Archive for the Marat/Sade Category

Even More Big News from Forum

Posted in Angels in America, Antigone, Company Members Around Town, Drunk Enough to Say I Love You?, Judas, Marat/Sade, Marisol, OpenForum, Season 4, Season 5, Season 6, dark play, readings on December 17, 2008 by hanvnah

Just in time for all of your holiday shopping needs we have opened up an e-store. The link will remain on the right side of front page of the blog. Look to your right. See it. Just above the search function. It will always be there. Whenever you want to buy a script for one of our productions, click that link. Whenever you can’t get a song out of your head that you heard in one of our productions, click that link. Whenever you want a new book on theater to read, click that link. Whenever you a wondering what the Forum Company members like, click that link. Seriously, whenever you want, click that link.

For every item purchased through our e-store Forum Theatre will make some money. So purchase and give.

Click here to start your shopping or just look over to your right and click over there.

The Show’s Backbone

Posted in Marat/Sade with tags , on August 4, 2008 by Michael Dove

Taking a moment to send out a special “thank you” to the folks who really run things around the theatre–our backstage team of Jenn Carlson (stage manager) and Christine Millette (assistant stage manager).  Their work starts way before each performance and long after the curtain calls with tasks that are far less than fun.  This show, in particular, has had it’s fair share of last-minute fixes and repairs with a cast of 20 in very active performances.  We’ve had tub leaks, daily costume rips, and constant prop repairs on top of the standard show maintenance tasks that include dealing with wet clothes and destroyed cabbage.  For a show so big, it’s amazing that Jenn and Christine keep it going, and they deserve their own round of applause.

Nice little article in the NYTimes about these unsung heroes of our industry, who don’t get nearly the accolades they deserve.

Thank you, guys.

Share Your Thoughts

Posted in Marat/Sade, OpenForum on July 26, 2008 by Michael Dove
Tubthumping

Tubthumping

After many of our performances, we hold an “OpenForum” discussion where we talk about the show and the story in a book club sorta-style. We want the talking to continue (we are called FORUM and all) and have created this nifty little blog to do so.

So, for those of you who have been out to the Playhouse Asylum, what are your thoughts?

(note: some comments may contain “spoilers.”  Haven’t seen the show and want to be surprised?  Then check these discussions after the performance.)

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Here are a few topics that have come up in our recent OpenForum discussions:

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What themes brought out in the play feel especially resonant today?

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What are some last images that have stayed with you after the performance?

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Have we evolved, as a society, in the ways of equality and democracy, or is civilization in a loop? Is 1808 any different that 2008?

More Images

Posted in Marat/Sade on July 24, 2008 by Michael Dove

A few more shots from the show. All photos by the extraordinary Melissa Blackall.

Steve Beall as COULMIER (with Parker Dixon as DUPPERET, right)

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Jesse Terrill as the HERALD (with Eric Messner as ROUX, left, with Danny Gavigan and Helen Pafumi far left)

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Joe Brack as BASIL/PATIENT

Opening Weekend

Posted in Marat/Sade, Season 4 on July 24, 2008 by Michael Dove

Well, first weekend is over and I’m even more excited for more people to see this show.  It has been, by far, the most challenging production Forum and I, have ever done.  With all the songs, dance, and multiple story levels, I’ve had some serious brain pain over this past month, but it has been a labor most worthy as we have this incredible show (if I may say so–and I do) on our hands.  Strangely enough, we have never been more ready for audiences as we were for Marat/Sade, but before I start trying my luck and claiming that we must be getting better at this whole thing, I should point out the tremendous efforts of the cast and crew for really bringing their “A” game on this show.  There is a real, palpable effort on that stage that is all due to each actor, designer, technician and company member giving a little of themselves to make it all come together.  Thanks, guys—it really shows.

Katy Carkuff as CORDAY, on bench.

We had a bit of a rolling opening for this show as we opened to the public and Fringe go-ers on Thursday, had a performance on Friday, then had most of our alumni and special guests on Saturday.  I would have thought that after 2 previews and 2 regular performances, my nerves would have subsided, but Saturday night still had me all nervy.   Even after 12 productions, 6 of which I have directed, I am still every bit as pins-and-needles on these opening nights.  You have 4-5 weeks where it’s just you, the cast, and various production teammates in the rehearsal room and no matter how much you anticipate the audience seeing the show, nothing prepares you.  I try to drill the idea that certain moments must be played to the audience and continually remind the actors and designers where people will be sitting, but it’s those first nights when you actually see and hear them in the room that can change everything.  The production had felt so private and intimate when it was just the small group and here we are, opening our doors and inviting all these people in to see what we have done.

