Witt And Wisdom

The premise of David Davalos's play Wittenberg sounds a little bit like one of those, “Which person, living or dead, would you most like to invite to dinner?” icebreaker-type questions. In Wittenberg, via the miracle of theatre, three characters – Prince Hamlet of Denmark, Dr John Faustus and Martin Luther – converge in the same space and time to discuss life, free will and religion.

It sounds serious, but Ezra Bix, who will be playing the role of Faustus for Red Stitch's production of Wittenberg, insists that there's plenty of levity in the proceedings. “It's a black comedy,” he explains. “It's a mix between Tom Stoppard, Samuel Beckett and Monty Python.”

Historical accuracy, obviously, is not the name of the game in Wittenberg. Hamlet is the fictional protagonist of one of Shakespeare's most famous tragedies; Faustus is the legendary philosopher who sold his soul to the devil in exchange for knowledge and power; and the very real Martin Luther, a monk, became an icon of the Protestant Reformation. Wittenberg operates on the premise that Faustus and Luther are both university professors, and Hamlet is the star student who they both seek to influence. “It's kind of like a comedy of ideas,” says Bix. “Faustus, Luther and Hamlet have all ended up in the same time and place. It's just sort of the fun coming from that.”

Indeed, sticklers for period accuracy would be shocked at how little regard this production has for 16th-century authenticity. “We're completely irreverent with it!” laughs Bix when asked about the production's approach to period coherence. “Our director, Jane Montogmery Griffiths, she said, 'I don't want to have codpieces and ruffs and everything.'” Instead, the costuming tends to be a more subtle reflection of each character: Hamlet, for example, dresses in the fashions of the 1920s, as a nod to the rising power of youth and change in that decadent era. As for Bix? “I'm kind of channeling Christopher Hitchens, actually. God rest his tobacco-ridden soul,” he laughs. “The director wanted to make the point: it's a modern piece, it's not a period piece.”

Bix has an extensive background in performance, having worked in stage, cabaret, screen and a hefty dose of stand-up comedy. However, he most enjoys comedic work when part of a stage ensemble. “I think it's much more fun when you're doing comedy as part of a team,” he explains. “Stand-up is always a pretty lonely business. If you're in a play, you've got the magic of theatre to help you out.”

He also thinks audiences tend to enjoy the light and shade of a night out at the theatre to the clear-cut expectations of the stand-up experience. “I think audiences enjoy plays that are not total, full-on comedy,” he says boldly. “[A play] takes the pressure off them. The don't have to laugh at every line.” It's a valid point – one of Bix's favourite things about Wittenberg is that, as well as plenty of laughs, there are some quieter, more serious moments, and plenty of food for thought. “In theatre, there's breathing space. I always think it works well.”

Bix is hopeful that audiences will respond well to Wittenberg, which combines philosophical argument with comedy (he laughs at the suggestion that it could pass for an episode of Q&A), but until the curtain parts, he's focussing on making sure his tango technique is perfect. Yes, that's right – next to these deep, scholarly ideas, there's going to be a tango.

WHAT: Wittenberg

WHEN & WHERE: Until Saturday 3 November, Red Stitch Actors Theatre