While nominally based on Mikhail Bulgakov’s The Master and Margarita, Daniel Schlusser’s M+M does not attempt to represent the text: a perhaps wise decision given that the novel is arguably – more than 500 theatrical versions later – fundamentally unstageable.
Unwieldy and expansive in both size and scope, Master and Margarita weaves three narratives wildly disparate in theme and tone: a hilarious grotesque in which the Devil with his entourage (including the vodka-swilling cat Behemoth) wreaks havoc on the 1930s Moscow; the trial and crucifixion of Jesus, seen from the perspective of Pontius Pilate, troubled both by his conscience and a raging headache; and the story of Margarita, who makes a pact with the Devil to save her lover, the imprisoned author of a novel about Christ in the anti-religious Soviet Union.
It is a perplexing work and has been read as an hommage to Goethe’s Faust, a denunciation of the human condition under Communism, a Menippean satire on Moscow’s literary circles, a Tolstoyan exploration of Christian ethics, an absurdist grotesque in the vein of Gogol and Kharms, and an occult fantasy, richly informed by Freemason and medieval symbology.
Any familiarity with the novel, however, may be a hindrance more than an aid: M+M uses Bulgakov’s life and work merely as the starting point for an original theatrical exploration. Those searching for familiar characters and plot points may fail to grasp the peculiar beauty of this production.
This review was published in Guardian Australia on 14 October 2013. Read the whole review here.