A combination of the Faust myth, through Goethe’s version, and a commentary on Africa’s post-colonial conflicts, Handspring’s version of the devil’s deal ponders theology and human power in a witty and sometimes harrowing display of puppet power that links the rise of Enlightenment thought to the subsequent atrocities imposed on the African continent.
The theology does not quite come off: the relationship between God and the demon may be established elegantly in the prologue with shades of Job, but the lack of divine character development makes the final pay-off inconclusive. By that stage, however, the company have romped across colonial horror, identifying how the patterns of European violence continue to be played out while Faustus himself grows tired of his attempts to reach transcendence.
The puppets are the stars, of course: Faustus is uncomfortable in his body, lurching towards sexual desire and conquests: his beloved Helen becomes a symbol of oppression and exploitation. The use of puppets situates the dramaturgy between performance and visual art, leaving spectacular imagery and icon, symbolic moments across a stage with a scenography that recalls a museum or library. The animation is deftly used to convey both story and the themes of violence.
The human and divine worlds are never fully reconciled, and the pace leaves some of the narrative incoherent, but Handspring offer a lively rereading of a classic that is sprightly and, in intention, a profound exposing of European arrogance and its consequences.
Faustus in Africa!, The Lyceum, 20-23 Aug, 7.30pm