"There's always something a bit bonkers about a Maria Aberg production – and this is no exception". So begins one review of the latest RSC performance of this surreal play. Bonkers maybe, but I loved this director's King John, As You Like It and The White Devil and this is what drew me to see her latest play. But as in all things eccentric, modern and brash, sometimes it works and sometimes it doesn't and this time it was more of the latter.
The parts of the Doctor and Mephistophilis are shared by Sandy Grierson and Mark Ryan. I say shared, but the play starts with each of them facing each other and burning a match with the first to be extinguished playing Faustus. That was interesting. But what came next was completely frustrating. It was good to see later that there was complete agreement that the garbled early speeches in their harsh Scottish and Irish accents were almost inaudible. Maybe Aberg had her reasons, but I didn't get it. In fact I was never impressed by the two leads which is not a good start.
However, there are a number of set pieces where Aberg excels as usual. The appearance of the seven deadly sins is more like a pantomime with grotesque characters. And we hear every word. Whenever the performance gets physical, that is when the direction excels. However I'm glad one critic left the production as upset as me when he says "one scene simply goes too far. Helen of Troy (Jade Croot) is portrayed not as a woman but as a pubescent girl in a nightdress who drives Faustus into a frenzy. It makes uncomfortable viewing". Yes, the director always pushes the boundaries, and this is about the Doctor's impending death. But sometimes the urge to leave an impression is over the top when a little sensitivity is required.
One last note about the music. Terrific.
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