Sainting Joan is a new musical that tells the story of the brief life of Joan of Arc. Brief, but – one could argue – eventful.
Joan was a teenage peasant girl who claimed to be guided by angels to save France from England during the Hundred Years War. For what might best be described as “reasons”, Charles VII believed Joan and sent her to help his demoralised forces.
Joan had success at first, then did not, then was captured, then was put on trial, then was burnt at the stake, then was exonerated, before eventually being canonized.
As a history lesson the show functions very well. As a musical? Mostly well. Written and directed by Abigail Banister-Jones, Sainting Joan begins with figures debating her eligibility for sainthood, before flashing back to tell Joan’s story and her deeds.
It’s playful, but never mocks its subject. The show is irreverent, but takes its irreverence seriously – as if Starkid Productions produced a mashup of Butch Masters: Man of Destiny and Jesus Christ Superstar.
Those JCS vibes were probably felt most strongly with the music. It’s a catchy arrangement by Music Director, Lachlan Obst – anachronistic, energetic, at times visceral, at times funky.
The only negative has nothing to do with the quality of the performances or skill of the musicians, but only to do with the constraints and consequences of the space. Sound levels are a devil to get right at the best of times, but when the band is seated directly behind the action, it makes it so much more difficult to balance the volume of the singing with the music. Here it felt less an exercise in balance and more a battle for who could be louder, and too often lyrics were lost due to being overpowered by the band.
I had started to wonder if an unfortunate combination of speaker placement and being seated at very end of the row was exacerbating the sonic muddleness, but in one of the final scenes Joan’s vocals could suddenly be heard – as if her mic pack was activated for the first time – so perhaps there had been a problem with amplification throughout? Regardless, the quality of the performances still shone through
Along with writing and directing, Abigail also played Joan. Sound issues aside, Abigail’s passion for this story came through in a fun and fervent performance. Emerson Hansford’s turn as Charles was charming and flirty and always entertaining.
James Colbourn-Keogh had a number of roles, but in the canonization scenes played the Devil’s Advocate, whose rich singing voice wove in beautifully with the others. Another standout was Gemma Caruana as General Dunois, who also played one of Joan’s spooky angels. Gemma’s singing was smooth and soulful and you could hear every word of it.
As much as Joan of Arc became a symbol that could be used by others during her life, in death she was used even more once certain people realised what could be gained by welding her myth. It’s something the show acknowledges in an excellent denouement when a modern Joan emerges, recapturing her own myth.
In these current times, a reminder of the strength of womanhood and the merits of reclaiming your power is certainly one that’s gratefully received.
Sainting Joan
Explosives Factory, Rear Laneway, 67 Inkerman Street, St Kilda,
Performance: Thursday 21 May 2026
Season continues to 30 May 2026
Information and Bookings: www.theatreworks.org.au
Images: The Cast of Sainting Joan (supplied)
Review: June Collins