Writer: Chris Bush
Director: Francesca Goodridge
A fresh, vibrant take on an old, old story. Fausus: That Damned Woman has burst on the Storyhouse stage in a whirlwind of fire, air, earth and water. You probably know the traditional tale of Faust, or Faustus; brought to life many times of the centuries by writers such as Marlowe and Goethe. However, whereas the Faustus’ of old have sought glory and power for themselves, in Chris Bush’s interpretation of the tale, our protagonist Johanna Faustus seeks power and opportunities for women, and to use these opportunities for the world at large as she fights to conquer the unconquerable.
Having lost her mother to the witch trials of the 1600s, Johanna seeks to sell her soul to uncover her mothers fate and discover if, as claimed, her mothers name is written in Lucifer’s book. But in considering her trade; her soul for 144 years of unlimited power, the ability to move time forward and to never age; Johanna seeks to use intellect, technology and a fiery grudge to do for others what she could not do for her mother.
Olivia Sweeney takes on the part of Johanna Faustus, and whereas in previous interpretations of the tale, the story itself judges the morality of Faustus’s actions, in this production it is the audience who are challenged to take on the role of jury. Do we believe that Sweeney’s Faustus is morally good? Overreaching her power? She is a complicated figure driven by grief, need, and, as the play moves on, almost drunk on opportunity and possibilities. Sweeny’s indefatigable take on the role gives all the more weight and urgency to the characters seemingly impossible aspirations.
Director Francesca Goodridge’s vision for this ensemble production is that any of the female ensemble could take the title role. ‘You’re watching Olivia play Faustus. But if you’d have come an hour before, you might have seen another of the ensemble playing Faustus.’ And the production feels like any of the ensemble could have stepped up to take on Faustus’ plight. There is a sense of mutual animosity against persecution throughout the production, at any time an actor might take up the reins and continue Faustus’ fight.
Each taking on the role of the ever present devil Mephistopheles, along with other roles, the ensemble cast are, quite simply, excellent. There is nothing more pleasing than watching an ensemble so in tune with one another, in their interpretation of the movement produced in collaboration with Fallen Angels Dance Theatre, and throughout the production. In one scene, Dzey Z Smith and Miriam O’Brien both puppeteer the body of Pierre Curie. It’s a real standout moment of the show, a skilfully executed performance and testament to what a truly collaborative performance can produce.
Inspired by a human connection with the four elements, Good Teeth design team have created a timeless setting. With tree roots bursting from the ceiling, as if under the earth, this could be hell. As Mephistopheles states in Marlowe’s interpretation ‘all places shall be hell, that are not heaven’. Dripping water, flaming walls, at any time we could be by a river, in a mansion, on the heath, but never far away from the eternal presence of hell and Mephistopheles.
Visually dynamic, well produced and thoroughly engaging, Storyhouse has produced a very memorable and striking production. You won’t be disappointed!
Runs until 18 February 2023