We caught up with the director and producer of Lemonhead's upcoming production of Johann Faustus. Bryan gave us a very good insight of what's happened so far.

INT. Good Afternoon. Thanks for meeting with us.

BRYAN: My pleasure.

INT: How did the idea to produce Faustus come about?

BRYAN: I was discussing a few points with my old friend Mark Warner, and i told him I should be planning Lemonhead's next production, but I was so burnt out from the AMEN project, that i was slow on ideas. A few days later he sent me an sms, suggesting Faustus. I read Goethe's and Marlowe's scripts. I preferred Marlowe's. However I never got down to start writing the script. When it was obvious that I'm never starting the writing process I called Noel.

INT: Did Noel find it strange that you asked him to write Johann Faustus ?

BRYAN: What Noel, and I found strange is the fact that he was planning to write something, and Faustus was top on his list. So it was a nice coincidence.

INT: Did you suggest any particular points to be included in the adaptation, or did you leave it entirely up to Noel.

BRYAN: We met and discussed a few points. I did ask Noel to concentrate more on the characters importance vis-a-vis the concept and how they develop and interact. I also suggested he uses the Seven Deadly Sins and leave it timeless. However I did leave a lot of room for free interpretation in there.

INT: When you received the first draft, Noel told us you wanted more. What was that about?

BRYAN: Yes. There were a lot of elements missing, character wise, the deadly sins needed more power. It needed beefing up. It took Noel about two months to come up with the first dr aft.. and some more weeks to come up with the second draft.

INT: How do you go about asking the writer to re-write?

BRYAN: There's no easy way, so you go with the only way. Tell him what you don;t like, what you think should be changed and move on with it. As a writer myself, it's not the first time I had to re-write, and re-write and so on. It's not the nicest feeling in the world, but, hey, it's needed, so it's done.

INT: Are you happy with the script now are have you asked for more re-writes?

BRYAN: I like it bar a couple of details. However now, it'll be changed during the course of the production any way... the actors adopting their dialogues, during direction. It becomes alive, so as anything alive, it'll change some more.

INT: What do you think are the strong points in the script?

BRYAN: It's the same story as in the beginning of creation. Lucifer wanting to become God, Adam wanting to become like the God s... Faustus' craving for being a God, is something that many can identify with.

INT: You mentioned before that the piece is timeless. What do you mean by that?

BRYAN: Well, we'll be going through different times according to certain scenes or certain characters. We will have medieval and modern times.

INT: The audition date was held at the end of last month. How did it go?

BRYAN: Audition nights are always interesting. They're always full of surprises. I think that on the whole it was a great Audition. We are currently in the process of choosing our cast. Some where easy to chose, others are more difficult so discussions are still on going.

INT: Are you taking part?

BRYAN: Yes, I'm not sure which part I'll be doing. It depends on the result of the auditions.

INT: This is the fourteenth Lemonhead production in 10 years. ANy favorites?

BRYAN: It's a very difficult question. Animal Farm was our baby, 10 years ago. I enjoyed doing Gurija Rrabjata, it was a real challenge. Van Gogh was very particular and experimental. Macbeth, maybe, edges it past the rest.

INT: Would you like to give anything out from Johann Faustus, or do you prefer the audience to come and experience everything during the production itself?

BRYAN: It's a great story, we have a very good script and I'm sure the cast will be great as well. That's all I can say for now.

INT: Well, thanks for your time and good luck with everything.