Faust @ Theatre Royal Newcastle

The story of Faust is well known the world over, even giving rise to the term "making a Faustian Pact" but until now I had not had the opportunity to watch in full the theatrical works which gives this social commentary its gravitas.

Whilst the original work is very gothic and medieval in both setting and context this production has been brought right up to date, featuring the presidential elections in modern day France and the life consuming challenges of the stock market.

We first meet Dr Faust (Peter Auty) as a failing stockbroker who, through both mid-life crisis and depressed markets finds himself stood, quite litterally, on the edge of life.  In calling out for some sign of faith or hope he finds himself not finding God but making a pact with Mephisto (James Creswell).  In return for his soul he shall have youth, vitality and the love of a beautiful young woman (Juanita Lascarro) but as with all deals, if it looks to good to be true, then it generally is.

This three hour show is a masterpiece of powerful music (arguably Gounods finest work), stunning performances and a masterful set (using huge sliding panels onto which surreal images of the stock market trading displays, Faust's tortured soul and the depths of despair were projected).  Sung totally in French, there were, for the less educated (of which I am happy to include myself) two screens in the stage side boxes displaying subtitles.  Whilst this was very helpful, the nature of the opera being delivered (which much repetition of phrases) meant there were many occasions where the screens remained blank despite the continued singing of the leads.

I applaud the attempt to bring the story into the modern age, but at times it felt that this was done to the detriment of the flow of events; one never really felt as though we were being immersed in the story but instead were having separate acts performed to us.  There was no real feeling of menace from Mephisto to Faust, his 'pact' seemed more of a business agreement than the selling of his soul.  Likewise Fuast seemed to have little hesitation in making this deal, there was little deliberation over the terms and no moralising over the decision. 

The focus of Faust's affections, Margerite, was portrayed as the virginal sister of Valentin, a

right wing presidential candidate standing on pro-life and the anti abortion campaign.  The first half of the performance (2 hours) made a great deal about Valentin's political crusade without any discernible reason apparent, not until the third act when Margerite was found to be pregnant and thus shunned by her brother, but by this time the seeds of confusion not only been sold, but had taken root and started to flower.  Again, the desire to modernise the story felt like it was trying to be too clever; it almost like there was one big 'in-joke' and those not included were left to try and work it out on their own. 

Despite the obtuse storytelling the lead performances were excellent and the music stirring; for my first foray into Faust it has left me wanting more, but I like my devil to be magnificently malevolent, my victims to be tortured souls and my innocents to be distraught and destroyed.