May 6th – June 5th, 2022
Brighton Fringe, Streaming

Being part of a Fringe feels very different when only attending digitally because the personas are all very different. The 2022 Brighton Fringe, digital experience, includes a performance of a new play called intriguingly ‘Satan vs. God’. When the film/play began the levels were set by red images of a chapel with what looked like a priest or monk praying. It excitedly came into focus that Deaon Griffin-Presley would take the part of Satan, a character and play that he made his own

Going into this play written and performed by the young talent of Deaon he was unafraid of conversing in a way that pushed along with an extended arm, foot and head. No need for boundaries; its existential constructions ran so well as to show quite another side of our usual reality. The original sense of red left us in a state of something somewhat disturbing in its revelation also being the colour of rage and anger.

And this talk with God had Satan upset and there was a kind of howling, he spoke in hisses ad defiant whispers, his movement and act had in it a powerful sheerness that he managed to accomplish; all in turmoil. It had its deep set to mark an exuding excellence of darkness and colossal moments but God answered little of Satan’s questions until his fallen angel quietened and withdrew.

Abounding in simplicity sounds and visions were used as though as a vehicle for the thought of a plot as open as is possible. The first angel Lucifer had corrupted Gods creations and his seething tongue cursed the Father of Heaven. And the rights of passage where Satan self destructed; knowing that redemption was impossible. Can we imagine a state where no one is to retrieve anything from, Satan’s position was never to improve, ever.

To its credit the concepts at work moved along with no little certainty that didn’t fall short of something sublime, yet had a completeness for abusing liken to a serious domestic scene that will never be cleaned up. Satan’s pain’s and anguish’s were impossible to ignore with writing for a one man act.

Divinity, evil, humanity were immersed into a pressing need at times harsh to be aware of; hissing undertones of discomfort. Whatever it’s genuine graces the greater message hit home as an epic drama. In the styles at play we were allowed all the way into the guts of a performance something like a documentary chiselling its forceful concepts that roved around the conversation historical and accurate depiction; an epic to shake the Earth and bring low creation. God never forgave Satan, nor is to do so, a hard place for feelings.

In repetition he gladly loved God in their special relationship. Expressed where insights and demands made to set aflame the desires of both. His anger flew into a rage, his tones of vocals had in them predicament’s and unsettling presence’s; asking us for only one act of praise that could recreate God’s work in partnership and coming glory.

The greatest and somehow truest of calamity that rose shone with a likeliness of a part as to touch the heart of us and link us to something of the way beyond; the finality. Opening; an unlimited unlocking of creative and subjective freedom rising in importance. The theatre contained at its best and most serenely with a huge crunching tale giving a voice of clarity, holiness and tragic heart break.

Satan, so hurt by his father’s actions cries to his lord and only asks for forgiveness but of course God is found to be less than courteous with behaviour as to condemn his offspring. He sees it all as a wanton desire to create punishment for his angel. Totally believable, examines Satan’s plight to the greatest of detail, a success of skill, thought, revival and ruling. Satan tears were as a howling child with great pain and heart rending participation in a calling of masterful prowess.

Daniel Donnelly