Tag Archives: Sorcha Corcoran

Doctor Faustus

Doctor Faustus


Southwark Playhouse

DOCTOR FAUSTUS at the Southwark Playhouse



 Doctor Faustus

“Lazarus Theatre Company has found a wonderful Faustus in Jamie O’Neill”


Christopher Marlowe’s Doctor Faustus is his most famous play—and the one that inspired, and continues to inspire—a host of distinguished dramas. Playwrights Goethe and Gertrude Stein are just two who fell under the spell of Doctor Faustus. But anyone who has read Marlowe’s script knows it’s a beast to make sense of. In this production at the Southwark Playhouse, the Lazarus Theatre Company manages its production of Doctor Faustus in a way that is both accessible and enticing. Dare I say diabolically so? Director Ricky Dukes has done a brilliant job in cutting the script to a manageable ninety minutes, and at a pace that makes the time fly by. He has also assembled a cast and crew up to the challenge of making this Renaissance gem coherent and entertaining for a modern audience. If you’re Faustus curious, this is the show to see.

Set in Wittenberg in the fifteenth century, Marlowe’s Doctor Faustus is the story of an academic who has learned everything there is to learn. He’s frustrated, understandably so, by the limitations of the Renaissance curriculum. He’s also a proud man, and attracted by power. He’s found that studying astrology, medicine, law, and even divinity, is not enough to satisfy his curiosity about the universe. Only studying the dark arts can satisfy his desire for knowledge, and provide him with the power that knowledge gives him over his fellow humans. To a Renaissance audience, the outcome of such an overweening power grab would be obvious from the outset. The appearance of good and bad angels, warning of the evils of such a quest, would be expected. Marlowe’s genius in Doctor Faustus is to show the audience how it all plays out. He does so with the most marvelous language—Marlowe’s “mighty line”—and a host of unforgettable characters. Even the Seven Deadly Sins make an appearance. But the most memorable character is Mephistopheles, the devil’s henchman—the one responsible for getting Faustus to sign away his soul, in blood, on the dotted line.

The Lazarus Theatre Company has found a wonderful Faustus in Jamie O’Neill. He manages a lithe athleticism and intelligent delivery that serves him well with both the language and action of this demanding role. He is ably partnered by David Angland’s Mephistopheles, who displays just the right amount of disdain at the tasks Faustus sets him. There are some genuinely surprising moments produced by the talented ensemble of performers who act, sing and dance around the doomed doctor. Director Dukes is just as skilled a director as he is an adaptor. Candis Butler Jones takes on terror in interesting and innovative ways as she glides from the Bride from Hell to Lucifer. The whole cast is equally as accomplished in the ways they morph from good to evil; from scholarship to sin, and from temptation to the concept of divine mercy understood, at last, too late. Stefan Capper, Rachel Kelly, Henry Mettle, Charis Murray, Jordan Peedell, Henrietta Rhodes and Hamish Somers keep up the pace. They perform, in convincing detail, the consequences of Faustus’ pride.

This dynamic production takes place on a small set populated with flexible office equipment, and with a curtain that reveals and conceals. There is also an eye-catching collection of dramaturgical wallpaper that must have taken set designer Sorcha Corcoran an age to compile. It is tempting to ask if she got some help. Costume designer Reuben Speed provides visually striking costumes, particularly for the Seven Deadly Sins, which are slyly appropriate. Composer Bobby Locke produces an edgy sound for this production of Doctor Faustus, and Lighting Designer Stuart Glover and Sound Designer Sam Glossop round out what feels like a big show in a small space.

The devil really is in the details in the Lazarus Theatre Company’s production of Doctor Faustus, but you don’t need to risk your soul to enjoy it. Catch if you can.


