With some help from Joan of Arc, Janie Gibson and Anu Almagro turn the screws on misogyny.
The title is metaphorical. It does not refer to the voices Joan of Arc believed came to her from her god, but to the multifarious ways her bold stance against a cruel and morally bankrupt patriarchy rattled the bones of history.
Gibson hurls herself into endless costume changes, variously emerging as herself, Joan, a corrupt judge and Heinrich Kramer, the author of, which, half a century after Joan was incinerated, formalised the practice of burning women alive.This is black-box theatre with a few lights , skerricks of music , a rack of costumes and elements of audience participation that culminate in a theatrical image to shake your soul.
Along the way come undergraduate moments and wavering intensity. We hear the voices of, or are given quotes by, Alan Jones and Donald Trump, while the text, like Shaw’sThe play’s dramaturgical sins are easily forgiven: they can happen when you take this many risks. Where it falters is metaphysically. Shaw, ever the sceptic, dismissed the voices, so his play ends up sitting uncomfortably on a rather precipitous fence.
Joan may or may not have suffered some malady of the mind, but these voices were so real to her that she convinced others to let her wear armour, ride a warhorse, devise battleground tactics and longer-term strategies, lead troops into action and win: inconceivable actions for one of her age, class and sex.
Even if the show’s creators struggle to give credence to the interlocutory powers of her angels and saints, they could have let Joan believe in them more – so she could also doubt.
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