The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust. Faust is the protagonist of a classic German legend based on the historical Johann Georg Faust (c. 1480–1540). Faust is highly successful yet dissatisfied with his life, which leads him to make a deal with the Devil and exchanging his soul for unlimited knowledge and worldly pleasures
Apothecary Theatre and Dandelion Theatre, two Toronto companies, hae joined forces and put Doctor Faustus on twice for groups in the city. Now they will be taking the play to Edinburgh Fringe Festival in Scotland but require financial support to ensure the play goes off without a hitch.
Created by Oliver Pitschner
Executive Producer Beth Airton tells us audiences can expect a tight, fast-paced, vicious exploration of the relationship between Faustus and the devil buying his soul. “A shocking mix of humour and horror, where the audience is aware of the fated end that, try what he might, Faustus will never escape”. Associate Producer and Director Max Ackerman adds that he thinks people can expect some really exciting, accessible classical theatre. “One of the biggest privileges of working on this show has been how many people – especially young people – we have introduced to this story and text. It’s such a fun show, it’s so metal. It’s got magic, it’s got demons, it’s got drag, it’s got rock n’ roll. It works with these elements that are famously countercultural, all built on top of some of the most exquisite poetry in the English language.”
Actor James Evans, who plays Doctor Faustus, has been interested in classical theatre since he was a child and has always enjoyed mythology and folklore, saying he felt that he could use these stories to time travel and have larger than life characters reemerge and walk around in his body. “As an actor, that’s a really exciting sort of fantasy part of it. In particular for a character like Dr. Faustus, the play isn’t performed very often but the character of Faust is this major figure in imagination, with the deal with the devil, the crossroads of selling your soul… even though this is a 450 year old play these are still questions that people have around topics like selling out, around themes like conscience.”
Taken by Joshua Evans
Though in real life he’s shy, Evans enjoys playing a character that fills the room and is driven by ambition. He feels that everybody is somewhat interested in magic, fantasy, horror which draws an audience for Doctor Faustus. When Evans first started talking about doing the play with Gus Monet, who plays Mephistopheles, they both felt this play was quite evocative and not performed nearly as much as Shakespeare. The team also felt that often people cut out references to Gods and the ancient world but those elements are precisely what they left in Doctor Faustus. “We really cut out everything else and just focused on the ritual and the magic of it. It seems like, including young audiences, people get it. It’s nice to have something that’s old and powerful and we’re literally invoking demons, Gods and figures of antiquity – it has that feeling of being a bit dangerous.”
Gus Monet, who also performs drag as King Coyote Ugly, has a theatre background from Toronto Metropolitan University and has always been drawn to work in classical theatre, mainly having a fascination with re examining classical theater with a modern lens through clown and drag. Under Apothecary Theatre they have written and helped produce several shows.
Monet tells us that the relationship with Mephistopheles and Doctor Faustus is one of jailer, cellmate and prisoner. “Mephistopheles is a demon and he is summoned by Faustus who wishes to sell his soul for worldly pleasures but that isn’t quite true, Mephistopheles is actually less of an instigator and more of an omen. He shows up to people who are already damned. In our version of the play we also sort of examine this eternity for Faustus, as the sort of punishment for Faustus himself.” Monet adds that because Mephistopheles is bound to Doctor Faustus they become everything to each other. The audience witnesses them love and hate each other and Mephistopheles be amorphous to accommodate Doctor Faustus’ needs.
Taken by Joshua Evans
Monet and Evans worked together in smaller roles before and spent a lot of time bonding but also wondering what they would perform if they had carte blanche. Evans shares “When we looked at Marlowe, it felt like this was something that people aren’t doing all the time”, noting that people wouldn’t already have someone casted in their minds eye allowing them to feel they could be suited for their respective roles without much pre-judgement.
Monet also felt excited by playing the character, firstly in Toronto in their drag persona on Halloween – something you might not as easily see in other theatre houses. Evans describe Coyote Ugly as a hybrid perfectly suited to play Mephistopheles. “Gus is the sweetest, most generous actor you could possibly want to work with. But the character of Coyote is like Beetlejuice mixed with Bugs Bunny mixed wiith 70s Tom Waits. You don’t know what he’s going to do.” They built Mephistopheles so he could play various characters leaning into the strengths of Moent’s drag character also allowing Evans to simply react, saying it felt very natural.
