We caught up with the writer of Lemonhead's upcoming production of Johann Faustus. Noel gave us a very good picture of the whole process.

INT. Good Morning. Thanks for meeting with us.

NOEL: My pleasure.

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

NOEL: his was quite strange actually. Round about November last, I got the writing bug again and wanted to adapt something for the stage. After much pondering I settled of Goethe's Faust, got hold of the book and read it there and then. But as far as the actual writing was concerned, I kept procrastinating. Then, some three months later, Bryan calls me and asks me whether I would be interested in adapting Marlowe's Faustus for the stage. I said yes, hehe.

INT: Did Bryan suggest any particular points to be included in the adaptation?

NOEL: I was more into Goethe's interpretation whereas Bryan was more into Marlowe's and I think that the latter is more to Bryan's taste as the characters are given greater importance vis-a-vis the concept. Therefore, after presenting my first draft, he told me to place more emphasis on the characters and their relationships, how they develop, the way they interact. And he also suggested a vaster use of the Seven Deadly Sins.

INT: So we're set to see a similar version of marlowe's, or is it a very free adaptation?

NOEL: Well, no, not really. The basic plot is there, ie Faustus giving up gis soul to Mephistopheles. However, whilst researching the tale I got to know that neither Marlowe nor Goethe actually came up with the story. It was a sort of legend / fairy tale. SO I thought I might as well write my own version of it.

INT: How long did it take you to write the first draft?

NOEL: It took me about two months to have a hardcopy. I spend lots and lots of time thinking and mulling things over, and very little time to actually writing it down. Then I would like to forget all about it for a few weeks and look at the whole thing with fresh eyes. It's incredible the amount of stupid things I find then.

INT: Earier you mentioned that Bryan asked you to go back to the writing table after the first draft. Was there a big difference between the first and the second draft?

NOEL: In quantity rather than in quality. As I said, I was more intrigued by the whole concept of the story rather than the human aspect and the latter was lacking in the first draft. I beefed up the whole thing by an extra fifty pages or so for the second draft.

INT: How does it feel, as a writer, to go back and re-write?

NOEL: It sucks but it is necessary. As I said, the amount of ludicrous stuff that makes its way into impromptu writing is incredible. Writing is a skill after all, so you need to work hard and practice constantly, and not be scared to admit to your own foolish mistakes. Inspiration on its own gets you nowhere.

INT: How did Bryan react to the second draft? Did he ask for more re-writes?

NOEL: He liked the second draft and bar a couple of details, it was a wrap. However I haven't seen it since and I know that I will be changing some things, most probably dialogue. But nothing drastic for sure.

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

NOEL: My name on the title page ;-)

INT: Haha, apart from that?

NOEL: I believe that Faustus' yearning for something bigger and better, to be at par with the Divine, is something that deep down, touches the heart of most. Whether it's from a religious point of view or a purely materialistic aspect, this is an issue that most can identify with. I also love the quirkiness of some characters which gives a different tinge to seemingly run-of-the-mill episodes. Also, but this is something that I would know once the play is running, I hope to have addressed some topics that are archetypal in nature, that most people might take for granted but which sometimes come back to slap us in the face.

INT: Is it written as a period piece, or does it give freedom to the producer and director to express differently?

NOEL: I like to keep my scripts as bare as possible. Unless it is something vital for the development of the scene, I very rarely include stage directions. I did the same with Johann Faustus. It can be staged in Medieval times, during the Napoleonic Wars or in 2099. Or a mixture of the three.

INT: That's interesting. I'm sure you discussed certain scenarios with Bryan Muscat. Do you think he'll go for the latter?

NOEL: Of course I have an idea of the play I would like to see on stage, and spoke to Bryan about it. He liked my suggestion but as far as I know, he hasn't as yet made up his mind. Like I said, it can be staged in a dozen different ways and if it's not the one I imagined, I'd still be curious and excited to see how it would turn out.

INT: The audition date is set for the end of this month. Will you be involved in the selection process? If yes, how intrigued are you about this?

NOEL: I shall be doing the auditions with Bryan. Auditions always intrigue me as you never really know what to expect. People are unpredictable. Auditions can be surprising, funny, revealing, boring and exciting all at the same time.

INT: Are you taking part?

NOEL: I think so. Or rather, I would love to. But this depends on other factors. We'll see.

INT: How long have you been a lemonheadder?

NOEL: Since 2001. My first play was Twelve Angry Men, and ever since, I have been involved in all of Lemonhead's plays, in one way or another. I'm like the bad penny hehe.

INT: This is the fourth script you wrote for Lemonhead; Il-Pupa, Wahedna, Frankenstein and Johann Faustus. Do you have a favourite?

NOEL: My favourite would be the next one in line. I love writing and all of them gave me something new in terms of experience and skill, which I try to include in my following writing venture.

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?

NOEL: Well, I already said that the basic premise of a man selling his soul to the devil is there. For now it's enough. However, there will be other things to look forward to in the coming months leading to the play. And that deserves a smiley :-)

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