I gave my soul to achieve the impossible.
I watched this city grow sick and I swore to heal it.
I might be damned, but I would save the world to spite the Devil.
Award-winning playwright Chris Bush reimagines the Faust myth to explore what we must sacrifice to achieve greatness, and the legacy that we leave behind.
Caroline Byrne directs this radical new work in which the iconic character of Faustus becomes a woman who makes the ultimate sacrifice in order to traverse centuries and change the course of history.
It will premiere at the Lyric Hammersmith Theatre before playing at the Birmingham Repertory Theatre from 24 February. It will then tour the UK, visiting Bristol Old Vic, Leeds Playhouse and Northern Stage throughout March and April 2020.
Age Recommendation: 12+
Devilish drama is far from divine
Gender swap yields muddled results
Chris Bush's ambitious, idea-filled, if uneven reimagining of the Faust story
The devil's in the patriarchal detail with this watershed, gender-swapped legend
An exhilarating feminist story but big ideas are unevenly executed
Though unsteady on its feet in places, sci-fi purists will see a glimmering story shine through Byrne's gloomy production
Something muddled and muted in the storytelling
A zealous piece that confirms Bush as one of British theatre's most exciting, provocative writers
Chris Bush’s gender-swapped take on the Faustus myth lapses into extreme daftness, but star Jodie McNee holds it all together
Bush’s writing is poetic and highly imaginative, complemented by truly mesmerising performances from McNee and Wynter
Faustus is so relentlessly tiresome, one-note and monotonous that we instinctively resist its lessons
It’s logical but perhaps over extended, walking around points rather than fully making them
Rough and ready, but worth your time