Chris Bush's devilishly provocative play Faustus: That Damned Woman is inspired by the works of Marlowe, Goethe and other versions of the Faust myth – and explores what women must sacrifice to achieve greatness, and the legacies that are left behind. That said, the Faust myth endures because it is universal, and I don’t think any of that changes with this new retelling. It’s still the same story of vaulting ambition, hubris and exceptionalism, of what we’re prepared to sacrifice to achieve greatness, of the tantalising thought that, despite all the evidence, we might finally be the one to outsmart the devil. None of this is lost by having a female Faustus, although hopefully it brings into focus the way in which women are still punished for their ambition in a way men often aren’t. As part of the deal, Lucifer leaves Mephistopholes as his agent, or Johanna’s PA depending on interpretation. The part of Mephistopholes is played in turn by each of the supporting cast, with each of them adding a subtle layer of depth of intrigue to the character. This does help to lighten proceedings and shine a light on the talented cast who, along with the deliciously darkadelic stage design, are the strong points of the production. Christian morality is challenged as Johanna speaks of God’s abandonment of her mother and raises the possibility that an alliance with the devil might lead to good, not evil. But these themes are delivered bare-boned, without enough plotted drama to bring them to life.

For this is experimental theatre at its very best which sees writer Chris Bush effectively jettison everything connected to the notorious Christopher Marlowe original apart from the basic premise and takes it in directions that are simply mind-blowing. Despite its darkness, it’s very hopeful. It’s about legacy, it’s about living in a fearless way and facing death That Bush never seems to interrogate the morality ofJohanna’stinkering– when the classic version of the myth is almost entirely about the morality of Johann’s tinkering– is one of the things that lost me as the play wore on. Bush’s heroine seemsto be presented as an avatar of unbounded female potential…but she also arrogantlymanipulates humanity to the brink of extinction, a fact that is extremely glossed over in moral and emotional terms. The play opens at a time of plague when women are still being executed as witches. Emerging from this vindictive age is Johanna Faustus, grieving the loss of her mother to such a degree that she begs for the opportunity to sacrifice her soul to Lucifer for the remote opportunity of being reunited with her mother in Hell. At the end of the show when Faustus is taken, it’s ‘let’s start again. Who’s the next woman who’s going to come out? It’s OK, we might fail, but there will always be another brilliant woman who is going to have a go. And that’s what we’ve got to cling on to’.”Inspired by a human connection with the four elements, Good Teeth design team have created a timeless setting. With tree roots bursting from the ceiling, as if under the earth, this could be hell. As Mephistopheles states in Marlowe’s interpretation ‘all places shall be hell, that are not heaven’. Dripping water, flaming walls, at any time we could be by a river, in a mansion, on the heath, but never far away from the eternal presence of hell and Mephistopheles. Be careful what you wish for is the tag line of this astonishing reimagining of the classic tale about someone who sells their soul to the devil. Having lost her mother to the witch trials of the 1600s, Johanna seeks to sell her soul to uncover her mothers fate and discover if, as claimed, her mothers name is written in Lucifer’s book. But in considering her trade; her soul for 144 years of unlimited power, the ability to move time forward and to never age; Johanna seeks to use intellect, technology and a fiery grudge to do for others what she could not do for her mother.

Her apothecary father (Barnaby Power) wants her to collect leeches, not herbal remedies – and to be married off, too (“tethered”). But she thirsts for knowledge about her mother, so firstly conjures Mephistopheles (a prowling, lordly Danny Lee Wynter) then boldly demands to meet his boss, who appears in the likeness of her father. However, the production is definitely saved by a vivid stage design and an energetic and talented cast who throw themselves into the story wholeheartedly and deliver an enjoyable and thought-provoking performance.

Each taking on the role of the ever present devil Mephistopheles, along with other roles, the ensemble cast are, quite simply, excellent. There is nothing more pleasing than watching an ensemble so in tune with one another, in their interpretation of the movement produced in collaboration with Fallen Angels Dance Theatre, and throughout the production. In one scene, Dzey Z Smith and Miriam O’Brien both puppeteer the body of Pierre Curie. It’s a real standout moment of the show, a skilfully executed performance and testament to what a truly collaborative performance can produce.

