Theatre
Faust among equals
CLIFFORD'S STYLE IS RESOLUTELY ANTI- NATURALISTIC
Some versions of the myth we’ve seen recently have Cheapened the original but, according to Steve Cramer, JOHN CLIFFORD’S version will be the exception.
etc doing a new version of the Faust myth.’ The words are guaranteed to bring a chill to the spine of this theatre critic. for what
follows is almost invariably the theatrical equivalent of
being locked in a room with all your old girlfricnds' fathers and a collection of dentists‘ pliers. But when .lohn Clifford says this there‘s a definite improvement in one’s mood. Clifford has a lifelong love of (ioethe. and is a \cl'} c\]k‘ricnced translator of classical work.
haying distinguished himself with a succession of
International l-‘esti\al hits. His version won't be the usual ridiculous acliir-does-anything-to-get-good-part. c\ccuti\e-deals-w ith-devil-to-get-promotion schlock. there‘s just too much care in his work for that.
But don't espcct. either. that the story of [artists bargain with .\lephistopheles for sensual delights and temporal power will be anything like dry scholarship. Clifford‘s style is resolutely anti-naturalistic. taking us on colourful. extravagantly epic journeys with wild physicalities and challenging ideas. That his version should be so much closer to the original text in this sprawling two-part narrative. which will operate in Rep at the l.y ceum. is a bonus.
The l-‘aust myth is most often evoked in times when shared moral certainties evaporate. and the individual is thrown back upon him/herself for survival. without recourse to the ethical codes of the community. (‘liffortl feels that it‘s significant that the original's composition and setting parallel our own times. 'Is it really possible to reconcile capitalism with the kind of economic crisis w e‘re going through at the moment'.’ It probably isn't. Capitalism will go the way of feudalism. slavery and all the other political systems we've lived by. It's probably had its day. we're in the death throes of something. That's
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significant. because (ioethe set Faust during the death throes of the medieval world and the rise of another. and he wrote it at the beginning of the Industrial Revolution. When he finished it the Industrial Revolution was in full swing. lts ultimate point is that for all this revolution. love can redeem everything.’ says Clifford.
To render the parallel with our own time. Clifford has not taken easy routes. The production is set in the contemporary world. btit there isn‘t the Usual (ieorge Bush or his ilk as Mephistopheles. This figure is more ambivalent than that. But there are striking parallels
with our own society in the text. which speak for
themselves. ‘There‘s a large amount of satire of the
educational system in Fatist. so there is some satire of
the modern university in it. which you will recognise. The first thing that the [)evil says to Faust is that he must renounce the intellect. ()ne of the manifestations of evil in our world is the destruction of an
independent intellectual life in our universities. ()ne of
the things that‘s important about this is the audience will say. yes. it is“ about ottr world.‘ Clifford says.
But there are also commentaries on our relationship with the environment that strike a chord. ‘The whole of the second act involves Faust’s campaign to hold back the sea. We know that it's doomed to failure. just as we know now that we can‘t dominate nature. we have to come to terms with it. It's no good thinking some new technical advance will stop global warming. or fix genetic engineering and radioactive waste.‘ Clifford says. Expect modern boundaries to be pushed. and history re-examined.
Royal Lyceum Theatre, Parts One and TWO in Rep, Tue 28 Feb-Fri 7 Apr.
Hit THE BEST THEATRE & DANCE
The hottest live events this fortnight
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it Home Wherever you are. you'll be somewhere near one of the NTS’s theatrical housewarming parties. It's a succession of events which pool talents from theatre, the arts and local communities. There'll be a celebration and questioning of what home means in a site-specific venue near you. See feature, page 22, for details
1|! Faust, Part: One & Me John Clifford's ambitious adaptation of Goethe's classic sees a contemporary version of this myth of selfhood and ambition, incorporating an- examination of politics. environment and gender, while remaining true to the original. Royal Lyceum, Edinburgh, in repertory, Tue 28 Feb-Fri 7 Apr. * Six and a Tanner This piece marks the return of David Hayman to Scottish theatre after long travels in film and television. Rony Bridges' monologue looks at a man visiting the coffin of his father to recall a lifetime of abuse. Expect strong drama. Oran Mor, Glasgow, Mon 27 Feb-Sat 4 Mar.
* Blood Wedding Lorca's classic. this time featuring a translation by Ted Hughes, will be directed by Jeremy Raison. A poetic journey through primality, featuring an illicit elopement on a wedding night, this piece can be a tricky play to perform. but will be stunning if it works on the night. Citizens' Theatre, Glasgow, until Sat 4 Mar.
* The Leningrad Siege Eerily atmospheric piece by Out of the Box, focussing on the story of two women trying to resolve the mystery of the death of a theatre director. as his theatre lies derelict and on the point of demolition. Tron, Glasgow, Thu 16-Sat 18 Feb.