28 March - 4 April 2008, University Theatre, Arts Centre, Fritsch Fest., Christchurch
7-10 April 2008, Mary Hopewell Theatre, Dunedin Fringe Festival, Dunedin
23-31 May 2008, University Theatre, Arts Centre, Platform Arts Festival, Christchurch
1 night in Feb 2009, University Theatre, Arts Centre (Wellington tour launch)
11-14 February 2009, Gryphon Theatre, Wellington Fringe Festival, Wellington
18-21 February 2009, Centrepoint Theatre, Palmerston North
Nominee, BEST PRODUCTION DESIGN, 2008 Dunedin Fringe Festival
Winner, BEST THEATRE, 2008 Dunedin Fringe Festival
Nominee, The Montana Award, MOST ORIGINAL PRODUCTION, 2009 Chapman Tripp NZ Theatre Awards
Nominee, BEST THEATRE, 2009 Wellington Fringe Festival
Winner, BEST PRODUCTION DESIGN, 2009 Wellington Fringe Festival
Goethe's Faust is to Germany what Shakespeare's Hamlet is to the English-speaking world: the greatest play, by the greatest author, creating the greatest national role. Faust is the prototype German character, always striving, never satisfied, who gets seduced into a pact with the devil.

Gustav Gründgens is widely considered the best German actor of all time. He is most famous for playing the role of the devil (Mephistopheles) in productions of Faust that he himself directed. Though he played Mephistopheles, the real-life figure Gründgens had perhaps more in common with Faust, having himself made a pact with the Nazis. Hermann Göring, the designated successor of Hitler, appointed Gründgens as head of all the state-run theatres in the Reich.

In the early '60s, Gründgens decided to quit acting and instead "live real life" by travelling the world. His first trip was to Manila, Philippines, where he died suddenly in his hotel room. Suicide was suspected.

Faust Chroma begins in Manila, 1963, where Gründgens' fever hallucinations and drug-induced rants awaken scenes from both his theatrical productions and his life.

We see a pre-Nazi cabaret party where Gründgens performs with the daughter and son of author Thomas Mann: one became his wife, the other his lover. We see his early encounters with the Nazis, with Gründgens forced to defend his sexuality and later forced to remarry. We see fantasy scenes from the theatre, love scenes with the wife of Hermann Göring, and Hitler as an admiring audience member.

Theatre and life are mixed up throughout: Gründgens played roles in both. For Gründgens, it seems, a decision to quit acting was a decision to quit living as well.

Publicity

Segment on TV3's Nightline (above)
Tova O'Brien, TV3 Nightline

Werner Fritsch with Lynn Freeman
Arts on Sunday, RadioNZ

Free Theatre performs German plays in playwright's presence
Chronicle, Friday, 4 April 2008

​Hell to Play for Fringe theatre-goers
Nigel Benson, Otago Daily Times, Tuesday, 8 April 2008

A manifesto of daring theatre
Chris Moore, The Press, 21 May 2008

Reviews

​Visually the production is startling, making full use of high platforms to create multiple playing areas.... The ensemble performs with high energy, framing the central Grundgens characters, presented by Ryan Reynolds, with committed purpose and physical assurance. The pure voice of Emma Johnston in the role of Gretchen is electrifying.

Startling Productions with Two Faces
Lindsay Clark, Theatreview, 30 March 2008
What a triumph for the Theatre and Film Studies Department in a time of such uncertainty about their future.... I was blown away by the depth and range of this performance, I don't mean to sound like a smitten groupie but the entire cast of this play were fantastic.... sometimes haunting and bleak but also erotic and insightful.... I thought the entire play conveyed dream/memory in a masterful and engaging way.

What a triumph...
Berenike, CANTA, 2 April 2008
... the Free Theatre is intimately involved with Theatre and Film Studies at Canterbury: for over 25 years it has basically been the ongoing research project of creative director and academic, Peter Falkenberg, providing rigorous, intelligent, and modern alternatives to the usual Shakespeare-in-the-park-type theatrical offerings.... I'm encouraging people to go along because it stimulates and entertains; because it's sensual, relevant and rich; because it's damn good theatre.

