Review: MARAT/SADE Rebels and Reaches for the Heartstrings at New Theatre

Part LES MISERABLES, part Quills, part Australia's backyard, Marat/Sade is a raucous and real-life inspection into the lives of the politically disenfranchised, told through the inmates of what was in Peter Weiss' 1960s original the asylum of Charenton, but in Barry French's direction, could be any detention centre dotting the Asia Pacific. A madcap meta-musical repurposing historic cruelty for the new age, Marat/Sade is a fantastic experience for audiences to get up close and personal with.

In the yard of an institution, inmates gather to perform for the ruling class a depiction of the French Revolution, particularly the assassination of Jean-Paul Marat. The play they are performing has been written by the Marquis de Sade, a contemporary of Marat. As the themes of poverty, class oppression, bloodlust and revolt take over the inmates, the performance turns into a frenzied attempt for freedoM. Barry French has crafted a dynamic, holistic and nuanced environment for Marat/Sade where each character represents a completely relatable vice or malaise, perforating the delineation between us and them.

Mark Langham gave a solid performance as the Marquis, knowing precisely how to possess the attention of the audience and when to blend into the fray. Annette Van Roden similarly provided incredible passion and believeably unhinged in the role of Marat. The ensemble did a remarkable job with the sense of space, though several standouts emerged. Irene Sarrinikolaou's animation level was supreme in her portrayal of the musing and amusing Cucurucu. Debra Bryan levelled-up her wild hysteria as Rossignol with rending desperation and devastation between the performance moments.

Alia Seror-O'Neill stepped up to the role of Corday in place of the striking Isaro Kayitesi, and was faultless in the portrayal of the narcoleptic but fierce woman whose pending murder of Marat pinned the tension of the entire piece. Her lashing scene with Langham was palpable in tension and sensuality. Gregory Dias was also playing his understudy role of Dupperet and did much to energise and give momentum to the humour and straight narrative of the production with it. Leilani Loau playing the priest Jacques Rou was very compelling, as was Kaiya Bartholomew in their moments of clarity to the corruption and cruelty surrounding them. Jim McCrudden as the Herald definitely had the marathon of the night to accomplish, but did so with wit, rhyme and thoroughly enjoyable professionalism. Although the esteemed Coulmier family, played by Peter Talmacs, Lyn Collingwood, and Tahlia Hoffman Hayes hadn't much to say throughout the piece, their connection to the audience as the ignorant observer was still jarring to relate to.

It cannot be underestimated how difficult it is to enclose and energise an ensemble of the size Marat/Sade boasts, for which much congratulation must be shown to Barry French and Shannan Ely assisting him. Marat/Sade drips with ambition, which each element truly reached. Nicola Block's costumes worked as a fantasy and reflection of the times, with special mention to the impromptu make-up change. Tom Bannerman's set was almost a character of itself, and demonstrated true genius in suspending disbelief, and maximising resources, to create an effective in-your-face illusion. Although some of the music started to chafe by the end, I concede Nate Edmondson's composition is still in my head a solid week post attendance.

A thoroughly strong spectacle with a message that might be uncomfortable, but remains important for audiences to be engaged with, galvanised by and spurred to action of any kind.

Tickets available here.
Images by Bob Seary.

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