Finished Doctor Faustus Personal Response (1.1; 1.3)

I have changed some things around and added some parts based on Mr Bigland's comments, and here is my personal response, finished:

The Royal Exchange’s performance of Doctor Faustus was magical from the start.

The performance started promisingly and jumping straight into the story; my first doubts about whether I would understand everything or not washed away, and I became immersed in the play.

After the mood had been set, still early on in the performance, there was a part that made a lot of people jump (including myself) and I thought it was really good, where a dark hellish figure came down from the ceiling. The rest of, (at least) the first half, was filled with more exciting moments many of which I would have not expected to be that visually stunning in a theatre.

The battles and intense scenes were brilliant, a strange dance-like choreography running through the whole play, in which I found particularly inspiring. A dark, spidery like texture showed as the demons were scattered across the stage, attacking or taking characters away - the scene in which Faustus realised he could control them is a great example, an intricate display of a somewhat elegant action scene.

Another use of the dark figures was to change the set. The play started and finished in Faustus’ dark cellar, the scene changes simple but effective. As well as the demons, lights and chandeliers came down from the ceiling and the striking use of the roll-out carpet worked surprisingly well. In just moments, the set could be drastically changed, the colour and feel of part of the world that was displayed.

Pulled into this world, the crowd were right inside the set – not only was every seat a great position (and even if one special effect wasn’t very visible to where sat, definitely another one soon would be) but there were candles and books stacked around the edges of the stage and the balconies; the chandeliers, neon lights, demons and often people were suspended and hung from the blackness above to be swallowed back up again; at parts, characters were almost right among the audience...

In addition to the great set and choreography, clever “magic” tricks were performed at points throughout the play (a few by Faustus himself in his all-powerful state), which were shocking – at one point Faustus appears to have even been decapitated, looking very real (at first.)

Some of the costumes were interesting and creative (whilst in some ways also quite useful for the actors themselves), especially the use of masks recurring through the play (the most notorious of these the way Helen of Greece was portrayed, looking and moving like a doll.)

Also, not only were the visuals wonderful, but the sound carried very well in the circular venue, and the use of the plays 38* speakers, placed around the room, paid off quite well. The speakers were used to show voices in Faustus’ head, and also to make, with new technology, some of the things Faustus says echo around the room. I thought this would be used more often and more noticeably, from looking through the programme, but the speakers were still put to quite good use with the voices.

Even in times where there weren’t special effects and action scenes though, namely the second half, the play was still very enjoyable. Although some parts of the play could have been possibly shortened, some scenes were very tense, atmospherical and even emotional. An example is the mystical scene where Faustus meets Helen of Greece, summoned from hell, and another: the end scene - a slightly new take on the Doctor Faustus ending, as Faustus faces his fate and slowly steps into the grave, rather than being dragged off by demons as he argues against going to hell.

In some ways this ending was effective - it ended the play on a melancholy note, keeping us wondering about the depths of hell and about what Faustus had done throughout the play - his incredible desire for power had made him blind to see what the consequences might end up...

It did not, however, though still quite dark and gloomy, offer a horrifying atmosphere, one that a lot of people would have expected from this play.

The director had already captivated the audience with a detailed set, but his intention was also to frighten everyone. "If we do get it right, it should be absolutely terrifying in places.”

I remember jumping at least twice throughout the play, but it wasn't terrifying - I can imagine a young audience being frightened by it (though there were no very young people there), but it didn’t do that much to scare, at least, myself.

Overall, the play did focus less on the gore and sinister side of the play and a lot in the (modern,) comical side of the play, and in the characters.

Although there were scenes that were a little sinister, for example where Faustus was presented the 7 deadly sins in front of him, or where people that plotted to kill him were hunted down and taken away by demons, there were more light-hearted, scenes added to the play that were obviously not in the original, like innuendo parts and comical references.

Personally, I don't think it needed to be any scarier - the action and choreography was enough to make it very enthralling...but some of the funny and comical scenes took away the authenticity of the play, which I thought was a bad thing. Obviously the writer of the play, Christopher Marlowe, meant for there to be a contrast in places between the dark and the humour, but I don't think he meant for it to be this much.

The acting was quite convincing however: throughout the play Faustus' character seemed nervous and unsure of himself, his constant referring to himself in third person helping this along. This worked in its own way though - Faustus appeared less like this, more cheerful, as his popularity increased and he became renowned, and then more nervous again by the end. His world of magic was mirrored in the world of his unknown (by him) followers, other people who wanted to use the powers he used (but not for the same purposes.) This contrast was the way the comedy and light-heartedness worked...in some cases the play made me laugh out loud.

Doctor Faustus is a great play, and this adaptation of it was, in short, pretty fantastic. Although for some fans of the play and those expecting a sinister experience it may have been a little unsatisfactory, but generally it was a great adaptation, brilliant enough for those that are fond of theatre to enjoy, and definitely brilliant enough to persuade those not too fond of theatre to become more fond of it.