Doctor Faustus Review, ADC Theatre Cambridge, May 2025
Cambridge University Amateur Dramatic Club.
“Had I as many souls as there be stars … I’d give them all for Mephistopheles.”
A female Doctor Faustus is an ingenious choice that shines a new light on Marlowe’s Elizabethan tragedy of ambition and pride. Faustus’ yearning for knowledge and experience (out of reach for women in 1594 and for centuries after) resonates deeply with a modern audience. It also recalls Eve’s sin which, according to the Bible, was eating forbidden fruit from the Tree of Knowledge of Good and Evil: themes which echo throughout this dynamic telling of the classic tale. Eve was deceived by the serpent, after all, who tempted her with the promise of becoming like God… the parallels are clear, in a gender flip.
Director Toby Trusted earns their surname with this confident, creative production, which they pull off with their highly committed cast.
No longer sated by her traditional studies in medicine, law and divinity, Dr Faustus turns to the black arts and conjures a devil, Mephistopheles (Alexander Payton). Despite the latter’s warnings, Faustus (Juliette Imbert) offers her soul to Lucifer in exchange for 24 years of Mephistopheles’ service – which means access to forbidden knowledge. “Twenty-four years of voluptuousness!” she cries, face and body contorted with delight that she has a devil to do her bidding. Here we see a woman lusting after power and recognition – literally giving her body and eternal soul in pursuit of her desires.
The set is simply stunning: no credit is given for design in the digital programme but bravo to carpenters Chris Wordsworth and Patryk Wisniewski for the multi-purpose study, comprising wooden bookshelves reaching right into the fly tower, symbolising the heights of Faustus’ ambitions. A multi-coloured stained-glass window is the centrepiece within it, above a raised platform with twin stairs either side, a table stage left (used to humorous effect during the dinner with the Pope scene) and Faustus’ desk, laden with books, downstage right. The levels created here help tell the story of a woman invariably torn between Heaven and Hell. It’s an effective and constant set, with light and sound conjuring the many other locations featured, from bars and rural areas to European cities as our doctor travels, impressing far and wide with her magical acts.
Light (designed by Stan Hunt), sound (Harriet Regan) and special effects – including pyrotechnics by Charlotte Conybeare – unite in creating suitably sinister atmospheres for the many magical moments in this production, some of which impress more than others. One such moment draws gasps from an impressed audience, other sleight-of-hand tricks need a little more rehearsal, but their inclusion is totally fitting. Candlelight, rain, thunder, Latin incantations, and an on-stage string band (musical direction by Edgar Harding) work beautifully together with unsettling vocalisations from a strong ensemble cast to transport the audience to another realm. Red light and dry ice shoot out of a trap door dropping directly into Hell, from whence emerge myriad devils and spirits given physical form by the able ensemble, taking on a range of diverse roles, bringing this tale to life. Their reactions to unfolding events fizz with energy, creating cathartic moments of comic relief amid the building tension.
Imbert is a revelation as Faustus. Restless and passionate in her early grappling with her conscience, she commands the stage with confidence and is completely natural and highly credible in the role. The conflict she feels in her wavering allegiance between God and Lucifer is writ large in her torn facial expressions.
Harry Lloyd-Yorke’s Lucifer makes for a visually striking foe: darkened eyes float above a tailored torso featuring both black and white feathers, reminding us of his status as fallen angel, the parallels between his story and that of Faustus, and humanity’s perpetual struggle between good and evil. A sly smile from him brings all the malevolence we need; his power and immutability are clear.
Sophie Daily-Hunt’s 1700s costuming is versatile, allowing transformations into a rabbit, a dog and most memorably, a three-man horse.
Anna Gungaloo’s vibrant choreography is central to the concept of this production: Deadly Sins writhe around every part of the stage – confident, contorted physicality blends with discordant vocalisations, creating appropriate disquiet. A spirit-made-flesh Helen of Troy (Rosie Nicol) is a glossy-lipped, gracefully balletic muse worthy of her famed admiration – the disinterested obedience in her face as she’s led offstage to appease Faustus’ final attempts to cling to power and life, devastating.
The strength of this ensemble is most powerfully displayed when they come together in the final scene. They form a swarming mass, rhythmically stamping as they approach with menace our screaming, repentant doctor, consuming her with licks of fire made from legs, in extremely slick and effective choreography, culminating in Faustus being borne up into the air, held for a suffocating moment, then dropped down into the mouth of Hell, to finally pay the price for her bargain: an eternity of torment.
When Doctor Faustus was first performed, God and the Devil were tangible concepts people could believe in, fear and wrestle with. Today, our deities and demons might have different forms, but they remain, and the central question of this play resonates just the same: what would you sacrifice, to gain what you most desperately crave?
The two key set designers are the technical directors Emma Chandler and Zoe C Edwards. Other technical work is well achieved by Stan Hunt (Lighting), Sophie Daily-Hunt (Costume) and Charlotte Conybeare (Pyrotechnics). For a full list of the Doctor Faustus technicians please refer to https://www.camdram.net/shows/2025-doctor-faustus
It’s definitely worth an evening of your life, to experience this excellent production.
Photos credits. Anna Gungaloo
Dr Faustus is on at the ADC until Sat 10 May.
http://www.adctheatre.com/faustus
