African Baroque
Dr. Faustus
The Old Fire Station, 11-15 October
Plot: 4/5
Cast: 4/5
Direction: 3/5
Marlowe’s baroque masterpiece tells of a German metaphysician who falls victim to his own ego. Dr. Faustus is heavily steeped in Christian symbolism; the battle between good and evil is personifi ed in the form of good and evil spirits and deadly sins. The real confl ict, however, is within the mind of the scholar, as his temptation for supernatural knowledge and power overshadow his conscience.
Director Andrea Ferran has taken the brave and innovative decision to transpose Marlowe’s play onto a modern day African setting. Correspondingly, the set comprises colourful draped muslin, in a kind of giant summer tent, and the conjuring circle, drawn in chalk, creates a curiously mystical atmosphere. Yet for the most part, the intended location is not obvious to the audience, since the text is faithful to the original and there is no obviously African symbolism on stage.
James Lea is an enchanting Faustus, his tone of voice bewitching, as he dabbles in the dark arts. He seamlessly changes mood, as his apparent arrogance is tempered by confrontation with Mephistopheles (Fiona Ryan). Lucifer’s servant appears in the form of a feisty, seductive female, who torments and enchants Faustus. On the whole, the chorus complements the central acting with great competence. Their chanting is welltimed and the movements are excellently choreographed.
However, when Faustus, at the Emperor’s bequest, conjures Alexander the Great and another fi gure, they appear in the form of two slight females fi ghting with swords, which seems almost comical and rather contrived. Although the transposed setting does not quite fi t with the dialogue and cultural references of the play, one can relate to the timeless struggle of man’s conscience against his temptation and lust for power.
5th Oct 2005