Faust, Part 1 (Shotgun Players)

Mark Jackson brings Faust, Part 1 to Berkeley and the Ashby Stage’s The Shotgun Players. Jackson’s freeing adaption of Goethe’s FAUST falls someplace in between a fairy tale and a gothic horror. It gives a real theatrical presence to Goethe’s closet drama. While the adaption itself is quite intriguing, the real value of the show comes from the direction of Kevin Clarke and Mark Jackson. Jackson’s background in theater is a dance based, full body, physical acting. The beauty of the piece lies in the moment, or lack thereof, portrayed by the actors. Much like Jackson’s Yes Yes to Moscow, we see an outward expression through physical expression of each characters real internal struggle. Jackson does not do realism, in any production I have seen of his, but has an innate ability to draw his audience in through his formalism. What may at first glance appear to distance his viewers from the events ends up being what brings them closer than they have ever encountered the text before.

Jackson’s adaption refuses to investigate some of the real issues at play beneath the text. The “Woman” is constructed, in much literature as the whore or the angel, and while the text brings up this issue, it leaves it quickly for bloodshed and action. It seems like there are a lot of big issues that are lying just under the surface that are not really addressed within the adaption. Of course since this is only part 1, we have but a portion of the story. Hopefully Jackson will adapt the second part, and challenge some of these notions.

While the set is simple and vague, Jackson hopes you will take the leap into this fairy tale with him. Not only did Jackson adapt/co-direct, he also starred as Faust himself. Faust’s performance seldom seemed forced, but instead seemed natural and flowing, no matter how ridged Jackson plays him. It is truly a treat to see Jackson and co-star Peter Ruocco (Mephistopheles) and the subtleties they are able to bring out of the rich text provided to them. Ruocco strides onstage and persuades the audience that he is the embodiment of evil simply by stating that fact. His portrayal of Mephistopheles is, as one viewer put it, “like a jaded melancholy” and it works beautiful into the scope and setting that Jackson and set designer Nina Ball have created

However, the real highlight of the show lies with the performance of Blythe Foster just as the tragedy begins to unfold. The dance sequence that has been created is an incredible piece of visual beauty. Hearkening back to the style of movement in Yes Yes to Moscow, Jackson abstracts movement and turning it simply into something that Gretchen does to express her inner turmoil rising up within her. This scene alone is worth the cost of the ticket, and all the rest of the play is simply enjoyable.

While there are still some nuts and bolts to iron out, Jackson’s concept is strong enough, especially when supported by the performances of Peter Ruocco and Blythe Foster to create a piece that, on the whole, is a beautiful representation of movement and how it should be used. In Faust, Part 1 Jackson has created another piece that he should be proud of.

-Picture by Jessica Palopoli
http://www.shotgunplayers.org/faust.htm