The Centenary Theatre Group presents Mephisto and Pheles

Chelmer Community Theatre, Chelmer

27^th Sept-13^th Oct 2024

 

Dr Gemma Regan 

 

A fiendish World-first Faustian fling from the CTG

 

The World premiere of a Faust classic has been re-imagined into Mephisto and Pheles, written by Brisbane-based Czech author Voyen Koreis, staged by the Centenary Theatre Group (CTG) and  directed by Rod Felsch.

 

The script was handed to the director in 2009 after Koreis attended one of the CTG’s productions. After the passing of Koreis in 2022, the devilish production of Mephisto and Pheles has finally come to fruition.

 

The infamous tale of the 15th-century alchemist and magician Dr Georg Faust Koreis has been told by Marlowe, Goethe and Mann and inspired many films, plays and operas. The demon Mephistopheles (the Greek corruption of not loving light) tricks Dr Faust into selling his soul to the devil for knowledge. 

 

Koreis has reinterpreted the devilishly forked tale (tail) when Mephistopheles becomes two demonic beings Mephisto (Bruce Edgerton) and Pheles (Trevor Bond) when his tail is chopped off and flung into the fire by the femme-fatale, Brigitte (Georgianna Mannion). 

 

Pheles is the twinned transmutation of Mephistopheles and is the practical, dogmatic part of his demonic psyche. He dogmatically uses technology and practicality to recruit sinners to the realm of Hades. The bow-tied and waistcoated Bond is pragmatic with a flowery Christopher Biggins comical style. 

 

Edgerton is the more creative half of Mephisto, who is easily led, especially by the wily female characters.  Mephisto and Pheles travel back into the time of alchemists to trick Dr Faust (Gary Kilger) into signing the contract of damnation.

 

Kilger makes a convincing Faust using his diminutive stature and comical poses to great effect, reminiscent of a conniving Rumpelstiltskin. However, Faust’s desire for fame, fornication and a phone are vices used by Mephisto (with the aid of a small blue pill) to convince him to sign into damnation.

 

Rosie Armstrong is studying drama at QUT and plays her roles flawlessly, as the seductive secretary in the hellish recruitment department and the naive Seibel, who works as Faust’s unpaid hand-servant. 

 

Mannion also plays Meg, who visits Seibel to transform her into a feisty feminist before she is seduced by the manipulative Mephisto. She also connives against the surprisingly ignorant Faust and acts as the lure to ensnare him with the infernal contract.

 

The set, designed by Stage Manager Rhyll Bucknell is effective and simple with a central desk acting as both a hellish office and an alchemist's laboratory. A multimedia screen transports the audience through time and the addition of references to Pheles’ obsession with gaming and Star Wars was enjoyable.

 

To complete the hellish theme the demon drink is available from a reasonably priced bar along with teas and coffees to enjoy in the Faustian foyer. 

 

The CTG’s production of Mephisto and Pheles is a comical interpretation of the Faustian classic.