Alan Marshall Bella Edwards Bob Howourth Brian Davis Brenda Cook Carol Chilcott Claude Rimmer David Conn David Glover-Kirk David Parry-Jones David Scott David Talbot faustus group Jack Mundy Jacky Long Joan Clews Joan Goodyear John Vowles Kathy Stewart Kevin Hogan Lizzie Lane Lyn Martin Mary Lansdown Nicholas Selway Peter Sutton Richard Edwards Robert Chapman Robert Tooze Royston Tanner Sarah McGreevy Stephen Canaby This River Winding Tina Kelly Tom Hodson georgeT

About Marlowe Synopsis Theme Art Text

Themes - page 2

good and evil

We wanted to play down the idea that the play was about religion or God. We thought that the struggle Faustus has is with himself, not with any higher power. We decided to make the good and evil angels in Marlowe’s play a combination of voices of his concerned colleagues, the scholars, and voices inside his head. This way we could also use these scenes to highlight the isolation Faustus feels.

a link to video clip from the play
Concerned scholars, video clip

a sketch representing Faustus' conscience warning him
Voices by Carol Chilcott


We became certain that one of the reasons why Faustus goes ahead with his contract with Lucifer is isolation. Faustus has lots of colleagues, but how many people really know and love him? We thought that it was very important that the very first thing Faustus asks for after signing the contract was a wife - someone who would love him and share his life with him.

To show Faustus’ isolation physically in the performance, we placed him behind a desk on a rostrum, while all his colleagues sat below him in two rows, facing each other. They had companionship, while he was on his own.

a link to video clip from the play
Goodbye to those books, video clip


In the end, we thought that the thing Faustus most wanted was power, and that is why he wants the contract with Lucifer. He wants to have power over everything in his life, including his death.

a link to video clip from the play
The contract, video clip

We spent a lot of time early in rehearsal looking at power and status, using master/servant games. See Rehearsal section

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