It is a hugely enjoyable performance to watch as McNee’s Faustus takes purposeful command of her life in the Seventeenth-Century, refusing to believe that her own free will is entirely at Lucifer’s disposal.There is a wonderful bloodthirstiness that consumes this Faustus as her powers are first realised, setting out for vengeance against those who have crossed her family, but McNee is particularly adept at showing the strain and befuddlement of good deeds gone wrong, aware of how entirely the devil will interfer, so as the centuries pass away, Faustus becomes consumed by her bigger plans, the effort of which starts to take its toll on her physical and mental stamina, developing a fatigue in McNee’s layered performance that does much to hold together the wayward second half.The secondary cast work hard in a variety of roles that help to create the intensity of the first Act as well as the time-hopping nature of the rest. As it is, the play ends up overreaching.Faith, magic and female destiny ... Danny Lee Wynter as Mephistopheles and Jodie McNee as Johanna Faustus in Faustus: That Damned Woman.Faith, magic and female destiny ... Danny Lee Wynter as Mephistopheles and Jodie McNee as Johanna Faustus in Faustus: That Damned Woman.octor Faustus, as we know him from folk legend, is a doomed overreacher whose quest for worldly power earns him eternal damnation in his pact with the devil. Follow this blog on Twitter @culturalcap1 or Facebook: Cultural Capital Theatre Blog‘Jodie McNee’s leading performance burns with energy’: FAUSTUS: THAT DAMNED WOMAN – Lyric Hammersmith She is every bit the complex and intriguing Faustus whose righteous outrage for her mother is ever contrasted by her …
Its flexibility is enhanced by Ian William Galloway’s video design which projects pattern and texture including what appears to be the inky form of a devilish shadow, and later helps Faustus to rapidly absorb a visual history of the years through which she lives.The exploration of the black arts and the role of women which so meaningful ties Act One together are lost in the second half where the focus switches entirely to a quest for science to grant eternal life, and although Faustus’s 144-years of life must take her into the future, the loss of that carefully conjured 1660s setting is sadly missed.
And here in the first act, the exploration of female powerlessness and supposed culpability is well executed as Bush leads Faustus to the door of a man who desperately wants the devil to appear and uses the female body in various unseemly and thankfully unseen ways to entice Satan to his door where he hopes to exchange his soul for the riches he craves.That Johanna enters this man’s employ of her own volition and in the full knowledge of his practices suggests she holds few allusions about her own sinful tendencies and this is vital to the duality of the Faustus character in the remainder of the play where determination to do good is scuttled by an essential human weakness as she plots to outmanoeuvre her hellish master. But eventually every Faustus must concede the inevitability and invincibility of death, and whether you give your soul to God or the devil no science or magic can bring eternal life.Faustus: That Damned Woman is at Lyric Hammersmith until 22nd February with tickets from £10.
Through learning she strives to be in control of her own destiny, “in thrall to no man”, and find the elixir for eternal life on a global scale. “I shall do good,” she says as she seals the deal with Lucifer.The play raises themes of faith, magic and female destiny, which resonate in 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.
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