Dr Faustus

Although I have attended various performances over the years at the Minack they have all been choirs, where if your attention is drawn away from the playing area to the view it didn’t impact the vocals, therefore I was wondering if my attention would be fully focused on the action on the stage. But I can assure you that the performance held my attention throughout.

This play was new to me, it was interesting to read the information in the programme which gave me an overview of what was to come. Since the production I have read the original and it was fascinating to see how Colin Teevan’s adaptation brings parts of the story into the modern age, which actually sits with Marlowe’s original text.

The confines of the playing area were cleverly used with Dr Faustus’ office set up on a raised platform stage right incorporating an original door, this was covered with clothes during a major part of the play and uncovered at the end. The entrance to hell was through a large image of Leonardo da Vinci’s Vitruvian Man placed on a stone table with four images behind him which appeared to represent religion/magic (pentangle), anatomy (skull), time (clock) and the final image was difficult to define and I wondered if it might be Marlowe. On a plinth next to it was a metal clock depicting the passing of the twenty-four-year contract Dr Faustus had signed up in blood for. There were dramatic flames across the plinths and picture as Faustus was taken.  Other props were well managed by members of the cast and arrived from stage left. The cleverly constructed books were great but the piece de resistance were the beautifully constructed black and white swan puppets, you were certainly drawn to them rather than their operators who brought them to life.

The costumes were well fitting and changed from period to modern day depending on whose words were being spoken. It was great to see that time had been taken to ensure those within set groups had been given complimentary costumes.

Ben Sutcliffe’s, clever score and the musicians added interest to the performance. He had obviously spent times with the actors involved in delivering musical lines. They were in the main clearly delivered and I feel the incantations that the choir sang were much easier to understand because of their rhythm. The dances used in the play, I especially liked the umbrellas as dragons, were well rehearsed and added to the story.  

The lighting which became more evident as the natural light faded enhanced the scenes and the sound team ensured all the text, sound effects and music was audible to the audience.

The opening was certainly spectacular with Dr Faustus, two players and a metal cage. The doctor covered the cage and touched the front of the cage while the actors pronounced ‘How does he do it? ‘Does he, do it?’ and when the cover was removed there was a woman in the cage. This we found out was how Faustus summoned Mephistopheles. This was the first of a variety of well delivered magic tricks during the play.

Dr Faustus, the protagonist is a very complex character to play, he has to demonstrate his disillusionment with his life in which he has achieved in the areas of medicine, law, logic and religion. But he is never satisfied and makes his mind up that to reach new levels and obtain ultimate power he needs to practice the black arts by selling his soul to the devil. He gave a brilliant, energetic performance making full use of all the playing space. Interacted well with all the other actors especially with Mephistopheles, his skilled servant from Lucifer, who gives him a book of spells and his faithful servant Wagner.  He cleverly demonstrated his journey through his manic phases, the pleasure he achieved through the adulation when performing his spectacular magic tricks to his despair when his time was up. He certainly appears to show a desire to have completed different choices.

It is interesting that Teevan changed the sex of Mephistopheles in his adaption of the play when asked why he said ‘if Mephistopheles is a scary devil-man… he holds the whip but if she is a sexy…. lady Faustus can think he has the better of her.’ This is very true in your production; your actor created a believable character who was able to show that she was in control of the demands that the doctor made of her and in many ways made him look lost on the stage. What was also interesting was the dynamics between her and Wagner. She almost showed vulnerability when Wagner was interacting with Faustus and took her ultimate revenge by replacing herself in his bed.

The actor portraying Dr Faustus’ servant Wagner, did so with presence. She tried her best to persuade him to follow his studies and the bible throughout the play, but was ultimately overruled by a more powerful force. It was interesting to watch her affection for the doctor increasing and her efficient managing of the party. Her interactions with Mephistopheles were at points like two she cats but everyone knew who was going to win.

The prince of devils, ruler of hell and Mephistopheles master Lucifer, was initially a member of the audience before being invited on stage. Your actor created a good strong character who spoke clearly but it was a little difficult to distinguish his lyrics when singing. He constantly reinforced Dr Faustus contract and when he wavers shows him the pastimes in heaven, the seven deadly sins, that await him which quells his doubts.

The puppeteers in charge of the Good and Bad Angels were excellent and strangely opposite colours than expected. They both calmy moved around the stage manipulating the swans which interacted with other members of the cast. The Good Angel was constantly encouraging Faustus to repent and return to God whilst the Bad Angel supported his contract with the devil. Between them they argued their relevant points offering arguments and counterarguments.

The nine members of your ensemble played a myriad of parts during the production. They excelled as members of the chorus, clowns, deadly sins and the SWAT squad. They played Faustus magician friends, a Duke and Duchess, the Pope, Martin Luther King, media Mogul, Banker, Minister, Presidents of the United States, rock star and lastly two beautiful women albeit from different eras Marilyn Monroe and Helen of Troy.  They must have spent a great deal of time ensuring they knew who, when and what they should be doing. There was some great dialogue delivered in believable accents when needed, although I did think that Martin Luther King had maybe resettled in Cornwall. I would especially like to mention Marilyn’s rendition of ‘Happy Birthday’ which was great.

This play certainly seems to have relevant features related to modern times possibly our dedication to technology, knowledge and total undeniable devotion, maybe there are questions we need to ask ourselves.

I would like to thank you all for your request for a review and congratulate all both on stage and behind the scenes on a thought-provoking performance.

Disclaimer 

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be affected by that knowledge. 

The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the performance.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre. 

 It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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