THEATRE REVIEW: Faustus: That Damned Woman - The Storyhouse Theatre, Chester.

Christopher Marlowe’s classic play is reimagined and brought vividly to life by Chris Bush (writer), Francesca Goodridge (Director) and an impressive cast that certainly packs a punch. From the opening moments, the darkness of the piece is clear, with a stark and gloomy set. Emma Pallant is magnetic as she leads the cast in a slow dirge, before her character faces a vicious drowning.  

Tree roots claw down towards the audience from above and a dark circular hole sits at the front of the stage, serving as a constant reminder of Faustus’ final destination. At one point, she sits with her feet near the hole’s edge, washing herself as she sings, and leaving us convinced she is about to be grabbed and dragged down below at any moment.  

Olivia Sweeney must have been exhausted by the end of Act 2, as she certainly gives it her all in the eponymous role. Sweeney plays Faustus’ hunger for knowledge and determination to over-through the Devil himself so well, with a desperate glint in her eye that has Faustus bordering on madness. Her vulnerability peaks through during some very poignant moments, such as her meeting with Doctor Garret and the cruel tricks Lucifer plays on her at the climax of the play.  

The fun character of Mephistopheles is shared beautifully by the cast, which each of them taking a turn as Lucifer’s right hand man. The playful smirk and sauntering sarcasm they each employ makes it easy to know when the character has changed faces – a shining example of how well this ensemble work together. Yali Topol Margalith deserves a special mention for her deeply unsettling portrayal of Mephistopheles – peppering her speech with a child-like, guttural giggle that sends shivers down the spine.  You can tell she is relishing the sinister playfulness of the role.

Chris Bush’s crackling script drags Faustus kicking and screaming into the modern era (and beyond!). It’s tense. Long periods of silence, sometimes interrupted only by the drip, drip, drip from above, stretch out the tension. You can’t help but clench your fists in preparation for a jump scare, which, interestingly, doesn’t always come. After Faustus summons Lucifer in the wood, she is alone on stage, coaxing him out with her candle for some time before he actually appears. There’s almost a feeling of a collective in-take of breath as the audience await his arrival, and when he does stride into the space, it’s a relief!  

Francesca Goodridge employs many interesting physical sequences within her direction. Marie Curie’s husband, Pierre, is brought to life by an empty suit puppeteered by two members of the ensemble. It’s simple but impressive. A body suit is also used to represent the demise of Doctor Newbury, which is unsettling and gruesome. Faustus’ indulgence in the seven deadly sins is also presented via a stunning physical sequence from the whole cast.  

There’s no doubt this is a stunning re-telling of a familiar tale, which explores the themes of death, jealousy and revenge. Bush’s re-visioning of the lead character adds fresh new layers to the familiar story which makes for a devilishly good watch.   Reviewer - Gavin Hayes

on - 16.2.23