How far would you go for worldly pleasures?
A shiver crept down everyone's spines, as the demons emerged amongst the audience and drew everyone into “The Tragical History of Doctor Faustus.”
The story of a foolish man who sells his soul to the devil for knowledge is well known among Marlowe’s readers. However, nothing has ever brought out this ghastly tale as much as the musical put on by Ridley’s cast. Splitting the wicked character of Mephistophilis into the seven deadly sins not only incorporated aspects of the original story, but also displayed what we give up for short-term worldly pleasures.
Kibati Tomiwa Femi-Johnson as Faustus, the man who trades his soul to Lucifer (Laura Rosic) for 24 years of unlimited knowledge and power, captivated the audience with his heartfelt monologues and intense dialogue with the demons, foolish people, and himself.
Supported by the Mephistophilis Legion, featuring Anastasia Guzenko and Abigail Sullivan, who performed their dance routines with as much precision as the vocal and dramatic aspects of their roles. The cast as a whole united together to create an incredibly eerie atmosphere.
The technical aspects were up to par with the dramatic elements, and contributed immensely to creating a shuddersome ambiance. The phenomenal lighting showcased the threestorey set, as well as vividly portraying the barrier between the spiritual and human worlds with a change in colour.
One of the most outstanding technical aspects of this production was the series of videos compiled by Ira Madill, which reflected the themes of the musical, such as the carnival or the infestation of the demons symbolized by vermin.
A unique addition to the story was the original score written by Richard Link, which was perfectly suited to the themes of the musical.
Although at times too loud to hear the vocalists, it created a spirit of the artificial pleasure of a carnival that quickly faded as Faustus was stripped of his soul. The chorus did justice to the score, staying on pitch and bounding over the stage with intricate choreography.
An explicit trait of this musical was colour, both in set and costuming. Staying grisly, bloodshot, and flaming, the colours of Hell and those in it loomed in the atmosphere and reminded the audience of the demons.
In contrast, the costuming for the world on Earth covered multiple vivid colours and distorted patterning, showing that no one is immune to the temptations of the flesh.
Unequivocally much more than simple entertainment, Ridley’s performance of “The Tragical History of Doctor Faustus” challenges what we stand for and questions how far we would go for worldly pleasures.