Rehearsal Notes

First half of the play

We  started to create some really nice ensemble pieces for the opening chorus . As this is the start of the play we need to start strong with energy and impact to shock , surprise and grab the attention of our audience. As our concept is adapted to modern day we have a DJ and club 'ravers' theme. In rehearsals we developed the idea of Faustus being alone on stage at the start trying out his decks , this hopefully would give the audience a clear indication of what our original theme was. We then progressed to the idea of the ensemble entering at different stages of the song 'fire starter'. We would enter the stage from different points dancing frantically and noticing Faustus . This set the scene of clubs and ravers. We later on played with ideas for the chorus when they first speak . Because originally this play back in the 1590's would of been staged in the round or outside with no mics, we spaced 3 people at a time in a crest shape on the edge of the stage so all sides of the audience had something to see and something to listen too reciting a verse. For example Paige , Georgia and myself had the following verse ;

 " so soon he profits in divinity the fruitful plot of scholarisum graced that shortly he was graced with doctors name excelling all whose sweet delight disputes in heavenly matters of theology till swollen with a cunning of self conceit his waxen wings did mount above his reach and melting heavens conspired his over through "

It was an interesting verse to have as I think there was a lot of great imagery within it . I gave great opportunity to react to what we where saying and as a group we discussed what gestures we could add when reciting this verse.

The next part I was in was being the first Mephistopheles summoned by Faustus. We decided that I would come down the isle to create an imposing and creepy atmosphere. Also because we wanted there to be a massive difference between me and Charlie max said he had a mask I could use to show an obvious difference . We decided my que to come on screeching as some unholy creature was "And try the uttermost magic can perform". When I entered i'd have to hiss at Faustus and get right up to the audiences face. We agreed to work more on it when I had my mask to work with.What I am worried about is coming down the steps to the stage in a mask and long cloak . I will have to figure out a safe , confident way to personally tackle that challenge on the day .

Another ensemble part i was in was coming on with Georgia , George and Luke . We where all good angels . Myself , George and Luke came up with a tune to sing whilst accompanying Georgia . The idea for this brief scene was to be scared away by the devils that accompanied the bad angel,they where hip and we would be praying looking worried whilst Georgia the main good angel tried to convince Faustus not to sin.

I was also part of an ensemble in Act 2 scene 1 . There are stage directions explaining "Enter devils giving crowns and rich apparel they dance and then depart"  For this we had an idea that we should all enter as creepy devils yet still dressed as ravers and all sit in the trench around the stage . This scene is supposed to entice Faustus and convince him that selling his soul would be worth it and life would be better and that he'd be adored . The idea was to create a dance involving Faustus falling in love with the idea that he could do whatever he wants and be loved by the creatures of hell. The devils would all have their own solo dance to try and seduce Faustus to join them in hell.

Also in the same act I was involved with another ensemble part. We all had to line up and be 'sexy ravers' for Faustus to choose from . The idea was to be outrageous and obscene towards the audience shocking and humoring them. I felt that this could be quite an awkward scene especially with family members in the audience.


Another ensemble I was in was with Lucifer in the scene of the 7 deadly sins . My job was to just walk on stage with Lucifer and stand there looking menacing. I would sometimes have interaction with some of the sins. For example with  covertness I would be teasing her showing her my ring and smirking not letting her have it . My role is to accompany lucifer in Scaring Faustus into only thinking of hell. I think I will need to think about stage presents and how I will create impact .


The final ensemble I was in was the change over from charlie to me (Mephestopheles) and Max to Luke (Faustus)  . This was the ending of the first half of the play and the beginning of the second half. Myself and charlie had to create a little routine of me truing into Mephistopheles . We had ideas of her throwing her flowers over me and some intense eye contact with some spins. My initial thoughts was that we'd have some time to do a little 'metamorphosis' routine however I don't think their will be enough time so we may have to just stick with a basic spin and charlie throwing the flowers over my head. 

Second half of the play 

Our first thoughts on how to block the first scene was that me and luke would be standing on the table overlooking the stage out towards the audience . Initially I was worried about how my posture would be as I wasn't comfortable with standing on the table in character shoes! I had to think about how I would over come this and I came up with the idea that I should lean on luke . As well as supporting me I thought it would add a certain attitude and stance to my character . We did this in a freeze frame. 

For the pope scene myself and luke still stood on the table and our initial idea was to look up to max as he walked down the steps to the stage . We later then change this to nodding our heads to music as if we where 'crusing' down the road in a flash car loving life. At this point in the play faustus is much older and has expirence his capability in the contact . He asks Mephistopheles to make him invisable so that he can mess around with the pope . My personal instinct was to mime casting a spell around luke . I thought this would show the audience a clear indication that I was casting a spell and so they wouldn't be confused in the pope scene where Luke was causing chaos . After that my blocking was to sit on the table and watch over Luke looking malicious and cunning.

The next scene I was in was with rafe, robin and the vintner the movement for this was to walk down the isle and circle the other actors on stage before moving to the front of the stage for my monologue . My first thought was how I'd get down the steps to the  stage in time and also in my character shoes .The main language concern was the words 'Constantinople' and 'potentates' . I was dredging having to say this but a good rehearsal technique I learnt was to repeat the words in different accents , tones , pace and rhythm . It work for me for example, if I'd say Constantinople in a Yorkshire accent it suck in my head because it was funny and it helped me hear the syllables of the word. After the monologue we originally had that I'd walk back up the Isle but for practicality and logic for the next scene we changed this to walking upstage into the wings. 

