Dr Faustus, written by Christopher Marlowe, produced by Jeremy Jay.

Next week Drama Society steps into the limelight after a long period of hibernation. The double-bill of Dr Faustus and Everyman is an ambitious beginning.

Both the directors are involved with drama around the University Jeremy Jay is perhaps best known on campus for his production of 'Blues for Mister Charlie,' 1975. Again he undertakes a demanding and ambitious role as producer of Christopher Marlowe's Dr Faustus! As its title suggests the play centres on the character. Faustus (Bruce Reid). He is a tragic hero who tries to assert his independence by rebelling against authority — the ultimate symbol of which is God. Offered complete freedom, power and wealth for a period of 24 years, Faustus in return must give his soul to Lucifer. His inability to handle them, coupled with his excessive pride, lead to his ultimate downfall. The comic aspects of his antics assume a tragic element in the light of his final damnation.

Jeremy Jay believes in 'the time lessness' of Marlows's message. His production should prove that Dr Faustus is as relevant today as it was to a Renaissance audience. He is confident that enjoyment and understanding does not depend on a knoewledge of the Renaissance period. Because he sees it as not being restricted to a particular time and place, he feels it makes "just as much sense done in modern dress."

It remains to be seen whether the production can capture the true message and intentions of the playwright. Faustus must secure the sympathy and admiration of the audience as well as their condemnation and disapproval. The question of his fate must remain open to the and.

Everyman is a late medieval play. In this production 'Everyman' is cast as a woman — Vicky Ellis. She/he is a typical human being, representative of the human race — anyone and everyone. The other characters are materialisations of the different aspects of Everyman. With the courage of her convictions Judith Dale has also cast a female God: "There is no earthly or heavenly reason why God shouldn't be personified as a woman as much as a man."

Judith Dale has set out to offer the play on its own terms. Like Jeremy Jay's conception of Dr Faustus, she believes it deals with universals. She sees her production as a modern response to an historical play. The initial sequence is in modern dress. She feels this makes it more appealing and relevant as well as being true to the play. Everyman's 'false friends' Are human types in the modern world; they do fit into ordinary human categories, (sic Material Wealth is portrayed as a whore.)

More than in any other play she has produced, Judith Dale feels that in Everyman she has 'come to terms with the full theatrical implications of the text.' She recognises that there is more to producing a play than 'the casting and speaking.' The scenario is given as much attention as the text.

Both Dr Faustus and Everyman tend towards one final point: the former towards damnation, the latter to salvation. The combined production of these two plays should make for a balanced and enjoyable night's entertainment.

One hopes that the audience they attract may extend beyond the Stage I English students (for whom both plays are set-texts) and loyal Drama Society members. Only with recognition and support can drama flourish at this university or anywhere.

— Rose Desmond.