I was a little uncomfortably unsure what to expect from Kenneth Brown’s retelling of Saint Joan of Arc’s story when we first sat down in the third row of La Cité Francophone’s l’Unitheatre. We looked up two stories and saw Ellie Heath looking quite angelic in white robes but mundanely hobnobbing from above with audience members. “Seems kind of unprofessional” we whispered to each other. What we didn’t realize until sometime after the play finished, was that the play had already begun. Heath had been in irreverant character from the moment the doors opened and the audience started filing in.
This is not a run-of-the-mill treatment of Joan of Arc. Risks are taken here, almost all of them on Heath’s side. Not to say that Melissa Blackwood plays it safe as Joan: she’s pure intensity and passion and downright scary leading her invisible French army into battle. Blackwood’s Joan is the half of the play we expect, a version of the Joan of Arc we know from film and story. Blackwood plays it straight and very, very well.
Heath’s protean performance as Joan’s Voices, the Saints of her visions, as English French and Burgundian soldiers, as the Dauphin, and Joan’s inquisitor and executioner — this performance is the risky bit, the bit that may leave you asking yourself “what’s she doing? is this just too flippant?”
But wait. Stick it out to the end. You’re part of Joan’s story. Her story is our story still today. Heath’s characters ignore the fourth wall, or rather, push that wall to the back of the house, making this stage all the world. Here the opportunistic still betray the passionately dedicated and then reclaim them for the team after the execution. This is the problem the play asks us to make sense of. It is we who condemn Joan to the stake. And centuries later we canonize her.
I’m not sure every detail of Mad Fantastic Maid of God works, but the whole package is an exhilarating and challenging thought provoker.
Another Edmonton Fringe Festival gem.