Directed, animated, and designed by the renowned William Kentridge, Faustus in Africa! pushes the boundaries of theatre. Currently showing at the Coronet Theatre and performed by the incredibly talented Handspring Puppet Company, this relevant and important piece had been in Kentridge’s drawer for 30 years before making its London debut.
Faustus in Africa! reimagines the story of Faustus, a doctor whose desires lead him to sign a deal with the devil in exchange for magical powers, pleasure, and profit, set against the backdrop of a transformed African safari.
The show is beautifully orchestrated with complex compositions and puppetry, where the actors shift roles from workers of the devil to puppet masters. The artistry in the puppetry crafted by Adrian Kohler is stunning and detailed. The only real ‘human’ characters in the show are the devil and his workers. The performance shifts between Kentridge’s animation, puppetry, and the music created by James Phillips and Warrick Sony.
The narrative also revolves around the themes of time, ageing, and witnessing the layers and fabrics of the world you knew disappearing as time ticks away. The piece effectively utilizes this concept, reflecting on the ‘greed and excess’ of the human race.
The stage design by Adrian Kohler is thoughtfully constructed, utilizing almost everything on stage to enhance storytelling.
This is where the storytelling falls short.
The production’s craftsmanship is incredibly detailed and curated.
In the role of the devil, Wessel Pretorius plays an impressively nuanced devil, skillfully navigating the rhythms of the text, maintaining a high and urgent yet believable energy. The entire cast brings power, endurance, and attention to detail, but sometimes the ‘idea of the play’ or its ‘reasoning for relevance’ overshadows the strength of the acting.
If you enter the beautiful Coronet Theatre (one of my favourite venues in London) to watch Faustus in Africa! without prior knowledge of the story, you may find it challenging to understand the main narrative. At times, the language distances the audience from the core story and the raw emotions experienced by the characters and some directorial choices can detach the viewer from the drama, presenting alternative perspectives.
Don’t get me wrong — I enjoy working while watching a show, noticing the little details and observing how the team directs the narrative. However, when the main narrative revolves around a concept, it often overshadows the incredibly rich characters that drive the story. It’s from the characters’ perspectives that the concept becomes more meaningful and engaging.
Faustus in Africa! unfortunately remains relevant even 30 years later and is likely to continue to do so for some time. It is a powerful piece of theatre that tackles important themes and offers valuable lessons. However, the underlying idea is at times overemphasised, leaving little room for self-exploration and lacks clarity in its storytelling.
Listings and ticket information can be found here
