Doctor Faustus (Independent Shakespeare Company's 2025 Production) Theatre Review

The Independent Shakespeare Company, as the group's name suggests, focuses on the works of William Shakespeare. But these folks do not limit themselves to those thirty-seven plays (thirty-eight, if you count The Two Noble Kinsmen), and last night held the official opening of Doctor Faustus, a play written by Shakespeare's contemporary Christopher Marlowe. It is the classic story of a man who sells his soul to the devil for power and knowledge. This company delivers an absolutely fantastic and fun production, with plenty of humor and a bit of horror, and a completely delightful original musical number (actually, there are two good songs). The production is directed by Melissa Chalsma, and stars David Melville in the title role and Kalean Ung as Mephistopheles.

While construction continues on the company's permanent Griffith Park stage, performances are located just a bit farther up the hill (which actually means more shade for the audience). The set-up for this production is similar to that of Love's Labour's Lost, which closed a couple of weeks ago, done in the round, with the main platform spanning the dry creek, and a secondary, curtained platform to the side. While the main platform was painted green for the Shakespeare play, this time it features a circle with the zodiac signs at its outer edge and other symbols within. Much of the performance happens on that main stage, but the actors make great use of the surrounding space, sometimes moving through the audience (before the performance began, Melissa Chalsma warned us that spirits would be roaming the park). When we first meet Doctor Faustus, he is seated in his study, dressed in black. On "And live and die in Aristotle's works," he gets up, indicating a book at one corner of the stage, which he then retrieves. On "farewell," he tosses the book off the stage, and takes up another. One by one, he tosses the books, giving the sense that he has gotten all the knowledge he can from these tomes and requires something else for his desired growth in knowledge. David Melville, known for his comedic talent, is quite funny right from this first scene, particularly in his delivery of a line like "The reward of sin is death: that's hard." And when he is visited by both a good angel (Natalia Echeverria) and a bad angel (Daniel DeYoung), from his reaction we have no doubt to which one he will listen. And it is not long before he, ready with a staff, begins to conjure the spirits. David adds delightful touches to the performance. When he first steps into the center of the circle, there is some uncertainty, perhaps even fear, and then relief when nothing bad has happened. And then, now with certainty of purpose, he begins his work. It's a wonderful moment. 

When Mephistopheles enters, she is sexy (or should I say hot?), in a red dress (not presenting herself as a Franciscan Friar, as in the text). Yes, we get a female Mephistopheles here, and that works quite well. For a moment, perhaps, we are reminded of Elizabeth Hurley as the devil in the remake of Bedazzled, itself an adaptation of the Faustus story. Faustus has met his match here, for Kalean Ung is magnificent in the role. That will come as no surprise to those who saw the company's 2022 production of Macbeth, for she was phenomenal as Lady Macbeth. Mephistopheles holds out the knife to Faustus so that he can draw blood, and she kneels before him in that moment; that is until he takes the blade, a nice touch. Doctor Faustus understandably hesitates in cutting himself, and when he does do it, this production does not shy away from the use of blood. And when Faustus states that one of his stipulations is that Mephistopheles come to him in whatever form or shape he pleases, Mephistopheles smiles, seeming both intrigued and pleased, another wonderful touch. On her "when all the world dissolves," the turns around, taking in the world around her. And on her "take this book," the book she hands him is red, matching her dress, which is perfect. Later, when Doctor Faustus requests knowledge of the celestial bodies, other characters appear in the audience bearing glowing globes representing those bodies.

While David Melville and Kalean Ung turn in remarkable performances, the entire cast is strong. Patrick Batiste and Natalia Echeverria and wonderful together as Wagner and Robin respectively, especially as Wagner tries to convince Robin to be his disciple for seven years. The two devils poking Robin with their pitchforks are funny too, and even funnier when Wagner dismisses them, one of them delivering a disappointed "Oh" before exiting. And one of the production's most delightful and thrilling moments involves the entire cast. The scene with Lucifer (Brent Charles) and the Seven Deadly Sins is done as an incredible musical number, with each Sin receiving an introduction and taking a verse. Carene Rose Mekertichyan is especially good as both Pride and Sloth. Isaac Ybarra is Wrath, Daniel DeYoung is Envy, Erick Valenzuela de Campos is Gluttony, Patrick Batiste is Greed, and Natalia Echeverria is Lust. They and Lucifer are clearly having a great time. And some of the song's original lyrics refer to the audience. Was there ever a better sales pitch for sin? 

During the speech about Doctor Faustus being flown by a dragon, both he and Mephistopheles wear aviator goggles, a humorous touch. Other characters manipulate the dragon's wings, which is actually kind of beautiful. Scenes of great comedy are always handled well by this company especially when David Melville is at the center of the action. And so the scene where Faustus torments the Pope (Brent Charles) and other religious figures is a delight. Plus, and maybe especially these days, it is enjoyable to watch those in positions of power being brought down a few pegs. Doctor Faustus, made invisible by Mephistopheles, teases the Pope by repeatedly sitting on the Pope's chair, before then taking his food and drink. It's wonderful how much fun Faustus is having here, and the audience is completely on his side, enjoying the Pope's discomfort and fear. There is also a lot of fun in the scene with the Emperor (Erick Valenzuela de Campo, who is wonderful in the role). Faustus' line "These are but shadows, not substantial" reminds me of Prospero's speech in The Tempest. And there is more delightful physical comedy in the scene with Robin, Dick (Daniel DeYoung) and the cup, the cup at one point being handed to someone in the audience.

And as I mentioned earlier, there are elements of horror as well, including, in addition to the drawing of blood by Faustus, a beheading scene. Of course there is comedy to this too, as characters toss the head around. It is so wonderfully creepy as Doctor Faustus holds his own head. As the play moves toward its conclusion, it becomes more serious, and there is a nice moment when Wagner expresses concern for Faustus (Patrick Batiste is excellent there). Doctor Faustus is on his knees for the play's most famous lines ("Was this the face that launched a thousand ships..."), as Helen (Carene Rose Mekertichyan) circles him. And he again falls to his knees a little later when trying to wipe away the symbols from the circle. David, again known for his comedic skills, truly excels in that final scene. It is a side of him we don't see quite as often, and he delivers some impressive work. Kalean Ung is also excellent in this scene, the two of them engaged in a delicious dance of the damned. What a fantastic ending!

Doctor Faustus runs through August 31, 2025. Visit the Independent Shakespeare Company's website for the complete schedule. There is one intermission. The performances are free, but donations are encouraged, especially in this difficult time when the arts are under attack and government funding is dubious at best. There are also T-shirts, sweatshirts, tote bags and other items for sale at the merchandise table, so there are plenty of ways to support the company.