Jonathon Church, as SADE, with cabbage as…Mr. Cabbage.

At first, I find myself watching the people in the audience more than the show.  Seeing how they react, what they look at, what they respond to.  Inevitably, there is always a moment of “why did they laugh at that?  Should it be funny?” Or even the moments that were funny to the cast 4 weeks ago resurface and remind us of its humor.  After that, I am able to relax somewhat and start prepping for certain moments, hoping they play the way we intended, hoping they delight/shock/titillate where needed.  Based on the crowds this weekend, I’d say we were very successful.  Thank you to all who have attended and have sent/said such kind words–they are much appreciated.

–Michael

Notes from the Audience: Richard Byrne

Posted in Marat/Sade on July 18, 2008 by Michael Dove

We found this posting by Richard Byrne on his own blog and asked if we could post it here.  After posting many thoughts and articles from cast and production team members in the past we’d like to start including more of your thoughts.  Not just your review of the show, but how it affected you and contribution to the discussion of topics raised in the play.  So, after you see the show, please feel free to contact us about posting your thoughts, or just add your ideas to the comments section of a related posting.

From Richard:

“I went to the opening night of Forum Theatre’s production of 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 — better known as Marat/Sade — in DC tonight.

Bottom line: This production of Peter Weiss’ play is miraculous.

Let’s start with the handicap: Marat/Sade is a quintessentially 1960s play. Playwright Peter Weiss hijacked the continuing immediacy of the French Revolution in post-1945 politics (with more than a nod to Georg Buchner’s 1835 play Danton’s Death). Just check out the movie based on the Royal Shakespeare Company’s staggeringly brilliant 1967 production of the play — all atom bombs and sexual revolution.

But director Michael Dove re-imagines this play so wonderfully in the Forum production, however, that you will (at least for the moment) forget the RSC version. Where RSC director Peter Brook went for anarchic sex and apocalypse, Dove angles for something more tangible and contemporary: madness, sensuality and war.

In 2008, the easy route for a director of Marat/Sade would be to angle for the stagecraft and song of the play: Armageddon as cabaret. And the actors who carry the music of this production — Jesse Terrill (who wrote dazzling new music for this staging), Barbara Papendorp, Lisa Lias, Colin Smith, Michael Grew, Ashley Ivey, Colin Smith and Emre Izat — skilfully inhabit the songs and placards that Weiss writes into the play.

For me, however, the center of the play is the fierce dialectic between Marat (Danny Gavigan) and the Marquis de Sade (Jonathon Church). Dove’s version foregrounds this bitter conflict, and uses it as the engine of the play, enlisting the animating energy embodied in the pivotal roles of Charlotte Corday (Katy Carcuff), Simonne Evrard (Helen Parfumi) and the rabble-rousing priest Jacques Roux (Eric Messner) to spur it along. (Corday’s assassination of Marat is downright sexy.)

The danger of doing Marat/Sade in 2008 is a nostalgie de la boue — leaning on Bobby Kennedy and mutual assured destruction and a Europe where revolution is taking the barricades against the bourgeoisie. Forum’s Marat/Sade scrolls forward to an America where war and religion and history are contested categories. The questions that this Marat/Sade poses are worth pondering. The Forum production pushes forward in all directions — the futility of revolution is (almost) fun; assassination is as sexual as it is brutal, and politics is a carousel of sensual brutality.”

MARAT/SADE Opens Tonight

Posted in Marat/Sade on July 17, 2008 by Michael Dove

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 opens tonight!  Tickets are going fast for the opening weekend, so be sure to get yours today.

Vive la Countdown

Posted in Marat/Sade on July 15, 2008 by Michael Dove

Vive la Countdown

Posted in Marat/Sade on July 14, 2008 by Michael Dove

Happy Bastille Day

Posted in Marat/Sade on July 14, 2008 by hanvnah

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.