Perth Theatre, March 4th, 2026.
Director Stewart Laing makes work that occupies liminal spaces, so it was perhaps inevitable that he would take on an adaptation of George Bernard Shaw’s play Saint Joan, in his characteristically complex, radical style. By adapting Shaw’s unfinished film script and transposing it to stage in a raw, sparse style , cast reading out camera angles, his sleek modern vision brims with frenetic energy, spat out with bullet lines of dialogue which only abate towards the end and Joan’s court case.
Young actor Mandipa Kabanda takes the titular role with gusto, a little firecracker with wilful gumption and pathos. She’s ably supported by Martin O’ Connor and Ross Mann providing levity in various Chorus roles and flouncing foolish King Charles respectively. Thierry Mabonga is a more menacing prospect as La Tremouille, and it’s wonderful to see a script which interrogates ideas of church versus secularism, patriarchal scapegoating of a teenage girl and questions about societal conditioning
The latter is mostly in evidence as Joan’s time of reckoning draws nearer, men surrounding her in shadows, blaming her for heresy and witchcraft. Groupthink prevails here- at first she’s deemed a reckless unfeminine heretic; then she’s heralded a saint.
Laing makes the connective tissue apparent in drawing parallels with recent wars, backlashes against feminist causes and the push towards “traditional ‘ values. This is further reinforced by the epilogue, a powerful film by Adura Onashile where she reclaims her voice on a rooftop protest. Tarred and feathered, her once scrutinised body plummets Is she finally free, or is she a political martyr? A bold, beautiful and fiery play.
Photo: Mihaela Bodlovic
Touring until March 21st.
Hit The North 