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Review of Public Domain at the Vaudeville Theatre, London
May 28, 2021 Last updated:
May 28, 2021
Like most people, I have the requisite social media presence. Facebook, Twitter, Instagram, LinkedIn and (even though I’m definitely not in their target demographic) TikTok. In fact, if you google my name – and please tell me I’m not the only person to do this – it’s amazing how much comes up, in my case over 500,000 results. Is this a good or a bad thing? Should I be worried about all the information I am sharing with the internet and social media giants? And even if the answer to both of these is a resounding ‘yes’ will I be changing my behaviour anytime soon? After a visit to the Vaudeville Theatre for the press night of
In September 2006, all people with an internet connection and a valid email address aged 13 and above were able to sign up to a website that was going to change the world. A year later, Facebook was worth 15 billion dollars. Around the same time, another platform by the name YouTube started to become popular. From then on, we saw a steady rise of social media platforms that connected us and made us feel less alone.
Soon enough, normal people began to pioneer new forms of entertainment and the role of the online creator was born. Today, YouTubers and Instagram influencers hold the same power as film stars and celebrities, if not more.
Sun 16 May 2021 05.30 EDT
This light, witty, devilishly well delivered âplay with musicâ within a play with music is loosely based on the bestselling 1895 novel of the same title by Marie Corelli, itself loosely based around the myth of Faust. Here, thereâs a twist to the tale. Satan, who secretly longs for redemption, is damned more deeply every time he succeeds in converting a soul to evil. Hence his suffering when impoverished writer Geoffrey Tempest succumbs to the temptations of fame, fortune and a kiss from the lips of the woman he loves.
In this online stage version, set in the 1920s, Tempest has written a pretentious âplay with musicâ â emphatically not âmusical comedyâ â also loosely based on the Faust legend. It is being rehearsed at the splendid Mayfair home of Tempestâs new acquaintance, Prince Lucio Rimânez (AKA Satan), with the assistance of one of Lucioâs earlier fallen souls, Amiel, and a succession of identi