.

With all those different ideologies under one roof – plus the presence of Isobel’s adoptive son, Francois (Francois Bernier), who fully expects to inherit the family home when Isabelle is gone – it’s only a matter of time before things come to a messy confrontation, which they do in spectacular fashion.

This is thought-provoking and prescient stuff – and, if it’s a portent of what to expect from the rest of this year’s Fringe, a very good sign indeed.

4.5 stars

Philip Caveney