Reviewed on 7th September 2022

by Dominica Plummer

Photography by Charles Flint



Previously reviewed at this venue:


You Are Here | ★★★★ | May 2021
Staircase | ★★★ | June 2021
Operation Mincemeat | ★★★★★ | August 2021
Yellowfin | ★★★★ | October 2021
Indecent Proposal | ★★ | November 2021
The Woods | ★★★ | March 2022
I Know I Know I Know | ★★★★ | April 2022
Anyone Can Whistle | ★★★★ | April 2022
The Lion | ★★★ | May 2022
Evelyn | ★★★ | June 2022
Tasting Notes | ★★ | July 2022



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A Midsummer Night’s Dream


Roman Theatre of Verulamium


A Midsummer Night’s Dream

 OVO at the Roman Theatre of Verulamium

Reviewed – 26th May 2022



“It isn’t strictly Shakespeare but it’s a fine evening’s entertainment”


The English summer outdoor theatrical season is amongst us and there can be few sites more delightful for enjoying an evening’s entertainment than the Roman Theatre of Verulamium (St Albans). The stage is beautifully lit (Mattis Larsen) in reds and blues as the evening draws in, and head mics are worn by all performers (sound by Michael Bird) that removes the necessary but sometimes irritating shoutiness of outdoor projection. A Midsummer Night’s Dream is, for obvious reasons, a summer favourite and there is a huge amount of fun to be had in this production directed by Adam Nichols and Matt Strachan – including an opportunity for a legitimate stage invasion – but this is not one for a Shakespeare purist. With a large percentage of the original dialogue paraphrased into modern(-ish) language, and much of the plot condensed and developed, it is surprising that there is no ‘adapted by’ credit which is surely merited.

The action is initially set within the confines of a Blackburn working man’s club of the 1970s, with references to closing mills and striking miners, and with the locals sporting dodgy facial hair and Lancashire accents to reinforce the period feel. The style of the production is set as Lysander serenades Hermia with some verses of the Bay City Rollers’ hit Bye, Bye Baby and the audience is encouraged to join in. The dialogue, mixing the Shakespearean with the vernacular, goes along the lines of, “Stand forth Demetrius, cum ‘ere lad”.

A gender-ambiguous Puck (Guido Garcia Lueches) is barely dressed in a low-cut singlet, the shortest of shorts and the highest of platform boots (Costumes Emma Lyth) – half Eurovision, half Eurotrash. Leaving the club singing Abba’s Gimme Gimme Gimme (A Man after Midnight), Puck draws the locals into an imaginary Disco Land where the fairy magic is to take place. Verses of pop song are interspersed with spoken Shakespearean text whilst the would-be young lovers show us their moves (Choreography Sundeep Saini).

Lyle Fulton plays a rather pathetic but ultimately endearing Lysander who with a guitar in hand and a song for every occasion wins us over by his appealing nature. Emilia Harrild is a feisty Hermia – little but fierce – who endures the worst insult when described as a “Yorkshire teabag”. Charlie Clee plays Demetrius inexplicably as a sullen and rather unattractive suitor; an approach which is explained by a striking late plot twist. Eloise Westwood as the naive Helena provides the performance of the evening. Even before her moving last solo song, her star quality shines out amidst the pantomime going on around her.

In the traditional manner, the roles of Theseus (Ben Whitehead) and Hippolyta (Emma Wright) are doubled with those of Oberon and Titania. Emma Wright shows her stage versatility with an impressive transformation from down-trodden housewife to spectacular dancing queen. I can’t relax into Oberon’s “luurrv” style of delivery but many around me enjoy his fairy meddling, “Get ready to party, and don’t Puck it up”.

In the most radical change of the production, the hempen homespun have ambitions to become a pop band rather than to stage a play, so Pyramus and Thisbe does not get an airing. They are transformed into disco fairies and Bottom (Daniel Hall) becomes a Saturday Night Fever dance icon (white suit, gold medallion, black quiff) rather than the traditional ass.

In the final scene, back in the club, the band The Mechanicals perform a non-stop 70s megamix medley (Musical Director Tom Cagnoni) and the full cast dance out the night. It isn’t strictly Shakespeare but it’s a fine evening’s entertainment in the open air.


Reviewed by Phillip Money

Photography by Elliott Franks


A Midsummer Night’s Dream

 OVO at the Roman Theatre of Verulamium until 11th June


Previously reviewed at this venue:
Vinegar Tom | ★★★ | October 2021
Hedda Gabler | ★★★ | November 2021


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