There’s product placement, and then there’s product placement. The Archers mentioning a specific shortbread brand — BBC idiocy. Sitting in the theology section of Blackwell’s, with philosophy and sociology to right and left, watching Christopher Marlowe’s Doctor Faustus — Creation Theatre excellence. It took more than two years to make all the arrangements, but the theatre company’s original idea to stage this play in the book-strewn Norrington Room — since the lead character is so academic — is extremely clever and works.

This play comes with much advance baggage: two texts, inserted comedy sequences and rumours from centuries ago that real devils were actually seen on stage.

Stripped down, it is, of course, that story of a man making a deal with the Devil — Lucifer, Mephistopheles, Faustian pacts and all that. Although it is really only from the Marlowe play that today we know of the old medieval tale.

There are many characters, but this production makes do with five performers — I think the play has been cut, which helps. Central are Faustus (allegedly “a student here, some 30 years” but played much younger by Gus Gallagher) and Mephistopheles — Gwynfor Jones — who has been allocated by Lucifer to oversee the 24-year pact. Damian Davis plays four parts, of which his Wagner (servant to Faustus) deserves especial attention.

Gallagher is on stage almost the entire time and is powerful in presenting strength and despair: very occasionally, there is a touch of old-fashioned RSC posturing about him, but then the character is going through . . . er, Hell — and needs must. I was slow on the uptake over how Jones chooses to play Mephistopheles. Initially I thought him rather laid back and uninteresting; but there was always an intriguing feel of weasely power about the portrayal. I was thus rather pleased to discover during the interval that I and my neighbour in the audience — the Bishop of Reading and a patron of Creation (hey!) — had both independently decided that Jones was doing an Alastair Campbell.

There are a couple of comedy scenes that are funny but that history tells us need not be included; and there are stylistic gyrations and poses at certain points in the drama that already have an dodgy X-Factor dance feel about them. But the Norrington space and surrounds are used marvellously throughout this exciting production, and I can scarce forbear, but must, from highlighting one prop that is vital to the show and tremendous in the way it is used.

n Dr Faustus continues in the Norrington Room at Blackwell’s until March 26. Box office 01865 766266 or online at www.creationtheatre.co.uk