Independent theatre in Melbourne has always provided a safe space for bold risks, strange ideas, and the kind of creative bravery that rarely survives in bigger, more traditional institutions. Sainting Joan is a perfect example of why that ecosystem matters.
Staged in Theatre Works’ Explosives Factory, tucked deep in the graffiti‑splashed backstreets of St Kilda, this brand-new, punk-inspired work revisits the story of Joan of Arc through the bickering ghosts who knew her, each debating whether she deserves sainthood.
Sainting Joan is the brainchild of Australian actor, writer, composer, and theatre‑maker Abigail Banister-Jones, who also steps into the title role.
From the outset, it’s clear that Banister-Jones has a genuine passion for the work. She infuses the production with a raw, unvarnished grit that reflects the spirit of Melbourne’s indie scene and the courage it takes to launch an original show.
Independently sourced costumes, simple sets, simple lighting and a stripped‑back band reinforce that DIY aesthetic, underscoring the production’s commitment to grassroots creativity.
The element of the show that most clearly embodies its indie spirit is the young, but undeniably enthusiastic cast. From the first note, it’s obvious how deeply they care about the project and about supporting Banister-Jones’ vision.
There’s always something genuinely refreshing and optimistic about watching emerging performers find their footing in the world of theatre. The cast barely stops for breath across the entire production. They’re almost constantly onstage, shifting between multiple characters and throwing themselves into each moment with admirable energy and playfulness.
The musical highlight of the night goes to the trio of Cassie Ogle, Gemma Caruana, and Brittany Ng. Their portrayal of three comical, nosy English onlookers attempting to decipher the verdict in the case against Joan of Arc is hilarious. The trio pull off their slapstick characterisation with sharp timing and infectious energy, earning genuine laugh‑out‑loud reactions.
The band, confidently led by Lachlan Obst on keys, features Timothy Chivers on guitar, Lou Hogue on bass, and Victoria Mertonidis on digital drum kit. Obst was a standout of the evening. He handled the new and varied score with total command and brought real energy to the production.
As the show continues to grow, I’m hopeful the digital drum kit may eventually evolve into an acoustic or full percussive setup, allowing the intended punk edge of the score to land with greater impact.
The sound production on opening night left a fair bit to be desired, not unusual for a first performance, but still unfortunate. It meant some of the early setup numbers were difficult for the audience to catch. With a bit of tightening, this is the kind of issue that can easily be smoothed out as the season progresses, and hopefully, the team will get the balance right in the coming performances.
As with many new works, some of the structural choices still feel like they’re finding their shape. I wasn’t entirely convinced by the closing number, which reduces Joan of Arc’s legacy to a haircut, but there’s real potential in the material.
With further development, I’m hopeful that Banister-Jones will continue to workshop Sainting Joan, allowing it to grow, refine itself, and evolve into its next iteration.
Sainting Joan runs at the Explosives Factory, Theatre Works until 30 May. Rear laneway, 67 Inkerman Street St Kilda Vic 3181.
Tickets are available here.
Website: https://www.theatreworks.org.au/2026/sainting-joan
Socials: https://www.instagram.com/theatreworksstkilda/
Photo credits: Iz Zettl
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