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The subtitle for Man and Superman is “A Comedy and a Philosophy,” and while all of Shaw’s work contains a hefty amount of philosophizing, Don Juan in Hell indulges in pure ideology. Shavian principles are put into the mouth of Don Juan and pitted against societal ideals, which are put into the mouth of the Devil; as expected, the writer comes out the victor. Shaw has a great deal of fun with the debate, even mocking his own wordiness and paradoxical morality. The strength of the piece lies in the intelligence and seductiveness of the opposing viewpoints. When Don Juan emerges triumphant, he has indeed won a grand battle of wits, not merely toppled idiotic ideals. Shaw’s Mephistopheles has the charm and sagacity of Oscar Wilde, and indeed the battle reflects Shaw’s disdain for Wilde’s brand of frivolity, his way of squandering his brilliance on petty entertainments.
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Michael Weber is remarkable as the devil (a role sometimes taken by Ted Rubenstein). Physically Weber dominates this small space, and the nuances of his facial expressions are riveting, even when he’s silent. He also has an astounding gift for language –a necessity when playing Shaw–infusing the words with such potency, passion, and intelligence that it’s impossible not to be enticed.
