McNeese’s “Faustus” is a Hell of a Show
By Ed Alderman -- Lake Charles American Press, 10/4/95
Some plays are a breath of fresh air; the really interesting ones are more like a gasp. Put “Faustus,” the breath-taking rock musical now onstage at McNeese Theatre, in the latter category. This furious feast for the senses was created by Austin musician Kirk Smith, who set 17 short rock songs to Christopher Marlowe’s 16th-century morality fable, “The Tragical History of Doctor Faustus.”
But credit much of the sound and excitement to MSU guest director Bonnie Cullum, who has taken a young cast and crew and whipped up one hell of a production. “Faustus” aspires to shock, and manages to do so at several points. When it does, it’s usually not due to the story’s new veneer, but because playwrights minced fewer words four centuries ago. Marlowe’s doomed protagonist is on a highway to hell. That road is not paved with good intentions, or littered with sins of omission, but willingly chosen.
Because Faustus’ grand intellect cannot grasp a heaven greater than this earth, he “makes a god of his own appetites” and signs a deal with the devil. In return for his soul, he his granted magical powers and the services of Mephistopheles, Lucifer’s right-hand devil. Marlowe’s blasphemies – talk of killing priests and human sacrifices – are more unsettling than Smith’s updates with familiar “new” evils like drug addiction. But it all works together, and against Faustus, who in the end cannot even appeal to God for help. Cullum’s multi-media staging works well in the stripped-down Ralph Squires Hall. Wildly-costumed devils dance and cavort on a three-story scaffolding in a sort of lost-Soul Train.
Gwen McLendon is strong as Faustus, easily handling driving rock songs like “Zero to Zero” and the drug paean, “Cut Cold Fresh.” (A nice staging twist has Faustus’ “evil” and “good” selves arguing as video personalities.) Rebecca Bryant is a knockout as Mephistopheles, bringing a variety of shadings both to her character and Smith’s music. Amy Woodruff also stands out as Wagner, the servant who plays observer to Faustus’ downfall.
But the whole cast is strong: Matthew R. DeBerard as Lucifer; Shane Breaux as a cackling Beelzebub; Jennifer Buras as the Poet; Amy E. Crawford as a virtuous Old Man, and Rachelle Brister, Carol McLendon, JohnT Powell, Jelly Reynolds and Amanda Leigh Beza.
The excellent sound design by Sergio R. Samayoa and the set and lighting by John Abegglen lend real strength to the production. The red-and-black tattered costumes of Gina Nixon work well for the most part, as does her startling death-mask makeup designs. But the technical coup is scored by local artist Nowell Daste, whose beautiful mask creations for the seven deadly sins are alone worth the price of admission.
“Faustus” is an exciting, challenging evening of theatre unlike anything we’ve seen locally in some time. As MSU’s entry in the American College Theatre Festival, it will have the advantages of innovation, interpretation and excellent execution. “Faustus” has shows at 7:30 pm today through Friday, October 4-6; at 11 pm Saturday, October 7, and 2 pm Sunday, October 8 in Ralph Squires Hall.