Saint Joan (Sydney Theatre Company)

ABR Arts is generously supported by ABR Patrons and Copyright Agency Cultural Fund.
Diana Simmonds Tuesday, 12 June 2018
Published in ABR Arts

In his preface to the play, George Bernard Shaw wrote, ‘There are no villains in the piece. Crime, like disease, is not interesting: it is something to be done away with by general consent ... It is what men do at their best, with good intentions, and what normal men and women find that they must and will do in spite of their intentions, that really concern us.’ What concerned Shaw in the 1923 première production of Saint Joan was some three and a half hours in the telling.

In 2018, director Imara Savage, with collaborators Emme Hoy (of the Sydney Theatre Company’s young writers group) and title actor, Sarah Snook, has slashed it to an uninterrupted ninety-five minutes, while absorbing new material from trial transcripts and previous Joans by Mark Twain and Friedrich Schiller. Remarkably, this new Saint Joan retains the raw, condensed essence of Shaw’s perceived ‘good intentions’ and what men do in their pursuit, while telling the tale from end to beginning. In doing this, Savage has committed a heresy fit to make a purist faint.

The production opens roughly midway through the Hundred Years War between France and England as the nineteen-year-old Joan is on trial for her life. That war, a typical stop-start seasonal conflict, which, to at least four generations – as Joan remarks – was a war without end, had delivered much of France to England and her various French allies. Joan herself had been delivered to the English by the French hierarchy, no longer able to countenance her success and her audacity, never mind her rude femaleness.

Sign up to the fortnightly ABR Arts e-bulletin for news, reviews, and giveaways

Read the rest of this article by subscribing to ABR Online for as little as $10 a month.

We offer a range of subscription options, including print, which can be found by clicking here. If you are already a subscriber, enter your username and password in the ‘Log In’ section in the top right-hand corner of the screen.

If you require assistance, contact us or consult the Frequently Asked Questions page.

Published in ABR Arts

Diana Simmonds

Diana Simmonds is one of Sydney’s most respected theatre critics, and was a judge of the 2017 Walkley-Pascall Award for Arts Criticism. She runs the arts website, and was a founder of the Sydney Theatre Awards. She co-presents Sydney radio's Arts Tuesday. She was arts-features editor of The Bulletin, worked on the Sydney Morning Herald, Sunday Telegraph, and Time Out (London), and also for CSU Bathurst, UTS, and University of Sydney. She has published a number of books and has had two stage shows produced.

Leave a comment

Please note that all comments must be approved by ABR and comply with our Terms & Conditions.

NB: If you are an ABR Online subscriber or contributor, you will need to login to ABR Online in order to post a comment. If you have forgotten your login details, or if you receive an error message when trying to submit your comment, please email your comment (and the name of the article to which it relates) to We will review your comment and, subject to approval, we will post it under your name.