The Tragical History of Doctor Faustus
Written by Christopher Marlowe
Director: David Kaye
Assistant Director: Polina Datsko '27
Dramaturge: David Richman
Choreographer: Tristan McCartney '27
Intimacy Choreographer: Raina Ames
Scenic Designer: Carol Jo Fisher
Costume Designer: Victoria Carot
Lighting and Projection Designer: Brett Reis
Sound Designer: Reeve Lounsbury '26
Stage Manager: Harley Cassady '27
Assistant Stage Managers: Grace Boity, Ash Muise, Jovan Trembley
The play is approximately 100 minutes long and will be performed without an intermission.
Synopsis
John Faustus has recently earned his Doctor of Divinity at the University of Wittenberg. He ponders what field he might pursue. Rejecting them one by one, he finally concludes that the magical arts will be his best pathway toward honor and power.
He is visited by his friends Cornelius and Valdes, who graduated before him and have been enticing him to follow them into the practice of magic and the occult. Valdes gives Faustus a book of magic, and they head off to begin instructing him.
Three of Faustus’ younger student friends are concerned about him and his association with Cornelius and Valdes. They encounter Wagner, Faustus’ student and servant. They are more typical of the wealthy students at the University and look down on Wagner, who refuses to tell them where Faustus is.
Faustus returns from his dinner with Cornelius and Valdes, eager to try out his newly acquired skills in magic. He successfully manages to summon the demon Mephistopheles to his study. He orders Mephistopheles to return to hell and bring an offer to Lucifer, the prince of all devils: unlimited power for 24 years in exchange for his soul.
Meanwhile, Wagner has copied Valdes’ book of magic and meets with two laborers, Robin and Rafe. She entices them to become her servants, offering them the power of her magic. She unwittingly manages to summon two devils to convince them.
Faustus returns to his study and conjures Mephistopheles back, who confirms that Lucifer is willing to strike the deal. The contract, however, must be written in Faustus’ blood. With the terms set, Mephistopheles and Faustus set out.
Robin enters, having stolen the magic book from Wagner, which she had copied from Faustus’ laptop. Despite not really being able to read or understand the book, she and Rafe venture off, ready to make mischief.
Faustus returns and is now having grave second thoughts. Lucifer, seeing that he might lose Faustus’ soul if he repents, appears and entices him with a display of the seven deadly sins. Faustus can indulge in all seven if he so wishes, and this proves too tantalizing for him to refuse. Faustus then sets out with Mephistopheles through time and space to enjoy all the trappings of his magical powers. They go back in time to torment a renaissance Pope whom Faustus dislikes, and, in a later scene, to the royal court of an Empress whom he deigns to impress.
Meanwhile, Robin and Rafe have stolen a very expensive gold goblet from a wine seller. He has chased them down and is demanding payment. Robin uses the magic book and accidentally brings Mephistopheles all the way from Constantinople. Enraged, she casts spells, turning them into animals.
Faustus’ time is quickly running out. He returns to Wittenberg, where he is visited by a horse seller who had arranged to purchase a horse from Faustus. He ends up playing a nasty joke on the horse seller, who runs off in terror. This is how Faustus has been making use of his limitless magical powers. He reflects on how he has squandered this opportunity on pleasure and self-indulgence.
Faustus gives Wagner his most prized possession: the magic book that he received from Lucifer. Mephistopheles sees this and sets his sights on conquering Wagner’s soul next.
The end is coming quickly for Faustus. He is visited again by his younger classmates, who implore him to use his powers to conjure Helen of Troy. He acquiesces, and, to their wonder and delight, she appears. As they exit, time continues to count down. Wagner appears and tries to convince Faustus to repent and save himself. Despite his desire to do so, Faustus appears helpless to act. Wagner, despite the temptation, rejects magic and the allure to which Faustus had succumbed.
Faustus, despite his desperate attempts to stave off the inevitable, is taken by Lucifer and Beelzebub to hell as time finally runs out.
Director's Note
The story of Doctor Faustus is actually based on a real-life person, Johann Georg Faust, a German alchemist, astrologer, and magician (c. 1480–1540). He came to a rather gruesome end because of some sort of chemical explosion, which left his body horribly disfigured. People believed that it was the devil who had come to claim his soul and destroy his body. Within 50 years, his story was captured (and exaggerated) in print, and soon Kit Marlowe transformed the chapbook into a play, shortly after the first English translation appeared in 1592. Marlowe knew a good story when he encountered one.
It was also a story that, of course, resonated with Elizabethan audiences. The Reformation was in full swing, with both Catholics and Protestants certain that the devil was actively at work corrupting those whose religious views were seen as blasphemous by the other side. Marlowe was writing at a time when it would have been necessary to support the Church of England in the public sphere of the playhouse. Yet it is difficult to determine a clear theological or political point of view (except, perhaps, a disdain for the Pope). It is clear, however, that Faustus challenges many of the fundamental precepts of Christianity (the existence of hell, for example) and the authority of such doctrines, and he eventually pays the ultimate price. This tale would have terrified his audiences, as the devil and his desire to capture their souls represented a very clear and present danger.
