Daylesford Theatre -- May 26 through June 4.

Bermuda's performing arts took a major step forward last night with the presentation of an original musical, "Joan of Arc'' at Daylesford Theatre.

With Bermuda's Warren Cabral responsible for the book and lyrics, and 23-year-old English composer James Burn providing the music, they have accomplished what many dream of, but very few pursue -- let alone see through to the end.

Musicals, notoriously difficult to stage, traditionally go through many metamorphoses before the finished product is presented. Last night's premiere reflected a refreshingly original journey into creative theatre -- a journey which hopefully, for these promising artists, is just beginning.

As the stage of Daylesford has remained ominously darkened for the whole of this past year, it was especially heartening to see it finally bounce back to life with this experimental kind of production. Indeed, if we judge "Joan of Arc'' as a workshop venture, it reveals exceptional promise, both in its literary and musical conception, and in the infinite care invested in the overall production.

It is fitting, too, in this Heritage Month salute to women, that this work celebrates the life of one of the world's first heroines, "Joan of Arc'' being the true story of the young French peasant girl who, inspired by "heavenly'' voices, led her fellow countrymen towards victory in the Hundred Years War against mediaeval England. Betrayed by the French into the hands of the English, she was captured, tried as a heretic and burned at the stake.

There was a quite brilliant performance from Stephanie Butler in the title role. Her powerfully sweet voice matched a radiant stage presence which, not surprisingly, dominated the entire production. Onstage for almost the entire show, with several outstanding solos, this was a virtuoso display of musicianship brought poignantly alive by her marvellously expressive eyes, reflecting a vulnerable femininity that even a suit of armour could not disguise.

Few in the opening night audience will forget the dramatic impact of the final tableau as the burning figure of Joan stood high above the town square, full of weeping citizenry, turning towards her in appalled sadness as they sang the "Kyrie Eleison''. As she gazed stoically upward, the sign of a cross appeared in the reddened sky as an exultant pealing of bells symbolised the canonisation that was to follow five centuries later.

It was one of several memorable moments in an evening of high drama enhanced by a melodic and beautifully orchestrated score.

Difficult to define in that this is a musical full of operatic recitative and even oratorio, this version of "Joan of Arc'' provides an evening of compelling theatre, performed with warmth and conviction by a cast who seem to have taken this French maid to their collective heart.

While Warren Cabral directed the birth of his theatrical baby, he was assisted by the vastly experienced Richard Fell who brought his own impeccable sense of theatre to a cast that had been chosen primarily for singing rather than acting ability. To his credit, he coaxed some excellent performances from these singers, notably in the tavern scene number, "Lady, You Take the Cake!'', where Jenny Hollis and Derek Corlett led some welcome comic relief in this tragedy. Another catchy number, fairly bouncing with animation, was the Royal Court singing and dancing their way through "Easy Come, Easy Go''.

Musically, the Soldier's Song, was another highlight, and stirringly sung by Derek Corlett, Steve Morgan, Andrew Dobson and Angelo Pimental.

With much of the music pre-sequenced, but with two live keyboards matching variations in the tempi of the singers, musical director Gaynor Gallant brought her usual professional expertise to the interpretation of this complex score.

Veteran actor Alec Foster took on the role of Old Jean de Metz, one of Joan's first admirers, who narrates her remarkable story. One of the most moving moments of the evening was the duet, "Making History'', between him and his "younger self'', the youthful Jean de Metz, played by Mark Hamilton. The latter, who possesses a fine tenor voice, established a tender rapport with Joan as they sang their climactic love duet, "Turn Away''.

There was an outstandingly powerful performance from Paul Matthews as the malevolent Bishop of Beauvais, who orchestrated Joan's sham trial. It was well matched by Keith Madeiros as the equally evil Duke of Bedford: he sustained brilliantly an air of sardonic indifference to her fate as the trial progressed.

There were fine performances, too, in the roles of La Tremoille played by Jim Stroeder and Carol Birch and Alan Gilbertson as Joan's parents.

The minimalist block set, and the outline of ecclesiastical stone-work designed by Gary Lounsbury, was brought evocatively alive by the imaginative lighting of Annette Hallett and the special effects of Ian Burch.

The mediaeval setting was further enhanced by Elizabeth Wingate's costumes, where the chain-mailed soldiers vied effectively with the sumptuous reds and purples of the Dauphin's court.

All in all, a visually splendid and ultimately uplifting evening of theatre.

Hats off to Warren Cabral and James Burn for a magnificent effort and to Stephanie Butler who did so very much to bring their dream to reality.

PATRICIA CALNAN THE HEROINE -- Ms Stephanie Butler as Joan of Arc.