Doctor Faustus (Oxford)

Staging a new production of Doctor Faustus in a bookshop is an inventive and admirable idea. Creation’s ambition and creativity are to be applauded for having persuaded Blackwell’s to give up their huge basement Norrington Room for the seven week run of this classic drama.

The setting is atmospheric and entirely appropriate for the text (though I am sure the booksellers would not approve of throwing books around…) and the production sits well in the location – enhanced by a fluid and effective lighting design and some impressive soundscapes.

The cast of five are clearly incredibly hard-working and committed to the project – never once stopping to pause for breath in what is a very physical piece of theatre.

Impressive as the setting is, it is the interpretation and direction where the heart of the piece must be found. And I am afraid that I am not convinced by all the choices director Charlotte Conquest has made.

There are a couple of brilliant moments (which I will not spoil for future patrons) and some neat touches however the key figures of John Faustus (Gus Gallagher) and Mephistopheles (Gwynfor Jones) do not quite come to life in a way that fully engages the audience.

Both actors are on top of things textually but there is no real understanding of their relationship and so it all feels rather detached and impersonal. Marlowe wrote a stunning speech for Faustus contemplating his final hour – however Conquest seems to have asked her actor to deliver this with a sense of wide-eyed angst rather than really taking the audience on the emotional journey of his last minutes.

I could see what they were trying to achieve by making Mephistopheles are more modern figure – but the slim-cut suit and sneakers speak more of failed boy band member rather than tormented devil.

The ensemble actors work incredibly hard creating many different roles – with perfect clarity and did much to overcome the weaknesses of the comic scenes in the middle of the play. However there was an over-reliance on physical theatre techniques which undermined some of the good things elsewhere in the production.

I do also question the use of the masks for the Good and Bad Angels. Again, I could see the effect that was being sought but the choice of what appeared to be cheap plastic masks (akin to those you find in a joke shop) again undermined the key internal debate they were meant to represent. It would have been better to have retained the mirror idea used on the first two visits from the Angels.

All in all, it is a very mixed production – some excellent elements not brought together into a cohesive whole. The big question is whether it is worth the price of a ticket? With standing tickets from £8 and seats ranging from £17.50 to £31 – I would have to say that you should think carefully. It may be that Creation should look again at their pricing structure. I appreciate they operate without subsidy – but those prices are enough to put this production out of reach for many potential audience members.