Extra Content: 'I wanted to create an epic, ambitious, gothic, baroque fever dream of a piece that took a well-known classic and inverted it to say something truthful about the contemporary female experience.' Chris Bush on her play Faustus: That Damned Woman, in The Guardian, 11 December 2019. The production will tour to Birmingham (26 February-7 March), Bristol (10-21 March), Leeds (24-28 March), and Newcastle (31 March-4 April). headlong.co.uk/productions/faustus-damned-woman This play is also available as an A4 Edition. With spiral binding, a larger print size and additional space for notes, this format is ideal for directors, stage managers, actors and others to use in rehearsal and production. This scene, as well as many others throughout the play, held up a shining mirror to oneself forcing us to look inwards at the sins we may be unwittingly fulfilling. Johanna Faustus (Jodie McNee) is the epitome of powerless: a low-born, 17 th-century woman whose apothecary father (Barnaby Power) crushes her ideas (he prefers leeches to potentially life-saving herbs), preaches female docility – the cautionary tale is Johanna’s mother, who was hanged as a witch – and looks for ways to marry her off. Oh, and the bubonic plague is sweeping through London. It’s easy to believe Johanna when she quips that she’s already in Hell. Thus, she strikes a bargain with the Devil (also Power): 144 years of life, during which she will never age and has access to the supernatural powers of Mephistopheles (Danny Lee Wynter, pictured below right with McNee), in exchange for her soul.

Faustus: That Damned Woman continues at the Lyric Theatre, Hammersmith, Lyric Square, King Street, London W6, until 22 February. Phone 020 8741 6850. lyric.co.uk So, I guess it provokes questions of a woman’s place in society, how we treat women, and today as well, not just through history." London is already awash with major re-workings of classic texts, whether nudged into contemporary verse and attitude ( Cyrano de Bergerac at the Playhouse), modern dress and language ( Uncle Vanya at the Harold Pinter) or undergoing wholesale cultural re-orientation ( Three Sisters at the National, relocated to Nigeria). Now, most radically or playfully of all, depending on how receptive you are to it, the Faustian myth is re-dramatised here in a re-gendered version, which signals its intentions in its title of "Faustus That Damned Woman" and propels its title character on a journey through some 144 years of life (an extension that she's bought at the expense of her soul). However, I felt this was a successful decision by director Francesca, as it added an ethereal, otherworldly appearance to the character leaving me wonder - is there a devil in everyone?

The demonic compelling tale is told from a female perspective, inverting its protagonist’s true gender, as Bush willingly places Faustus’ damned soul into a female body. She is most definitely not the first to have visualized Faustus as a woman, but from the few that have attempted to do so successfully over the centuries. The concept is compelling. The ideas are fiendish. But, like Faustus herself, the play doesn’t really fulfil its vaulting ambition. The cast are an undoubted highlight of the performance with Olivia Sweeney a strong and constant presence as Johanna Faustus, the pivotal character in this interpretation which sees a reversal in the motives of the Faustus character. Traditionally, Marlowe’s troubled Doctor had sought power and pleasure from his pact with Lucifer, however, Johanna seeks the power to do only good. Every bit of this production is going into this woman’s psyche and seeing how she can use her skill and intelligence, and it’s how she navigates the obstacles in every time zone that she’s in Based on the play by infamous playwright Christopher Marlowe and adapted by one of the UK’s most in-demand play writers Chris Bush, Storyhouse Chester is the new home for this reimagining of a classic tale, Faustus: The Damned Woman.

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Supported by a strong ensemble, they use movement and dance, developed with Fallen Angels Dance Theatre, to portray brutal killings and iconic moments in history which was essential for moving the story forward. The character of Mephistopheles, who is bound to Faustus, is played by a different member of the cast throughout the play as they are able to change their form and appearance due to being a fallen angel of Lucifer. This gives each of the ensemble cast the opportunity to portray the character in their unique way, whilst also having coherent characteristics. Dzey Z Smith is a particular stand out for their portrayal of Mephistopheles in the way they expressed their sinister misogynistic treatment of woman in their attempts to summon the devil.