Critic Lizzie Loveridge praises the theatre’s production of one of Shaw’s classics and the convincing performances of the actors in the play, especially that of Anne-Marie Duff’s “kooky and direct” take on the titular character Saint Joan: A CurtainUp London Review

Although Michael Billington’s review describes Marianne Elliot’s production of the play to contradict the ideals of Shaw, he attests to incredibility of the production by stating that it is “excitingly done.” He notes that Elliot moves the play in the direction of an ensemble piece, rather than a star vehicle that focuses only on Saint Joan: The Guardian Review

Critic Neil Dowden writes that National Theatres’s production of the play relies heavily on the physical aspect of performance and less on the dialogue between characters. He then praises the leads, especially Marie-Anne Duff, and their interpretation of the historical characters: Music OMH Review

Lizzie Guilfoyle relays her experience with the play with a walkthrough of the narrative: Indie London Review

Critic David Benedict writes his appraisal for the director’s, Marianne Elliot, version of the play and her dedication to remain authentic to Shaw’s text and the characters. Anne-Marie Duff’s commitment to the character of Joan was in fact “mesmerizing” and aided in completing the vision carried out by Elliot: Variety review

This review illustrates the director’s, Marianne Elliot, inability to remain faithful to Shaw’s intention of the play, focusing more on the “psychological motivation” behind the characters rather than revealing the background of a heroine. Although the second half revives the play as a whole, this review hold fast onto the opinion that the play is not the “most brilliant” of the National Theatre’s productions: Theatre Kraut Review