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Sandy Grierson and Oliver Ryan decide the burning question of who is to play Faustus. Pictures: Helen Maybanks. Doctor Faustus
Swan Theatre
Stratford-upon-Avon
***** CHRISTOPHER Marlowe's Faustus is the
terrifying story of a man who sells his soul to the devil and the
consequences and regrets that follow. Maria Aberg’s creative interpretation of the
Elizabethan play produces a sort of spiritual awe of the darkness of
Faustus’ mind. The premise of the play is based upon an
interesting concept which comes at the beginning. A match is to
determine who plays Faustus and Mephistophilis, which gives a completely
different experience to the audience each night. Actors Sandy Grierson and Oliver Ryan, who look
strikingly alike, enter and face each other in silence. They then strike
a match at the same time and the first to extinguish has the role of
Faustus. Tonight, Grierson played Faustus and Ryan was Mephistophilis. Grierson jumped into the role without hesitation
and the preparation and skill of both actors to perform with such demand
is commendable, not knowing who they will play each night. Grierson is a marvellous Faustus. He comes across
as a university lecturer or teacher, stressed in study and conflicted
between ideas. In the first scenes, Grierson contemplate Soon after making the decision to call on
Mephistophilis, he literally cuts away the back walls and throws away
the books and boxes to make way for a new future. Faustus’ journey
within Grierson’s performance is particularly interesting to watch. His Scottish lilt gives him a general roughness
and we see the innocence of the doctor we first encounter turn into the
power hungry and insensitive man. By the end, he realises his mistakes
and understands that he is doomed for an eternity in hell.
Grierson feels every emotion within each word of
the script. His performance is remarkable and to think that he does not
know if he will perform Faustus on any particular night is a fine
testament to his skill on stage. Ryan’s Mephistophilis is equally fantastic to
watch. With a chilling disposition and cunning persona, Ryan brings the
devil like creature to life. He is in tune to Marlowe’s words in that
‘hell is everywhere’ and presents himself as a man like any other. The costume choice is very similar to Faustus’,
which allows the audience to see the reflections of character. A
particularly touching moment was in Ryan’s emotional account of the
entrance of Helen of Troy, in the famous speech ‘is this the face that
launched a thousand ships’. The various changes of set happen right before
our eyes. Naomi Dawson’s creative design gives a breath taking account
of Elizabethan spirituality. Faustus paints pagan figures and symbols on
the ground to conjure up Mephistophilis and waits for his arrival.
Costumes are a spectacular addition to the production, creating a
completely different underground and devilish world on stage. It is however the work of the company and
ensemble that give the finishing touches to make this production a
mesmeric experience. The cast play ghouls and devils and flit between
each scene. The overall atmosphere of the production is heightened by
their energetic presence. Choral scenes that allude to speaking in
tongues give frightening exposure to hell on earth. Perhaps the most memorable of scenes is the
entrance of the seven deadly sins. Pride, Covetousness, Wrath, Envy,
Gluttony, Sloth and Lechery all have their place and are embodied
wonderfully by each actor. They are personified with costume and
together make a scary unison and artistic introduction to life in hell. Music by Orlando Gouch adds another element to
make the production deliciously terrifying. The company made clear the
difference between living earth and hell in each scene. The dark
underworld scenes are frighteningly rich in atmosphere, but are never
generic. Faustus veers more and more away from living in the mortal
world until there is no way out of hell. There are scenes of bloodshed
and sacrifice which are intensely graphic and lead the audience with
pace and atmosphere from scene to scene.
Lucifer is played by the seductive Eleanor Wyld.
The character choice is unconventional as she is dressed in a white
power suit and looks far from the usual connotations of what Lucifer is
perceived to be. In her powerful and scheming charm, she is the leader
of hell and commands all to follow her. The production reflects the imagery of Marlowe’s
dark thoughts and representation of spirituality in Elizabethan England.
Aberg’s awe inspiring creativity in every element of the production
gives way to a spectacular experience. Ensemble and music help to cement
the heights already marked by incredible performances by the cast. To
04-08-16 Elizabeth Halpin 11-04-16
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s his books and
studies on a minimal set that consists of wooden boxes and a table at
the side.