“Saint Joan,” is the “prestige event” of the Broadway season.
It’s kind of a “can’t lose” situation. Even if the production is weak, (and it is)the idea of bringing George Bernard Shaw’s version of the tragic story of Joan of Arc to Broadway gets points just for being a bold choice.
Produced by Manhattan Theatre Club at the Samuel J. Friedman Theatre, the production is faithful to the words and intent of its author, which means there is a play on Broadway that is told with both a stunning intelligence and biting cynicism.
Upping the ante, is that it’s cast with some the best supporting actors in the business and has a lead determined to find the soul of the title character.
Condola Rashad is a passive but determined Joan whose greatest strength is her firm and inflexible belief that God annointed her to rid the English from France. She is neither a religious fanatic nor a political radical. Rashad’s Joan of Arc is simply a person who believes so deeply and honestly in her mission that others must believe as well.
This production directed by Daniel Sullivan makes it clear the French had little else to believe in. The leaders of the French army are either timid or inept and often both. The leaders of the Catholic Church are self-serving and power-hungry. The corrupt politicians are so vile they make both the soldiers and the clergy look good.
When an innocent peasant girl inspires the masses to think beyond their individual situation and act for the common good, those in power realize that “isms” like protest-ism would topple the church and national-ism could dismantle the feudal social structure.
For those in power they consider no choice but to destroy Joan. And with contempable arrogance, the elites of society use the brutal Inquisition to have Joan burned at the stake.
In this modern era where social and religious structures are under the same kind of stress, the story of Joan of Arc should have special resonance. But strangely, this production is so passive it fails to stir any emotions.
Sullivan’s direction lacks movement or action as characters spend pages and pages of Shaw’s didactic dialogue in stationary positions. At times, psomeone merely getting out of a chair is welcome action. Coming in at nearly three hours it makes for a long night.
Too, as compelling as is Rashad’s persona on stage, the choice to show Joan as merely a vessel of God lacks dramatic tension and mutes the charisma that would command the respect of an army.
Though her climactic interrogation is touching and even pitiful, it is difficult to emotionally connect with the woman who is in charge of her choices - if not her fate.
“Saint Joan” is a tale of heroism and betrayal that is honest to both the title character and to the playwright.
But it is not totally satisfying to an audience that needs action along with moralizing.
“Saint Joan” is at the Samuel J. Friedman Theatre, NYC. through June 10.
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