In Praise of the Catalysts of Thought: The Free Theatre's Faust Chroma
Creon Upton, publicaddress.net, 7 April 2008
...words are merely one part of this sensual and dynamic production that skilfully interweaves elements of song, nonverbal sound, film and music with movement, gesture, mimicry and dance to create an exciting, pulsating theatrical event.... the vigorous sense of dynamic is refreshing, an approach sadly lacking in many contemporary productions that remain committed to staid and traditional forms of storytelling.... Reddington's piano intervenes in the action, nudging the actor's voices in the direction of the song, chant, and incantation.... His wonderfully evocative score, swinging between the extremes of the violent and the creepily subdued, is easily one of the highlights of this excellent production.... it clearly highlights the dangers to art in a world where utility threatens to triumph over creativity. It is precisely in times like these that we need relevant and intelligent theatre like Faust Chroma

​Free Theatre's Faust Chroma
Jared Wells, Presto, July 2008
What do Nazi Germany and New Zealand have in common? If you reckon the answer is nothing, you should go and see this play.... In one scene, Grundgens questions the importance of art, especially at times of economic and political unrest. He's talking about Nazi Germany - isn't he? He wonders if it would be easier to just entertain, rather than to provoke thought with a play. The actors return to the stage, dressed in bunny ears, and hop amongst the audience fossicking for "eggs". It's ridiculously funny, light relief, but you can't help being aware of why you're laughing.... if you want to leave questioning your own role, Faust Chroma is the play for you.

German play questions view of reality
Michelle Duff, Manawatu Standard, 19 Feb 2009
Christchurch is well served by this young and innovative theatre company which presents challenges to its audiences through the material and manner in which it is presented. We need these kinds of boundary-breaking groups to keep the local arts culture stimulated and forward-thinking.
Brendon Burns, Former Member of Parliament, Christchurch Central Electorate
Unquestionably, this is an exhileratingly vital and adventurous work of metatheatre, which explores intriguingly the interpenetrating of theatre and real (especially political) life. But did I get the point of much more than half of what was going on? Um - no.... It's a memorable and thought-provoking theatre-experience, and highly creditable to all involved in it.

Memorable and thought-provoking
John Ross, Theatreview, ​21 Feb 2009
Both The Intricate Art of Actually Caring and Faust Chroma are Fringe productions that come up trumps. They are wildly different in style and content but have something in common apart from their excellent performances and highly inventive, absorbing and exciting productions.

Two exciting shows work on the emotions
Laurie Atkinson, The Dominion Post, 16 Feb 2009

More Responses - a selection

One feels the creative atmosphere, which immediately arouses one’s desire to be a part of it. I had a chance to be present at some of the rehearsals and was each time taken anew by the enthusiasm for the text and interest in the plays. How director and actors worked together reminded me of my own collaboration with Johann Kresnik at the Berlin Volksbühne and Schauspielhaus Hamburg. After a long time at my writing desk or director’s chair, I have been inspired again to write specifically for director and actors.
​
Werner Fritsch, playwright, director, filmmaker
TO WHOM IT MAY CONCERN: My wife and I happened to be in Christchurch, when 'The Free Theatre' showed their performance of Werner Fritsch's plays. We went very sceptically. The plays are concerned with a not so pleasant part of German history. Nazism and especially the crooked figures of Hermann and Emmy Goering on the one hand and the complicated and very German connection between Gustav Grundgens, the myth of Faust on the other. And two of his extremely complex plays to be performed more or less one right after the other. We came back convinced and overwhelmed. Not only was there a congenial translation or rather transformation into English, great directing, but there was a quality of acting, a total dedication to the plays, an identification of the actors and actresses with a highly sophisticated web of content and language which left us speechless. In all respects the performances were on level with the ones we saw in Berlin some years ago, both of them at professional theatres. Absolutely first class and the aura which the play seeks to evoke was right there, 20,000 km's away from Berlin. Incredible work! If this sounds overexcited, we were that, and still are.
​
Henner Loeffler, Ph.D,
Rautenstrauch 80
50935 Koeln
Germany
[email protected]
I was so impressed with the production. I just loved it. Total commitment and fabulous ensemble work. Plenty for the eye, ear, intellect and emotion. Congratulations and many thanks in the meantime.
 
Judith Geare
Goethe-Institut
Thanks a lot for last night, the whole thing was absolutely great. It was amazing to see all the performances from the past morph into the present, only better! Sort of like the ultimate culmination.
​
Rudolf Boelee

Research

Liz Boldt used Faust Chroma as material for her PhD A Constant Magic: Explorations of Magic and polyphasic consciousness in recent Theatre and Film, University of Canterbury, 2017.

Marian McCurdy used Faust Chroma as material for her PhD research Acting and it's Refusal in Theatre and Film Canterbury University,  2014 later published by Intellect Books as Acting and it's Refusal: The Devil Makes Believe. 
I became familiar with their exquisite work during my fellowship stay at the Canterbury University in New Zealand. In particular their FAUST CHROMA made a lasting impact on me since the entire team has achieved in this production a rare level of expressive poetry on stage. In my opinion their magnificent work should be seen worldwide - such an innovative and, at the same time, professional theatrical work is a rare and remarkable feat.
Lech Majewski, Director/Producer. www.lechmajewski.com

Free Theatre 25 Years and Counting...