Airton shares that the grassroots nature of their theatre work and production has been widely supported by friends, family, the local Toronto arts community and more. “We are truly a grassroots, indie production and would not be able to tour internationally without all of our supporters and is supported by the Edinburgh Fringe Artist Liason staff (shout out to Martha!). Our team has friends, community members working on grant applications, outreach, fundraising, touring logistics.” Airton has also had to navigate challenges as a producer working through government regulations preventing disabled artists from touring internationally. “Apothecary Theatre has a mandate to support and employ both disabled creators and crew. Due to the policies of ODSP and OW, people participating in these programs are unable to leave the country for longer durations. They are also unable to earn income from non-Canadian companies. We have had to work hard to ensure that all the government bodies have the correct paperwork so that our artists can travel without losing their benefits and livelihood.”
Going to Edinburgh Fringe is a dream of Monets, who attended Fringe festivals every summer of their teen years. Airton shares that going to Edinburgh Fringe opens many opportunities for theatre professionals. “In 2023, over a thousand accredited industry professionals attended the Edinburgh Fringe Festival looking for emerging talent. If there is anywhere to launch a creative career, it is there. By finding future production and presentor partners at the Festival, we will be able to reach greater audiences to share Canadian artistry.” Ackerman adds that there is excitement in also reaching a new audience, “Theatre is so universal it’s exciting to connect with people across the ocean on a show that has already received such love at home. But I’d also say it’s exciting because it’s the home of Marlowe – to be able to perform this historic text in the place where Western poetry really took root is a super special opportunity.”
Evans shares that he is excited to play at Edinburgh Fringe, not only considering how magical Scotland is but also performing Doctor Faustus in real catacombs for their audience. Evans also loves the idea that this play reminds people, while potentially travelling for this Fringe festival that not all that glitters is gold and to remember their conscience in the choices they make. “The stuff that the character of Faustus is dealing with in his head from this 400 year old play are still questions that people should have in their minds and you should check in with yourself and go ‘Hey if I take another step what will I become’. In the case of Faustus he always takes the next step and is inevitably sort of destroyed. Hopefully people from whatever walk of life they come from, will come to the show, look at the stage and see themselves and see their own past, their own future and hopefully make good choices.”
While the cost of going to Edinburgh Fringe is not small, both theatre teams are determined to make it happen. “I have been very proud of our team in our fundraising efforts”, Ackerman shares, “For two small companies we have really leaned into our communities who have provided tremendous support in getting us to Edinburgh in the first place. The challenge is of course that getting there is just the tip of the iceberg when it comes to producing a show internationally. Any extra funding we receive will primarily go to supporting our artists who have already given so much to make this show happen. Aside from that, the better funded we are, the more immersive this experience can get. Extra funding will help to build an international team of designers and promoters to help the show look as spectacular as possible and give as many audiences as we can a chance to really feel like a part of the experience.” Airton adds, “Funding and partnerships would allow for this play to reach more audiences, potentially allowing for a tour with longer duration and more locations. This adaptation of Doctor Faustus has a shockingly broad reach – we have had rave feedback across demographics from elementary school students, university professors, and industry professionals. A good story lands regardless and funding will allow this play to evolve into its fullest form.”
As for the importance of independent theatre, Evans hopes that taking classical work in this way allows for more people to have access to the play and reflect on it’s deeper meaning personally. “I always love the idea of taking classical works or any dead work, anything that is publicly available, and seeing what happens when you inject it into a drag context or a bar context or anything that is like outside of that institutional space. What does it become? When can it be a little edgier?” Monet hopes that conversations and opportunities like these lead to a “ global indie theatre community”. Ackerman adds that “independent theatre allows for an environment of experimentation and risk that commercial theatre companies often don’t indulge in. Independent theatres must push boundaries simply to be noticed in a culture of homogeneity. Where classics are concerned, the contemporary Canadian view tends to be that they are not lucrative. As independent theatre makers we have proven this to be untrue. The fact is we cater to a very different audience than commercial theatres. Our art is geared towards audiences of diverse incomes, backgrounds, and experience. It is only through indie theatre that audiences and artists from different worlds can come together and connect in the way that we have seen with a show like Doctor Faustus.”
If you want to support Dandelion Theatre and Apothecary Theatre in attending Edinburgh Fringe, you can donate here: https://www.zeffy.com/en-CA/fundraising/a384a776-00a4-4161-9c5d-8859d6edc26e
To purchase tickets to see Doctor Faustus at Edinburgh Fringe, click here: https://edinburgh.justthetonic.com/event/88:4220/
Hillary LeBlanc
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