Words: Clíona McCann
Written and performed by Lydia Brinkmann and Sarah Norcross, this one-woman horror-musical follows Faustine, a university student who makes a deal with the devil for the perfect dissertation.
Each night Brinkmann and Norcross alternate in the role of Faustine. I had the pleasure of seeing Brinkmann, who was excellent. I was blown away by her sheer commitment to the role, hitting stratospheric high notes while covering herself in blood, messily eating tomatoes and writhing on the floor in possession.
The most interesting part of the show is the exploration of pressure in all its different forms. Faustine’s deal with the devil works well as a manifestation of academic, familial, and self-inflicted pressure. Although her actions are outright murderous, Faustine highlights the self-destructive attitude academia can foster, especially within those coming from less privileged backgrounds. I found myself wishing the plot was a little more focused, but I mainly put this down to the short run time of an hour.
Despite Brinkmann’s powerful vocals, the backing tracks for each song felt very rough around the edges. For any fellow musicians, I was distracted by the sound of raw MIDI instruments. The songs are obviously well-composed; I just found this difficult to get past when most of the show’s important content is sung. Although the songs may require a little more polish production-wise, the writing is witty and sharp for the most part.
If you enjoy tales of raw female rage, Sondheim musicals, or general demonic debauchery, this may be the show for you. Faustine is running at The Space from 1-9 August, so catch it before it’s gone!
You can get tickets Here!
Qulture Magazine 
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