As I contemplated how to approach this play for all of you sitting here in the Hennessy Theatre, I had to ask myself: What is the clear and present danger that is ever-present for us? What might keep us up at night, worrying and dreading that our very souls may be captured by a power we may be incapable of resisting or controlling?
Over the summer, I came upon an article by Bill Drexel in The Washington Post titled “Build an Angel, Not a Demigod.” Drexel puts forth the idea that “Many top artificial intelligence researchers at the world’s leading labs fear that the technology they are busy creating could result in an apocalypse. That the systems they are building will, in short order, surpass humanity in cognitive power, and that once they do, there is no obvious reason such godlike systems will continue to align with humanity’s best interests.”
As I contemplated this article, I could not help but think about individuals like Sam Altman, whose leadership of OpenAI, from my perspective, seems to have transitioned from that of one of the primary voices of caution concerning the rapid and possibly dangerous evolution of AI to that of a person whose power and wealth could reach astronomical heights by casting aside such doubts.
Is this the deal with the devil that we now live with in our lives?
--DK
Cast
Doctor John Faustus: James Barker '29
Good Angel, Second Scholar, The Sin of Pride, A Monk, Alexander’s Paramour: Katherine Caron '29
Chorus, Cornelius, Beelzebub, The Pope, Attendant to the Empress: Annika Davenport '29
Chorus, First Scholar, The Demon Belcher, Alexander the Great, Wine Vinter, The Sin of Wrath: Ian Hall '29
Chorus, Robin, The Sin of Lechery, Helen: Alexa Harris '30
Chorus, Rafe, The Sin of Sloth, A Monk, Horse Courser: Will Heater '28
Chorus, Valdes, The Demon Baliol, The Sin of Gluttony, A Monk, The Empress: Sophie Knickerbocker '26
Evil Angel, The Sin of Covetousness, The Friar, Attendant to the Empress: Claire O'Malley '27
Chorus, Third Scholar, Lucifer, the Cardinal, Knight in the Empress’ court: Michael Paragios '27
Wagner, The Sin of Envy: Mia Simpson '29
Mephistopheles: Kalin Tomahatsch '28
Production Staff & Crew
Director of Design & Theatre Technology
Szu-Feng Chen
Costume Shop Manager
Victoria Carot
Technical Director
Jason Myron Wright
Manager of Theater Operations
Alexander Velasco-Butler-Farlow
Marketing
Shanna Smith '27
Annika Davenport '29
Nina Campos '29
Master Electrician
Lauren Carrier '29
Lighting Board Operator
Matty Polino '27
Scenery Run Crew
Charlotte Blakemore '27
Charlotte Winger '30
Wardrobe Supervisor
Zoe Eldredge '27
Wardrobe Crew
Zoe Eldredge '27
Caeli Aucoin '27
Ajai Nudd-Homeyer '28
Addison Putnum '28
Acknowledgements
We want to recognize and deeply thank all of those who appreciate the importance of the arts by donating their time and money to the prosperity of our department. This season would not be possible without their generosity and community spirit.
Congratulations, 2025-2026 award recipients!
Scholarships
These students were chosen because of their ambition, hard work, positive attitude, grade point average, and desire to develop their talent in theatre and dance. Each award recipient would like to thank those who contributed to their education through donations to these scholarship funds.
Elizabeth Jones, Class of 1922, Scholarship: Ari Adair, Natalie Ashline, Polina Datsko, Grace Giannetti, Chase Johnson, Claire O'Malley, Michael Paragios, Sierra Quigley, Max Rosenzweig
Gary R. O'Neal Musical Theatre Scholarship: Aubree Miller, Michael Paragios, Sierra Quigley
Gilbert B. Davenport Theatre Scholarship: Emma Bouldry, Angela Falcetti, Shea O'Keefe, Claire O'Malley
Jean Mattox Memorial Scholarship in Dance: Alyssa Green
John C. Edwards Theatre Scholarship: Ari Adair, Zoe Eldredge, Alyssa Green, Aubree Miller, Sierra Quigley, Mia Simpson
Joseph D. Batcheller Memorial Scholarship: Ari Adair, Emma Bouldry, Aubree Miller, Shea O'Keefe, Claire O'Malley
Mask & Dagger Achievement & Scholarship Award: Ari Adair, Emma Boudry, Aubree Miller
Raymond J. Bernier Scenic Arts Scholarship: Ari Adair
Richard A. Morse Scholarship: Ari Adair, Natalie Ashline, Polina Datsko, Grace Giannetti, Shea O'Keefe, Claire O'Malley, Sierra Quigley, Mia Simpson
Theatre Education Endowment Award: Zoe Eldredge, Max Rosenzweig
Undergraduate Fellowship in the Arts: Annika Davenport, Lydia Richman
William G. Hennessy Scholarship: Polina Datsko, Claire O'Malley
Make a Gift that Lasts Forever
Scholarships & Endowments
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