When five women find themselves in hell, doomed to play poker with Joan Crawford for the devil’s delight, they begin to realise they are actually in a battle to save one of their souls.
Boasting a cast of eight colourful characters, The Gospel of Joan (Crawford) is somewhat of a morality tale – alternately whimsical, camp and earnest. Aside from the titular Joan, the five female leads all embody lesser-known characters, seeking to highlight their forgotten queer history. Sporadically we meet the devil, a sexy temptress under pressure to ease overcrowding in the underworld, who urges her right-hand gal to raise the stakes to allow one of the women to ascend to Heaven.
The focus is placed on each of the women in turn, exploring their backstory, darkest moments, sexual identity and impact on the world. There are times when accents get in the way of vocal clarity, so some of the text is lost, but equally there are speeches with more poise and connection. Some moments feel uncontained and franetic, while in others the performers find the power in stillness.
The highlight of the piece is Michael Bogardus in the role of Crawford. Immaculately presented, this drag diva breathes life and energy into an otherwise apathetic production. There are strong moments from the rest of the cast, but they are not sustained, and both the plot and characters lack clear intention.
Despite valiant efforts by the performers, and obvious dedication by the writer and director, The Gospel of Joan (Crawford) is simply not fully baked. The piece feels unfinished, more of a work in progress that may develop into a more fully realised concept at a later stage. As it stands, however, it lacks drama, narrative and drive, and even the late appearance of Jesus himself was not enough to raise it up.
By Deborah Klayman
The Gospel of Joan (Crawford) plays at The Space @ Venue 45, Edinburgh until 17th August 2024.
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