George Bernard Shaw’s masterpiece, a factual retelling of The Hundred Years War, does not grow more than 100 years old. While the narrative is twisted upside down and on its head by telling it through the lens of a camera, this production of Saint Joan at the Traverse Theatre becomes a scouring examination of youth rebellion and stubbornness. The real question is whether it’s too scouring an adaptation, and whether it rips apart the narrative too much.
Immediately, we are placed into a film set. Commandeered by Martin O’ Connor, he becomes the film’s director — dictating through stage directions and details of the transitional moments. At the centre is Mandipa Kabanda — making her stage debut in this epic drama — who stands proud as the stubborn Joan. All this direction becomes fast-paced, the tension rising impressively through so little on-stage action and given the simplicity of the set design. This opening scene does leave the drama feeling a little confusing. It is not immediately clear why we are propelled into a film set; some adjusting is needed especially due to long speeches given which could have been condensed.
Joan is strong — unwavering in her power. Perhaps she may need a little more complexity in this retelling but Kabanda gives a painfully firm performance. She is present and past, especially with the modern dress and monologue over images from present day protests at the end of the production.
Sound is crucial in this technologically complex production, and although not immediately obvious, the earpieces worn by actors provide both a staggering link to the modern age but also the idea that the actors speak over a track, as they tell their lines to the camera. This aptly gives the sense that they are retelling Saint Joan’s story — metatheatrically it is being adapted for the modern age. Yaseen Clarke’s eerie, chest-shattering sound design supports the terrifying narrative posed. Gunfire echoes through the auditorium, and with it comes aptly rhythmic electronic beats.
Under the firm, knowledgeable direction of Stewart Laing, Thierry Mabonga especially shines — he finds an assured detail to his acting, even in the empty space the actors work with. Clarity is slightly lacking from some actors, meaning moments of monologue can be weak.
The expansive staging is beautifully Jamie Lloyd-esque, especially the school chairs which cleverly are used by Laing to satirise and mock the committee who accuse Joan. The staging is adaptable and springs out with surprises, the school-like chairs suggesting a personal, sublimely-integrated chorus who watch on and transgress to the modern age.
This thrilling production of Saint Joan leaves you with an appreciation for youth rebellion, together with a rotting fear of not standing up for beliefs — Joan holds ‘Saint’ to her name due to her continued relevance, 400 years after her execution. The camera moves around Joan through time, and now we must focus on its subject more than ever.
Image by Mihaela Bodlovic, courtesy of the Traverse Theatre.