Cherilyn Woo reimagines Faust by putting humanity front and centre.
Nine Years Theatre
24 March 2019, 3 p.m.
Drama Centre Black Box
21‒24 March 2019
Stage a conflict between God and Mephistopheles within a two-storey wooden structure? Recast Faust as a young woman? Rewrite the second part of Faust?
Nine Years Theatre (NYT) new associate director Cherilyn Woo, has achieved all that and more in Faust/Us, the company’s Mandarin adaptation of Faust.
This production marks a couple of firsts for the company: the first show that isn’t directed by Nelson Chia, and the first production in which a part of the plot is completely rewritten.
Woo turns the cautionary tale of man’s greed into a humanistic piece that ennobles the human struggle.
The wager between God (Hang Qian Chou) and Mephistopheles (Timothy Wan) is no longer a symbol of sin and redemption, but a childish and selfish bet at the expense of humanity. Faust is not a crazed man, but Jo Faust (Mia Chee), a woman who signs a pact with Mephistopheles after being bogged down by ennui. She does not fall in love with Grett (Neo Hai Bin) out of lust, but out of admiration of his writing. At the show’s climax, Faust does not give in to one side or the other, but proceeds with the pact on her own terms.
This bold reimagination by Woo is arguably more in line with the Enlightenment ideals than Goethe’s version.
While Faust/Us may not have ensemble scenes that have become a signature of NYT’s productions, Woo does tap into the ensemble training that the actors go through with occasional synchronised movements, and having Grett glide across the space as God tries to convince Faust to come to his side.
Mia Chee balances between Faust’s ambition and her emotional vulnerability wonderfully, imbuing the titular character with more complexity.
Timothy Wan’s Mephistopheles is quick-witted with a sharp tongue to match. Wan plays off Chee very well, charming her every step of the way. It is easy to see why anyone would root for the devil for most of the show.
Neo Hai Bin endears himself to the audience with his earnest portrayal of the fruit seller, while sending students giggling when Grett and Faust are in the first blushes of love.
Hang Qian Chou does not leave much of an impression as God, but elicits sympathy as Wagner, Faust’s faithful friend.
It is difficult to stage a spectacle of cosmic proportions in such a small space. But lighting designer Adrian Tan and sound designer Zai Tang makes do by signalling a chance of space with coloured lights strategically fixed on to the set (designed by Petrina Dawn Tan) or a layered soundscape.
The creative team must be commended for managing to create a foreboding atmosphere when Mephistopheles suddenly appears without resorting to the age-old trick of smoke machines.
When she first appears, Faust laments that all human achievement will turn to dust eventually, and we are merely piling dust on layers of dust.
Woo responds by clearing away centuries of dust and allowing us to view this tale afresh, while offering a glimmer of hope to the seemingly Sisyphean struggle that is life.
“Theatre review: FAUST/US by Nine Years Theatre is fiendishly good” by Akshita Nanda, The Straits Times Life!
“She Creates: Nine Years Theatre’s ‘FAUST/US 浮世/德'” by Daniel Teo, Arts Equator
“The Spectacular Mundane in Faust/Us“ by Teo Xiao Ting, Centre 42 Citizens’ Review
“Review: FAUST/US (浮世/德) by Nine Years Theatre” by Bak Chor Mee Boy