The Rolling Stones might be the first kings of rock and roll, but after seeing Paul Van Dyck’s adaptation of epic poem Paradise Lost, there’s no doubt that Satan is the original rock star.
Set aptly to the Stones’ “Sympathy for the Devil,” Van Dyck’s one-man show follows Lucifer’s fall from heaven, reign over Hell, and temptation of Adam and Eve. Van Dyck portrays seven characters, five of which are puppets and CGI creations, but it’s as Lucifer that he excels, playing the ruler of Hell with an aggressive, almost manic energy.
Wielding an old microphone like a weapon, Van Dyck recites a shortened, edited version of John Milton’s 1667 epic poem as computer-generated flames flicker in the small, black box-style theatre.
The original 12-book poem opens with Satan and his demons recently cast into Hell after rebelling against God in Heaven. God predicts man’s free will allowing Satan to tempt them into sin as Lucifer rallies his troops to invade Earth. Lucifer visits the Garden of Eden and, through dreams and trickery, appears as a snake and convinces Eve to eat fruit from the Tree of Knowledge, the only one forbidden by God. The angel Raphael appears and recounts the story of the war in Heaven and Lucifer’s fall to Adam, who chooses to eat the fruit so he can stay with Eve.
This condensed adaptation focuses on Adam and Eve’s disobedience of God and subsequent fall, with the deity in question only making a momentary appearance as a booming voice. Most of the play is spent in the Garden of Eden as Lucifer manipulates Adam and Eve into Falling. Particularly moving are a rapid series of violent, horrific clips projected as Raphael shows Adam the future he’s created by choosing to disobey God.
The soundtrack of vintage Rolling Stone songs seethes and rattles, serving as punctuation for Lucifer’s rallying cry to his demonic troops. With a swagger to equal Mick Jagger’s, Van Dyck’s Lucifer decides that if he can’t get back into heaven, he’ll rule over earth and he’ll start with Adam and Eve.
Although Adam and Eve are puppets here, literally and figuratively, there’s no Kermit or Elmo to be found. They are disconcertingly life-like in movement, like roughly-hewn primitive humans. Eve, in particular, is portrayed as a wayward childlike figure that, to the tune of “Paint in Black,” eats fruit from the tree of knowledge and convinces Adam to do the same.
Two enormous white sheets hang from the ceiling, the only set dressing aside from an alter-like table. They serve as both projection screens and, when the verse requires it, angelic wings or a serpent’s body. Lucifer’s generals, computer generated apparitions that are projected onto screens, are voiced through a vocal distorter and come out layered and eerie sounding.
On opening night, Van Dyck was met with a noisy encore from the small audience, made up of equal parts older, scholarly types and younger, university age students. He is the artistic and executive director of Rabbit in a Hat Productions, which produced the show.
Van Dyck’s adaptation is shorter and more accessible; a Paradise Lost for those unfamiliar with Milton and one that, at only an hour in length, can hold the attention of today’s easily distracted younger generation.
Paradise Lost runs from April 2-12 at Thé
