Faust, National Theatre of Albania

Review by Saranda Mehmedi

Reflections of Light, Shadows of Meaning

Even though it began with a mirror, Italian director Davide Iodice’s production of Faust suffered from an unclear vision. I mean, every classic work is a mirror indicating reflection and self-examination and it is challenging to stage such a masterpiece through this metaphor. Especially without coherence. 

This adaptation, drawing from Goethe, Spies, and Marlowe, written by Fabio Pissano, opened with closed curtains. With a director, a poet, and some actors discussing the purpose of theatre while holding a long rectangular mirror meant to “connect” with the audience. However, this postmodern touch came off as too much and even distracting, with the strong lights reflecting off and leaving the audience temporarily blinded rather than engaged. 

This opening scene got forgotten as the curtains rose. The only moment the mirror's significance became clear was in the way Mephistopheles constantly combed their hair - a precise detail which got lost in the visual spectacle. However, this subtle connection still doesn’t quite align with the postmodernist framing of the opening.

The square stage and the use of a door on each of the four invisible walls of Faust’s room was a creative choice. It not only facilitated seamless scene changes but also enhanced the play’s postmodern approach, suggesting multiple points of views, at least formally. This idea was successfully realized in an aesthetically striking and thought-provoking way. The metaphor of the door in the 'black wall' stood out as a key moment, authentically representing the temptation of what lies beyond knowledge. This directorial choice became a central image in the production.

Faust, played by Hervin Çuli, enters as a professor—an overly pathetic figure, lacking the seriousness that defines Goethe's character. This attempt to modernize Faust failed to offer any contemporary insight, and it was unclear if this character symbolized anything relevant today. (A version casting Faust as a modern programmer, for example, might have felt more relevant). 

Çuli’s portrayal of Faust lacked both presence and depth. Isolated in his bedroom avoiding his students due to his unstable mental and moral state, he presented an unrealistic image of a modern professor nowadays or even an unrealistic representation of the position of knowledge in our era. 

Covering the bedroom floor with books was a creative touch symbolizing the depth of knowledge that characterizes Faust; yet, despite being visually engaging, it added a medieval dimension that wasn’t consistent throughout the play.  

Though Çuli’s constant pacing, complaints, and cries seemed intended to emphasize Faust's dependence on Mephistopheles and his vulnerability to manipulation, he did not convey this dynamic with emotional depth.
Placing Mephistopheles in Faust’s bedroom from the very first scene, visible only to Faust, was a smart directorial choice. When Wagner (played by Gert Ferra) enters and fails to notice Mephistopheles, it subtly reinforces the idea that evil resides within us. This idea was made even clearer when, in response to Faust’s demand to leave, Mephistopheles replies, “How can I leave if I never entered?” In this sense, the idea of choosing the bedroom as the main location of the play invited the audience into the intimate world of the character and gave the impression that Faust’s drama is happening inside his head.

However, the relationship between Faust and Mephistopheles felt underdeveloped, with an unclear balance of power between them. Mephistopheles, in contrast, took a distinctly sarcastic approach, repeatedly addressing Faust as “Professor” with a biting, ironic tone  that came across more as bullying than temptation, missing the subtlety of manipulation.

Mephistopheles, portrayed by Ema Andrea in a white suit with a painted white face and red lips, presented a creative reversal of the usual color symbolism of good and evil (with Faust dressed in black clothes). There was something Joker-like in this portrayal of the character, which weakened the association with Mephistopheles as the devilish manipulator. Ema Andrea’s exaggerated, mocking energy was striking, even if at times it distracted from the story’s essence. Nevertheless, Andrea's performance delivered emotion due to her dedication to the role. She was one of the most engaging elements in the production. 

The stage design, by Iodice and Laedia Hajdari, was also striking, with details that heightened the eerie atmosphere. The costumes, trees, lighting, and Ema Andrea’s enchanting ballet performance in the background, wearing a bird’s mask, all contributed to the haunting visual landscape. 

However, other choices, such as casting God (played by Indrid Çobani) as an Albanian street cleaner with an Albanian flag scarf and a cap, singing the Albanian song “A kanë ujë ato burime” at Mephistopheles’ party didn’t connect thematically and was tonally confusing.

The theme of "free will" emerged as an essential element in the play's conclusion. Present throughout the play, through the aviary in Faust’s room, a stage object with which Mephistopheles engaged during his monologues, reinforcing his superiority and his role as the true manipulator of the play. Also, Mephistopheles' elegant performance in a white bird-like costume with slow movements beautifully captured the essence of unconscious control. 

In the end Mephistopheles tells Faust that everything has hinged on his choices—the choices he himself has made. This claim hints at Mephistopheles' own development highlighted by Ema Andrea's expressive dance movements as she leaves his bedroom  “through and beyond the door of knowledge" with a triumphant and yet tempting presence. 

The production drew on postmodern techniques common in contemporary European theatre to reinterpret a classic text. However, the fragmented modern elements and the conflicting ideas disintegrated throughout the performance and failed to evoke the desired catharsis. While often visually captivating, Iodice’s Faust focused more on looking impressive than on telling a meaningful story, leading to a thematically shallow experience.

National Theatre of Albania and Sardegna Teatro in association with the Istituto Italiano di Cultura in Tirana
Written by: Fabio Pisano (based on texts by Goethe, Spies, and Marlowe) Directed by: Davide Iodice Actors: Hervin Çuli, Ema Andrea, Gert Ferra, Besmir Bitraku, Indrit Çobani, Lulzim Zeqja, Genti Deçka, Krist Lleshi, Niada Saliasi, Ina Gjonçi Dramaturg: Fabio Pisano Light Designer: Loïc François Hamelin Music: Lino Cannavacciuolo Set designers: Davide Iodice & Laedia Hajdari Costume designer: laedia Hajdari

The performance was part of the program of the Kosovo/Albania Theatre Showcase, which took place in Tirana, the end of October 2024.