Joan Must Die - I Never Really Liked Her Anyway

Pop culture meets reality TV to retell the story of Joan of Arc and her cult of personality, with a contemporary lens, in a highly theatrical style. Curtin Theatre Arts and the Hayman Theatre Company present Joan Must Die - I Never Really Liked Her Anyway, in only its second ever production.

This production feels like it was written to be performed by a university student cast. It’s a show that allows for a variable cast size, includes dance and movement that allows for greater inclusion and has the edginess that one expects from this age group. The dance sequences, while obviously anachronistic (much of the play is) have force and impact under choreographer Analisa Cicchini.

While actors play multiple roles throughout, the central and titular role is played by 5 performers. Augusta Manowski, tiny but powerful, plays Joan as a young girl at home - inspired by voices. An actress with excellent facial expression, the fact that you want to watch her intently shows that she also tends to mouth the opposite actor’s lines, a habit to break as she has wonderful potential. She has excellent chemistry with Jarrod Whitehurst as Sergei - a boy wearing a dress who becomes her only friend as they unite as outsiders. (A very sympathetic and likeable performance.

Analisa Cicchini plays Joan as she starts her journey as a soldier, with excellent conviction - a journey continued by Isla Simeoni as she realises her power. Zoe Garciano’s Joan leads her troops into battle - another petite actress with power, while Adah Hill poignantly plays Joan post arrest as she faces execution.

A strong supporting cast. Toby Shepherd plays “The Voice” that challenges and ignites Joan. Sam Nichols and Rhys Healy as Bertrand de Paulengy and Jean de Metz combine to play real life characters who blend with 2024 sensibilities as well as providing love interest. Dakota Gaudio as Mama and Adrian Levis nicely play conflicted parents among other roles. 

Conor Flint has fun belying his angelic looks with a succession of characters with unsavoury habits, while Seven Edge brings strength and a feminist perspective as Celine.

Playing on a very simple set designed by Setere Mockharebin, we are treated to strong, traditional costume design (and a plethora of quick changes) made possible by costume designer Sian Griffiths and her team. Lighting design is both practical and intelligent in the hands of Cat Broom, while Sound Designer Rory Geddes gives us a modern soundtrack and some clever effects.

Kimberley Shaw

Photographer: Poppy Lindsell