How many of us have read Milton’s seventeenth century epic Paradise Lost, all twelve books of it—that’s okay then: Ben Duke, its creative writer, is on safe neutral ground, as his reincarnation rattles through it in seventy-five minutes. Not really… notice the phrase in parentheses. Milton is merely a jumping off point for Duke’s signature style of dry wit, physical and poor theatre. He has put his English literature, contemporary dance and acting degrees to good effect.
It is the production’s tenth anniversary, and it is back where it started—at BAC in the Council Chamber. I saw it nine years ago (when it made a bigger impact on me) with Ben Duke, in the solitary stand-up role, playing God, Lucifer, Adam and an irritated dad—well, God’s a father. Sharif Afifi takes on the role now co-directed by Ben Duke (in the audience watching his creation) and Lucy Morrison.
Interesting seeing it after such a time gap and with a different body. It seems much slighter now, but then much has flowed under the bridge since then, globally and personally, which affects one’s response. I remember Duke as an impish figure, relishing his naughtiness. Afifi is somehow more naïve, a lovely man trying to please.
Anyway, God climbs a rope and wonders what to do with all this empty space. “So he puts on some music”. He is telling his own story and the stories that came out of that. Out of Milton’s almighty biblical rehash.
The soundscape is choice and relevant—not all of us will pick up all of it: Strauss’s Also Sprach Zarathustra (2001 A Space Odyssey to most of us), Debussy’s Clair de Lune, Handel’s Zadok the Priest, Nick Cave, Janis Joplin and more. I wish there were a music list. There is a through-line of thought in it.
Anyway, God creates Heaven and happy angels and Lucifer is his favourite. He meets him in a gay club (Heaven?) and gets his number (nice double entendre)—he plays both. God goes back to his family (Duke has domesticated the meta-story) and Lucifer is livid. Hail of boulders (chickpeas—I said it was poor theatre), fight between good and evil (he is both armies). Handel’s “God save the King”… Battle goes on for far too long, draining some of its sharp wit.
I think of the quote in book one: “Better to reign in Hell than serve in Heaven”, and of the present day autocrats. Especially when we get past the creation of Adam and Eve, the snake (a sock puppet), Cain and Abel, plagues, pestilence, worshipping the golden calf and so on—you get the drift. Who does that remind you of?
There’s dad dancing, a fig leaf on Velcro, vulnerability of the flesh, man needs woman otherwise he will only play with himself… There’s panic over the sickness of his child, the death of his child—now that was not a good move, letting them crucify his son. And “The Battle Hymn of the Republic”—patriotic, evangelical... its truth marching on…
A parody, a satire, a trifling treatment of a profound subject—but is it? Humour (how do atheists, agnostics and the religious of many persuasions react to it—it has been well received on its UK tour) makes the medicine go down—this is better than SparkNotes. I jest, of course.