PL AYBILL marat/sade
marat/sade
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
Peter Weiss Translated by GEOFFREY SKELTON VERSE ADAPTATION BY ADRIAN MITCHELL }{
approximate running time: 2 hours 25 minutes. there will be one 20 min intermission
ARTIST NOTE: CAROLINE GILLIS Walking into the cage for Marat/Sade rehearsals I am struck by the immediate effect that being trapped behind bars has on your psyche even if this is just a performance. The fence seems to incite feelings of anarchy and rebellion. You want to shake it. You want to push against it. You want to shout through it. It’s a thrilling initiation into one of my first Soulpepper productions. I’m essentially part of the chorus in the show and in an ensemble piece every action you take works together with the others to make up the whole. This is an interesting parallel with the concept of revolution. The individual agenda must often be let go for the sake of the greater good.
I’m also doing a lot of work with flashlights, and it’s been great fun running around casting shadows and light. In one of his songs Billy Bragg said “The revolution is just a T-shirt away.” A red toque helped me to find a way into my revolutionary choral character. Every revolution has its leaders and its followers. When you’re overthrowing the government someone needs to hold the flashlight. Enjoy the show. Peace.
When Mike Ross asked me to play the snare drum in one of the numbers I was apprehensive as a non-musician, but excited by the idea of being part of the “band.” I tap out the downbeat with one drumstick. (I still haven’t mastered singing at the same time, but maybe tonight!)
p roduc t ion s p on sor
Caroline Gillis , Inmate in Marat/Sade