The next scene I was in was act 4 scene 1 'Emperor' myself and Luke's movement was to walk parallel to the emperor and knight when entering to make it ascetically pleasing and neat . It also showed the separation between the status of Faustus and the emperor. My blocking was to be diagonal to the knight as this showed how we where both 'guardians' to our masters (or that's how Mephistopheles is preseved) . I really enjoy casting a spell on the knight and removing his horns , it's a fun bit of mime . Initionally we didn't know to show the horns disappearing off the Knights head but I had a suggestion that as I do the mime if casting a spell I remove them with my hands and discretely hide them behind my back. We the had to think of how we would take them off stage as I would be staying on Into the next scene . We came up with the idea that as Georgia exits she walks behind me and takes them off in a smooth transition. 

The next scene we blocked was the horse courser myself and Luke's movement was to walk across the edge of the stage , when the horse courser enters my movement was to move out of the way and observe the horse coursers proposal to buy the horse . Myself and Luke made Conscious decision on  making obvious eye contact in the intention of showing we where up to something. Through rehearsal we developed this to make it even more obvious for example winking and raising our eye brows . Also independently I decided to back this up by gestures to make it even more exaggerated that we had a plan up our sleeves and turning to the audience making facial expressions . What I felt might be a challenge was the findings of the fake leg! I thought about how we could do this and came to the conclusion that it would already have to be in place under the table but I was still concerned how we would execute the trick . This isn't something we focus on a lot during rehearsals and i'm wondering how effective it will actually be. I think my dialogue with Dannii is coming on well I have a clear understanding of the language and what is being said I think its just a matter of  thinking about the tone I am going to use when addressing the horse courser whether I want it to be stern and scary or patronizing. I really like the interaction with Luke when the trick is over and the horse courser runs off traumatized . I think our connection of laughter and 'friendship' is shown in a brief moment and its as if Mephistopheles forgets that she is later going to be dragging Faustus to hell.We have been working on our connection as characters and we have made up a little hand shake to bring some more modern style and gestures to the play. I think this works well with our 'club' concept and also is clear difference to the play in its original form.

Another scene I really enjoy doing is the duke scene . I don't have alot of direction as I am again observing Faustus talking to the Duke. I stand to the side as they stand at the front to show I am ominously looking on. One of my favorite parts is when I have to interact with the duchess (Amber) . I will bring on a platter of gapes . I have thought about how I will display them. I think I could make it quite fun by showing them off to the audience like an exhibit . Also I could try and snatch a grape off the platter and even throw some out to the audience to show Mephs cheeky side.

The next scene we have been working on is the scholar scene where Faustus summons Helen of Troy for his friends to impress them . I thought about how I'd react around them and through rehearsals I have decided that Meph would find them uncool and below her. So I look at them with judgmental eyes even pushing a couple of them of my path. A suggestion I made was that I should copy Faustus's moves when he is conjuring Helen. This would show how I was really in control and how I was manipulative . Something we rehearsed was that when Helen arrived I helped her off the step and onto the stage to exaggerate her status. After that I again just watch the scholars being 'laddish' judgmentally.

The next scene was the 'Old man' scene where character comes on to try an convince Faustus to repent. I don't really understand who this character is and how he really knows Faustus . Perhaps he is a godly spirit sent from heaven or a fragment of his imagination. What I think is really effective is how we have developed Meph handing Faustus a dagger to commit the ultimate sin (suicide) . It looks really effective coming around the side of his body slowly and stopping in front of him before he takes it. It adds great dramatic tension and almost a plot twist. Also what I love about how this scene is coming together is mine and Luke's dialogue. I really struggled at first with remembering the language as it was abit of a tongue twister. However I remember this particular rehearsal where Myself , Luke , Max and charlie had a personal rehearsal with Grainne. She could see that I was struggling and she took the time to stop me and get me to crouch at the audience and she repeated the lines over and over again simultaneously with me. I never forgot those lines again it was a great idea and hearing someone else voice accompany mine helped it sick in my mind. After this scene Faustus leave and as I go the old man walks back on so I independently decided to stay on and linger in the back ground. I felt that Meph wouldn't like the old man as he tried to make Faustus repent.After his monologue I suggested that when the devils attack the old man I should clap y hands to make them disperse to show how I was in control in contrast to hoe charlie summons the devils in the first half of the play to seduce Faustus to sell his soul. This looked effective and took awhile for the timing to be right as my clap had to be heard above the music.

The last scene is Faustus's monologue and I would walk down the steps to the stage as he was beginning to be dragged off . I stand on the stage looking a him with my hands on my hips. I thought throughout the rehearsal process that this would be the best stance as it would show the power Meph has all along . It also gives me a strong stage presence and is dramatic. However when Luke calls Mephistopheles name I was thinking of maybe looking away as Meph did have a connection with him and my feel some empathy for him as Mephistopheles is damned to hell too and they share this banishment.