Notes from Forum Theatre

On July 14, 1789 the French  prison the Bastille was stormed by the people of Paris. The Bastille marked a the beginning of the French Revolution. The day is still celebrated in France with fireworks and general revelry.

What you may not be aware of, is that only a couple of weeks earlier the Marquis de Sade was imprisoned within the Bastille. He was transfered days before the Bastille was stormed.  The story goes that on July 2, 1789, Sade called out of his window to the crowd that was growing at the entrance of the Bastille. “They are killing the prisoners in here,” he called out, attempting to incite the people below.

Want to celebrate the storming of the Bastille? The Washington Post has a listing of local events where you can celebrate all things revolutionary and French. Then join us later this week as we begin performances of Marat/Sade to see the affects of the revolution and view for yourself Sade’s abilities to incite the people.

A Look Into the World of Marat/Sade:

hi kids!  I want to say something more profound than “hi” and Hannah is forcing me to write something since I have the time.  This is Eric.  I play Jacques Roux in Marat/Sade.  First thing I’ll say is that this quite possibly one of the easiest techs I’ve ever been in.  There’s literally 4 light cues.  All the music is live and acoustic so nothing really in the way of recorded sound.  We’ve been working bits of the show and I’ve been splitting my attention between watching the scenes, and reading bits of the comic book “Y, The Last Man.”  I wish I had more to tell you about how it’s going today…I…ummm…had an iced chai today.  I usually get those when I’ve got a long day.  What else can I tell you?  I, enjoy running (when chased), and long walks on the beach.

From Michael Dove:

We are currently choreographing a head up the skirt scene. Theater is the weirdest job in the world.

We’ve been doing mainly cue-to-cue work so far and by cue-to-cue I mean specific scene work, as there are really only two cues thus far in the show.

We spent a long time on the pre-show, before the show even starts the actors are working. In fact, it’s so entertaining we don’t want the show to start. “I could watch this all day,” says Michael. 

And. We had to stopped it twice to go back to the beginning. That’s right, the show hadn’t started yet and we’ve stopped twice. Just because it’s that much fun. Actually, Michael is standing on the stage now building the look that will end the pre-show. The look just before the ‘real’ show starts.

We make our way through a number of the music numbers and the fights. The things that need to be well choreographed. People are moved over in order to hit the lights and be better seen. Props are being figured out their entrances and exits also choreographed. 

Then it’s time for the break and a few of the actors approach my computer to share their own thoughts on the rehearsal so far:

Jonathon: It’s fun kicking Marat’s tub.

Joe: The work thus far has been an arduous journey of discovery and strife.

Parker:  ahhh…i love break time.  we’re working scenes and hammering out
specifics with transitions, songs, and other such necessary things.  joe’s right-
it’s arduous but necessary.

Anyone in theater will tell you, the tech process is not one to be envied. Tech is tedious, time consuming, annoying and frustrating. It involves long periods for the actors of doing nothing, just waiting for a cue to be adjusted, a set piece moved, or a new idea to be discussed. Yet this is where it all comes together. The costumes, lights and set are very close to be in place. The final touches are made and remade. The deadline of opening is looming as Michael reminds us with his revolutionary countdown. 

We at Forum want to include you in the process. We want to give you a taste of the frustrations and joys of putting the show on the stage. So, here we are, computer in hand to live blog the events of the day. Enjoy.

I am sitting in the audience at the H Street Playhouse typing away as the cast of Marat/Sade begins a run on the stage. It is pouring outside, they are just about the close the house doors so soon I won’t be able to see what is happening in the outside world and I will be completely in the world of the Charenton Asylum.  

The set is almost done but the stage is raw wood, mostly but not completely covered and a bath, an old rusted bathtub that they just pulled in this afternoon. The actors are lined up in the back of the space, keeping order, keeping to themselves, waiting for their entrances. Tonight’s rehearsal is all about spacing, getting used to the elongated thrust stage, adjusting to having an audience on all sides. 

Michael doesn’t stay seated for more than a minute. He bolts from seat to seat checking sightlines and sound. I’m spending this rehearsal trying to figure out what facts, history and names need to be shared with our audience. Like any show it can exist on multiple levels. You can walk in knowing nothing about Jean-Paul Marat, nothing about the Marquis de Sade, nothing about the French Revolution and nothing about modern theater and have a full experience. Yet, as always, the more you know the deeper your understanding can go. So like other Forum shows we are going to supplement your experience. We will be having our OpenForum post show discussion, there will be material in the lobby, an essay to read in the program and this blog. I’ll put up some mini-biographical tidbits of some of our lead characters, some fun french revolution history and a look at other productions of Marat/Sade. Soon also, some of our actors and artistic team will be adding their own perspectives.

We are now less than a month away from opening Marat/Sade. The first thing to know about the play is that it’s full title isThe 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. Second thing to know is that it is even bigger and more historically and politically charged than our last show The Last Days of Judas Iscariot. Third thing to know is that Marat/Sade is a musical – with all original music!!!! Fourth thing is that you don’t need to know anything about the French Revolution to ‘get’ the play. But the fifth thing, is that learning a little more never hurt and on the blog over the next few weeks I’m going to try to give a little bit of background to the play. Michael will probably add a few postings about the process and theatricality and the actors are all being invited to share their thoughts as we get into production.

Just as I did for Judas here’s a little Marat/Sade mix-tape to start with:

Talking About A Revolution – I’m partial to a cover by Damien Rice
Revolution Rock – The Clash
Driving Myself Crazy - Looper
Revolution – The Beatles
Young and Insane – The Magnetic Fields
The Day After the Revolution – Pulp
Garcon Culotte – Les Sans Culotte
and of course La Marseillaise!