Free Theatre celebrated 25 years on the opening night of it's second season of Faust Choma on Friday 23rd May, 2008, in the Arts Centre. This was a celebration of the company's long history with supporters, and former collaborators from around the country and overseas  invited. See here for more.
'Arts on Sunday' (RadioNZ) interview re '25th anniversary', 2008
George Parker and Peter Falkenberg interviewed by Lynn Freeman, RNZ Arts on Sunday. 2:25 pm on 18 May 2008 
For over a quarter of a century Free Theatre has refined cultural horizons and shaped Christchurch's perceptions of contemporary theatre.
​
Chris Moore, Arts Editor, The Press
Faust Chroma has to be one of the best pieces of theatre I have seen in a longtime.... There is only one thing left to say, really, and that is: if you ever get the chance to see Free Theatre, grab it without hesitation. They produce theatre the way it should be and you will not be disappointed.

​​Faust Chroma
Neal Barber, The Critic, 17 April 2008
My personal highlight for Fringe would definitely be Faust Chroma. The cast and crew's dedication and skill in creating a production that encapsulated a dream-world was amazing.

And it's goodnight from Fringe
Neal Barber, Critic, 17 April 2008
A particular skill of this company appears to be creating visually stunning moments which are full of impact as they assault the eye and ear.... I was extremely thankful to the Free Theatre for bringing this work up from Christchurch. It is an unashamedly theatrical work that interrogates theatre relentlessly. 

Faust Chroma
Helen Sims, The Lumiere Reader, review of Gryphon Theatre season, undated
An extended surrealist poem or avant-garde multimedia concerto, Faust Chroma is an intense edgy experimental work that quite defies convention, easy explanation or cursory comprehension.   Mephistopheles as puppetmaster, brings to life an outstanding ensemble cast who evocatively and fluently depict life as a bizarre Brechtian cabaret that celebrates ambiguity. Theatre morphs into reality, dreams spill into the waking world, transparency becomes opaqueness; male merges with female, love with hate, good with evil, then with now. Parts of the performance come across as an over-wrought orgy of infulgence, but its convolutions were conveyed with astounding virtuosity and commitment from the actors. It was impossible not to be impressed with Emma Johnston as Gretchen - Grundgens' second wife, who sings crystal clear arias while hung upside down, and George Parker's waxworks-like Goering.  Resonating at visual, sensual and subliminal levels, this provocative, multi-layered, highly theatrical dichotomy was as compelling as it was confounding.

​Life is a cabaret, old chum!
Richard Mays, publication unknown (Guardian or Tribune?), review of Centerpoint season, undated
...a shot in the arm for alternative theatre: a rich feast for the senses and the intellect that lingers well after the final chromatic scale fades to silence.

​A rich feast for the intellect and senses
John Smythe, Theatreview, 13 Feb 2009
Faust Chroma is one of those intensely disturbing angst-ridden plays that you can struggle with while watching it on stage but it embeds itself in your memory and is deeply rewarding.... As Gründgens, Ryan Reynolds is outstanding, playing it with a searing intensity that is at times painful to watch. Emma Johnston is astonishing as the equally tormented Gretchen, forced to give up her Jewish lover to marry Gründgens.... The whole cast is mind-blowing in a production that pushes them all emotionally and physically. Peter Falkenberg's direction is gutsy and quite unlike anything I've seen before, fitting the text like a glove. This is a touring production from Christchurch's Free Theatre and we can only hope to see more of them up here.

MIND-BLOWING
Lynn Freeman, Theatreview (originally published in Capital Times), 18 Feb 2009
When you are in the company of Free Theatre performers, you experience the cohesion, exploration and manifestation of dedicated ensemble work. Free Theatre's interpretation of this classic piece is richly textured with the language of theatre in spades. Exquisitely expressive and physical Faust Chroma is masterly rendered to comment on the perennial issue of excess power without conscience. Deservedly the winners of the Best Theatre award at the recent Dunedin Fringe Festival, along with Nominee for Best Production Design.

​Karin Reid
Festival Coordinator & Artist Liaison, Dunedin Fringe Festival
Hi Free Theatre,

Just a wee email to express how much I enjoyed Faust Chroma last Friday night! I found it to be intriguing, bold, absorbing... and quite fantastic! I thought the acting was amazing across the board, the stage design was great, and the music/atmospheric stuff was innovative and excellent. I really can't say enough good things about it!

Once again, the whole thing was AWESOME, quite otherworldly, freakin' incredible. I'll be sure to recommend it to everyone I know, and look forward to your next production!
 
Regards,
 
Matt Maguire
Canta Magazine (Editor)