Faustus: That Damned Woman (NHB Modern Plays) (Nick Hern)

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The flipside to this is that – like ‘Doctor Who’– it’s awork of entertainmentextremely aware of its status as escapism. But its intrinsic frivolity somewhat undermines the efforts Bush has gone to to make Faustus a more serious figure. 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. The play opens at a time of plague when women are still being executed as witches. Emerging from this vindictive age is Johanna Faustus, grieving the loss of her mother to such a degree that she begs for the opportunity to sacrifice her soul to Lucifer for the remote opportunity of being reunited with her mother in Hell.

However, I felt this was a successful decision by director Francesca, as it added an ethereal, otherworldly appearance to the character leaving me wonder - is there a devil in everyone? 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. The character arc she has to pull off, written with such clarity and focus by Bush, is nothing short of miraculous for this is a story which doesn’t just span years but centuries and millennia. Several members of the ensemble take turns to become the character of Mephistopheles, which can often be grating to an audience forced to glare at the acting inconsistencies. Chris Bush’s contemporary take on the myth, ‘Faustus: That Damned Woman’, asks (kind of)what a woman might have done with the power.And the answer – in this co-productionbetweenHeadlong and the Lyric – is that heroine Johanna Faustus does a lot more. Like, a lot more.If the first half is a sort of mystical feminist revenge thriller then the second half is a sort of mystical feminist redemption saga, as Johanna resolves to do good with her power. Faustus: That Damned Woman was co-produced by Headlong and Lyric Hammersmith Theatre, in association with the Birmingham Repertory Theatre, and first performed at the Lyric Hammersmith Theatre in January 2020 before touring the UK. God’s abandonment of her mum lead her to reject religion. Driven by her unfulfilled desires and lustful appetite for greatness, she walks through the path of the occult, only to reach the gates of hell and meet the Master himself. Johanna decides to make the ultimate sacrifice and strikes a deal with the devil, condemning her own soul to eternal damnation in return to revenge her mother’s death, and have complete freedom to control her own destiny. Lucifer agrees and also offers her the services of one of his demons, Mephistopheles, to provide her with all the devilish of entertainment, forbidden knowledge and unlimited powers…but pride comes before the fall…was it worth it after all? However, the production is definitely saved by a vivid stage design and an energetic and talented cast who throw themselves into the story wholeheartedly and deliver an enjoyable and thought-provoking performance. Her apothecary father (Barnaby Power) wants her to collect leeches, not herbal remedies – and to be married off, too (“tethered”). But she thirsts for knowledge about her mother, so firstly conjures Mephistopheles (a prowling, lordly Danny Lee Wynter) then boldly demands to meet his boss, who appears in the likeness of her father.

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. Of course, it is always fascinating to view familiar stories through a different historical lens, and following Lucy Kirkwood's The Welkin that opened at the National just last week, here's another female playwright being given a large London stage to tell a woman's story. The Lyric Hammersmith's artistic director Rachel O'Riordan and executive director Sian Alexander write in a programme note that the theatre has "committed, with Headlong, to commission women writers to create new plays of scale for our Main House." Visually dynamic, well produced and thoroughly engaging, Storyhouse has produced a very memorable and striking production. You won’t be disappointed!A scene I felt was particularly powerful was the ensemble acting as Joanna's inner consciousness reciting her sins and weaknesses. The sheer quality of this version of the famous story deserves to turn it into the definitive version for the 21st century because I, for one, would consider selling my soul for the chance to see it again. When researching the look and feel Francesca wants to bring to a production, she says she works with visual imagery more than words, and for Faustus she has explored ideas of physical theatre and contemporary dance, along with body art.

Olivia Sweeney, who plays the title character Joanna, gives a relentless performance taking every facet of Joanna's complex character in her stride resulting in a breath-taking performance. This scene, as well as many others throughout the play, held up a shining mirror to oneself forcing us to look inwards at the sins we may be unwittingly fulfilling.

Cast

Caroline Byrne’s production is atmospheric, which aids some of the more meandering sections of the play. Ana Inés Jabares-Pita’s dark, smoky set has skeletal trees arching over and covered with rough canvas, creating a claustrophobic bomb shelter-like structure; after the fire, ash rains down in a desolate cloud, hauntingly lit by Richard Howell, who also contributes spooky shadows. Ian William Galloway’s projections clarify the time jumps, and underline Johanna’s vengeance spree by scratching off the names of her victims, and Giles Thomas’s sound design adds visceral impact. But this is a piece overflowing with ideas that never really coalesce into a satisfying, coherent drama. 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.

Supported by a strong ensemble, they use movement and dance, developed with Fallen Angels Dance Theatre, to portray brutal killings and iconic moments in history which was essential for moving the story forward. The character of Mephistopheles, who is bound to Faustus, is played by a different member of the cast throughout the play as they are able to change their form and appearance due to being a fallen angel of Lucifer. This gives each of the ensemble cast the opportunity to portray the character in their unique way, whilst also having coherent characteristics. Dzey Z Smith is a particular stand out for their portrayal of Mephistopheles in the way they expressed their sinister misogynistic treatment of woman in their attempts to summon the devil. Faustus: That Damned Woman runs at Lyric Hammersmith to 22 February 2020 and then on tour in collaboration with Headlong. It is splendid to rethink this and other classic stories with a complex female anti-hero. But Johanna is never allowed moments of intimacy which would warm us towards her. Her most interesting bond is with Mephistopheles. When asked about her relationship with men, she replies, in one of the play’s well-placed comic moments, “It’s complicated.”Sweeney is a continuous presence on stage and gives a high intensity performance with only a brief moment off stage in this two-hour play. Their characterisation is perfect for the pacing of this piece of theatre which delves into trauma and abuse. The play follows the title character as she travels through history, however many elements of misogyny and inequality remain. The latest reworking of the legend is by Chris Bush. Faustus: That Damned Woman swaps the gender of the main character and presents Mephistopheles (Danny Lee Wynter) as a camp dandy. Johanna Faustus (an emphatic Jodie McNee) is the daughter of a 17th-century apothecary. Her mother has been hanged as a witch, and she despises the fact that this has been done in the name of Christianity. She makes her alliance with the devil so that “I shall do good.” She is determined that education will allow her to be “in thrall to no man”.