Review: FAUSTUS: THAT DAMNED WOMAN Unveils A Bold Treatment of the Classic Myth

Say what you will about Lucifer's clockwork precision, but Dr. Faustus maintains his claim to immortal status.

Inarguably one of the most brilliant and tortured characters in Western literature, Faustus continues to extend a lifeline to his legendary tale, inspiring numerous iterations few of us can absorb.

From Marlowe's Elizabethan tragedy to Goethe's crowning glory - down to Mamet's self-directed enterprise, Faustus reminds us he endures time and space; that is, as long as human desire is unsated and creative writing abounds.

Consider the antihero's legend as a universal motif, abiding in the deepest chamber of the human psyche. Who has never felt seduced by notions of power beyond our modest reach? How quickly must we avert temptation and compromise our morality for a shot at ephemeral prestige?

At Scoundrel and Scamp, we have the privilege of seeing the American premiere of yet another rendition of a medieval favorite. The title reveals what makes this particular version unique.

FAUSTUS: THAT DAMNED WOMAN, by Chris Bush, retains the theatrical potency of Marlowe's and Goethe's masterpieces, but shifts the point of emphasis to a tormented woman of exceptional intelligence in 17th-Century London. First-time director Raulie Martinez directs Bush's muscular piece with unpredictable, judicious treatment.

Callie Hutchison is that damned woman with a prepossessing countenance that rivals her rapt theatricality. Hutchison's Johanna Faustus is intelligent and cunning, attuned to the austerity of her fate.

That she is a marginalized woman with no agency is a thematic opportunity the playwright exploits. It raises the stakes for a skilled and ambitious intellectual whose perceived transgressions warranted retribution where most men could quickly get off scot-free.

That makes dabbling with the occult a convenient alternative. Hell couldn't be worse than what Johanna must routinely encounter. She is also justified in her desire to avenge the death of her mother, a noted herbalist authorities hanged for being a "witch" when Johanna was a child.

But while Marlowe and Goethe's protagonist utilized his diabolical powers to serve his ambitions, Johanna uses hers to make the world a better place. Surprisingly, her pact with the devil begets a deep sense of altruism as she travels through centuries to navigate human progress, conferring with future movers and shakers of the world (chiefly women of distinction) to advance civilization.

On a technical note, the pacing is suspect here. Some units of action lumber along without discernible purpose, coupled with a tendency to give in to perfunctory business (e.g., the library montage where Johanna apparently spends years of study).

Moreover, we doubt the play should last two and a half hours, and swifter transitions could help carry the momentum. Fortunately, Josh Henmo's mesmeric projection and lighting design alleviate these drawn-out sequences.

As compelling as she is, Hutchison is not without equal in carrying out Bush's dramatic objective. Zachary Austin is a wickedly playful Mephistopheles, light on his feet, and oozes with delicious irony. Lucifer is rendered with a calm and calculating charm by Michael Levin (who doubles as Johanna's ailing father). There are scintillating moments here and there (excellent dual scenes in the opening minutes), but some ensemble units are more cohesive than others.

FAUSTUS: THAT DAMNED WOMAN is a bold and ambitious undertaking by a young director and a gallant piece in another impressive season at Scoundrel and Scamp. It continues through October 30, 2022.

Photo Credit: Tim Fuller

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