A gory story of assassination and revolution
For the winter 2017 semester, the University of Guelph’s School of English and Theatre Studies presented Marat/Sade from March 21 to the 26 at the George Luscombe Theatre for its main-stage production. Originally published in German in the 1960s, Peter Weiss’s play brought forth new meaning in 2017.
In director Ed Roy’s interpretation of the play, also known as The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade, this historic and bloody tale about the French Revolution was mixed with current issues regarding the political landscape. Among the portraits of historical figures that flashed on the screens were also modern caricatures and comics of current politicians.The play-within-a-play structure allowed some freedom to interact with audience members. Before the official start of the show, the cast was already in character and performing on stage, setting the scene of the Charenton Asylum. Nurses and orderlies rushed out to restrain the inmates whenever one of them would step out of line.
The character of Coulmier, played by Kenny Grenier, supervised the play that the inmates put on, which depicted certain events of the French Revolution. Coulmier repeatedly and unsuccessfully tried to censor the actors from portraying views with which he did not agree. During the intermission, Coulmier spoke with and apologized to audience members for the views expressed in the play, such as those concerning anti-religious sentiments.Historical figure Marquis de Sade—known for lending his name to the idea of sadism—directs the insane asylum inmates’ play. In an unorthodox but welcome twist in casting, his character is played by actress Modupe Okeowo. It proved to be an excellent directorial decision; Okeowo—clad in white fishnet stockings—radiated confidence as the Marquis de Sade.
Unexpectedly, music found a place here, functioning as commentary in the midst of the abrasive and gruesome play. Through the music, the noise provided a shock factor and a sense of alertness. It is clear that there was much invested into the play; costumes and parts of the set were purposefully damaged which contributed to the play’s effectiveness at unsettling the audience.Based on real-life events and people, Marat/Sade not only entertains, but also illustrates a very relevant story about class struggle.
In his director’s note, Roy remarks, “If theatre is a mirror to the human condition, then Marat reflects with miraculous clarity the world in a microcosm.”
Feature photo by Karen K. Tran.