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

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As part of the deal, Lucifer leaves Mephistopholes as his agent, or Johanna’s PA depending on interpretation. The part of Mephistopholes is played in turn by each of the supporting cast, with each of them adding a subtle layer of depth of intrigue to the character. This does help to lighten proceedings and shine a light on the talented cast who, along with the deliciously darkadelic stage design, are the strong points of the production. 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. London is already awash with major re-workings of classic texts, whether nudged into contemporary verse and attitude ( Cyrano de Bergerac at the Playhouse), modern dress and language ( Uncle Vanya at the Harold Pinter) or undergoing wholesale cultural re-orientation ( Three Sisters at the National, relocated to Nigeria). Now, most radically or playfully of all, depending on how receptive you are to it, the Faustian myth is re-dramatised here in a re-gendered version, which signals its intentions in its title of "Faustus That Damned Woman" and propels its title character on a journey through some 144 years of life (an extension that she's bought at the expense of her soul). Faustus: That Damned Woman runs at Lyric Hammersmith to 22 February 2020 and then on tour in collaboration with Headlong. A scene I felt was particularly powerful was the ensemble acting as Joanna's inner consciousness reciting her sins and weaknesses.

That said, the Faust myth endures because it is universal, and I don’t think any of that changes with this new retelling. It’s still the same story of vaulting ambition, hubris and exceptionalism, of what we’re prepared to sacrifice to achieve greatness, of the tantalising thought that, despite all the evidence, we might finally be the one to outsmart the devil. None of this is lost by having a female Faustus, although hopefully it brings into focus the way in which women are still punished for their ambition in a way men often aren’t. The concept is compelling. The ideas are fiendish. But, like Faustus herself, the play doesn’t really fulfil its vaulting ambition. Associate Director Credits include: The Curious Incident of the Dog in the Night-Time (National Theatre UK Tour and UK Schools Tour).So, I guess it provokes questions of a woman’s place in society, how we treat women, and today as well, not just through history." 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. 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. 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. The play has been adapted to have a female protagonist front and centre and explores the darker side of the human condition, what women must sacrifice to achieve greatness and provokes further questions of a woman’s place in today’s society. Transcending over 2,000 years, Johanna Faustus travels through time and attempts to change the course of history by selling her soul to the devil, Lucifer.

At this point it is essential to mention the exceptional talent that is Olivia Sweeney who commands the stage from start to finish as Johanna with a dominance that is positively awe-inspiring. 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. 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 final master stroke which adds beauty, excitement and lyricism to the work is the essential role played by movement which sometimes breaks out into exhilarating dance routines devised by Paul Bayes-Kitcher, artistic director of Fallen Angels Dance Theatre with whom this is a co-production.