Review: UCL Drama Society presents Saint Joan

UCL Drama Society’s performance of Saint Joan was indeed a pleasure to watch. This interpretation of George Bernard Shaw's 1923 play was directed by Rosemary Moss and tackled a vast array of themes with a mature approach, looking at their significance within a 21st century world. This included subjects recognisable from today's news and media, from the arbitrary trip-wired labyrinth of the law to the recently exposed lechery within the Church, to the isolation found in the suffocating nature of social expectation.

The central motif of Saint Joan

What immediately struck me as notable was the natural flow of banter between the actors on stage. It created a real buzz, bringing energy to the show. Special mention must go to Richard Sansom for his superbly dynamic acting as Robert de Baudricourt and a 'soldier'. The charisma he brought to his characters was riotous to behold, as if John Cleese himself were up on stage. He was supported by Tom Sansom's impressive Smeagol-like interpretation of his Steward, and their missing presence was felt at other points in the play.

One of the the play's greatest merits was its ability to subtly oscillate between moments of humour and darkness, to create a distinctly unnerving world. This could be seen in pampered Dauphin who just wants to stay tucked up in bed leaving the audience in fits, whilst members of the clergy gave fiery representation of the hypocrisy of a hard lined Church.

Grounding the play in themes relevant to today, Gabriel Morley played the aristocratic Earl of Warwick, representing the forces of white boy toxicity and clad head to toe in Supreme.

Morley as a generic 'White Boy'

This tension between Joan and the Kafkaesque forces of oppression culminated in a very powerful and superbly-acted courtroom scene. Significant credit must be given to Miles Blanch for his skilful and precise handling of the role of The Inquisitor, embodying beautifully the spin doctoring effect command over language has throughout the play.

Finally, a mention has to go to the costume and design team. Each scene had its own unique layout, all fusing into each-other through the continual appearance of scene one’s rubber eggs. The costumes were a delicate combination of high street fashion and medieval motley, with colour subtly used to separate the informal black and white outfits of the play’s puppeteers with the excessive bright colours of a gullible court.

Saint Joan has been characterised by critics as ‘a play without villains’ and anyone that knows its subject will find this hard to believe. Yet Drama Society’s production was able to hold true to performance as a medium for discussion rather than dogma.

After each character has in effect presented their case to the audience, we are called on to decide whether their actions whether such actions are necessary in order for the attainment of martyrdom; and whether we can have change without it being brought about by the suffering of others.

Rating: ★★★★½

Photography by Dione Sarantinou