Content warnings: coarse/offensive language, horror, mature and controversial themes, morbid humor, references and depictions of sexual assault, religious themes, themes of trauma, violence, haze/smoke effects, and loud noises.
Polymorphic Productions presents Clive Barker’s marathon play The History of the Devil at Metro Arts, directed by James Kable. After thousands of years in exile, The Devil wants to return to Heaven, and a court is gathered to hear his appeal.
Clive Barker is an English writer, best known for his works in the horror and fantasy genres, and this inclination is evident in the length and narrative progression of the play. Originally performed by Barker’s The Dog Company in 1980, The History of the Devil is a two-and-a-half-hour depiction of the trial of The Devil, interspersed with lengthy flashbacks to illustrate his alleged crimes throughout the centuries as they are described by witnesses and lawyers. Director James Kable wrote in his programme note that he had first directed The History of the Devil over 20 years ago, and was “taken by its boldness, audacity, and sheer theatricality.”
The History of the Devil began with a cataclysm, and a knock at the door. Mild-mannered Englishman Sam Kyle (Thomas Eastwood), still in his bathrobe, was whisked away to Kenya to represent The Devil (Connor Scoble) in his appeal to return from exile. As The Devil’s Advocate, Kyle was opposed by resolute, single-minded Chief Prosecutor Catherine Lamb (Lisa Hickey) and her more credulous attorney offsider Jane Beck (Tiana Varcoe), and this unconventional court was presided over by an often-exasperated Judge Popper (Alexis Beebe). The play had an astonishing density of characters, and all of the actors except Scoble played multiple roles throughout. Zara Chandler and Cullyn Beckton also played a number of minor onstage roles, in addition to being Stage Manager and Assistant Stage Manager respectively.
From his initial fall from grace all the way through to the twentieth century, evidence was presented of The Devil’s supposed wrongdoing and malice. Witnesses for the prosecution included a hysterical Dante Aligheri (Ben Postle), the architect of Hell (Eastwood) and his mistresses (Hickey and Sherri Smith), and The Devil’s wife Lilith (Harman), among others. Through their stories, the audience encountered a number of historical and mythical human figures, from Satanists imprisoned during the witch trials to English prize-fighter Daniel Mendoza and Jesus’ temptation in the desert. The prosecution attempted to call other, divine, witnesses like the Archangel Michael, but securing these was more difficult than they expected.
At the heart of The History of the Devil is the question of free will – how much of the tragedy and debauchery that the witnesses described was the work of The Devil, and how much was the dark side of human nature? Did Satan deserve sympathy for the trials and betrayals he had suffered throughout his exile? If God and Heaven abandon us, what do we have left except our humanity?
The play offhandedly explained the setting in Kenya as being close to the site of the Garden of Eden, and the script did not paint a flattering or meaningful picture of the location or its residents. As core themes, violence and temptation are woven into many aspects of the play and the setting of the trial in a remote landscape surrounded the characters with natural beauty and threats, such as hungry crocodiles lurking in the shadows, in equal measure.
The pacing, especially of the vignette testimonies, varied wildly and veered briefly into sci-fi territory after previously sticking to a biblical and allegorical style of storytelling. There were also a number of short philosophical interludes, spoken directly to the audience by unclear or nameless characters. As the play rolled towards its conclusion, there were still revelations to be made in the courtroom and a turn of events that had built slowly in the background but still surprised me.
A cast of ten (10) brought The History of the Devil to the stage at Metro Arts’ New Benner Theatre with impressive verve, physicality, and stamina. Connor Scoble was compelling and charismatic as The Devil, bringing a new facet to the character as each testimony unfolded and building a complex portrait of Lucifer as a fallen angel, cosmic troublemaker, and scapegoat for humanity. There was a strong element of camp humour, played particularly well by Scoble and Postle, and their scene together as The Devil and Jesus Christ remained a standout in my memory.
Lighting design by Nathaniel Knight was dynamic and exciting, with an especially memorable scene featuring fireworks. Sound design by Ewan Robertson underscored the action and emotion of the scenes in the background, although the start and end points of the looping track in court could clearly be heard.
Stage design was minimal, with three tables facing the audience in a semicircular arrangement to represent the court and the audience serving, spatially, as the invisible jury. The actors frequently changed costumes and wigs between their many characters, and each new character was clearly distinguished in this way, ensuring no confusion despite the doubling.
The History of the Devil is an impressive undertaking, rendering Barker’s colossal, labyrinthine script with intensity and vigour. Minimalist staging held the focus on the actors’ passionate, devoted performances, which remained engaging throughout the lengthy run time.
The History of the Devil will be performed at Metro Arts from 24 November – 16 December 2023.
For ticketing and further information, visit the Metro Arts website
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