Review: Dr Faustus, The Courtyard Theatre

The story of the German doctor who sells his soul to a demon is as old as time, popularised by Marlowe in a play and Mann in a novel. Miles Francis and Out of Office Theatre Company now bring an update of Marlowe’s classic Dr Faustus to the Courtyard Theatre.

The story remains largely the same, following Marlowe’s structure and most plot points. It is the dialogue, which has been completely modernised along with some of the details, to update this classic tale. Francis, as director and writer, has brought a modern sensibility to the story, making the language sound a lot more casual to a contemporary audience, though without falling into certain traps and slang that could age it. It is in the more lighthearted and comedic moments that this particular sensibility particularly shines through, and it is also those moments that are the most enjoyable.

Francis has also changed the way some of the scenes and the characters present themselves, adding an extra layer of meaning. Wagner’s character is the one most changed from the original source, going from a comedic foil to the moral compass of the story. His presence as a contrast to Faustus, rather than a poor imitation, adds a positive beacon, one that the audience can hold onto, amongst a cast that stands for the opposite. It is a relatively small change, given that Wagner is a secondary character at best, but it is one that has weight and improves the material.

There is a thematic emphasis on the futility of Faustus’ deal and the ridiculousness of it all. At no point is it seen as enviable or understandable, but it borders on being a state of pity all throughout. This futility is emphasised by the incredibly fast pace. While the drama goes so fast that the show is over before the hour is, a certain twist at the end of the play explains it and brings this thematic emphasis to the forefront.

The stage is large and the props are few, leaving a space in the middle that becomes the focal point for most of the action. There is a constant light that changes every so often between cold and warm, with virtually no effect on mood and ambiance (with the exception of the red light that symbolises Hell). The costumes are simple and relatively commonplace, but the quantity of them, as well as the many relatively quick changes, make them a visual standout.

The cast is made up of many performers and even more characters, all of which capture the themes and tone of the show perfectly. Ben Phaure’s Faustus is both understandable and ridiculous, carrying the thematic weight of the show in a very energetic manner. Francis’ Mephistophilis is both charming and threatening at the same time, perfect for the demon he plays. Their dynamics are at the centre of the performance, and their tangible distrust, disgust, and envy make this show what it is. The rest of the cast all play more than one character, changing costumes and accents when needed, and they do a great job at it. The standouts are Will Cox, who nails the different accents and postures each of his scenes required, and Max Luck, who plays both Wagner, the moral compass, along with Lucifer, master of all Hell, in identifiably different manners.

Updating a classic like Marlowe’s Doctor Faustus is no easy task, but Francis manages to maintain the spirit, message, and general structure of the play while updating the dialogue and details enough to make it resonate with modern audiences of all ages.

Written and Directed by Miles Francis
Based on Christopher Marlowe’s Doctor Faustus
Produced by Out of Office Theatre

This run of Dr Faustus has now ended.