Word: marat
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...Downey does evidence some glimmer of talent. His settings have the blinding, sun-washed aspects of Marat Sade. His mad, scatological songs could have been copied from the walls of Greenwich Village urinals; they are funny nonetheless. And in one scene there is authentic wit. A prisoner in black tie and dinner jacket (Harry Rigby) gazes at the dogs and whines: "What am I doing here? I'm a penguin." As he dies, his final dream is of a formal party complete with glacial ice cubes and attended by the great auk of Manhattan nightlife, Julius Monk...
...provides the perfect image for the contents. An older man and a girl, dressed in what appears to be nightshirts, are dancing a sort of ring-around-a-rosy. Despite clasped hands, the two are curiously abstracted. Their eyes do not meet. Their smiles do not match. A vaguely Marat/ Sade promise of violence seems to be in the air. The manic energy of the dance generates no gaiety, no warmth. This is a social act in a vacuum-dance seen as antic pathological spin...
...into this same kind of mental bind. It's somehow very much harder. as someone was saying to me, to communicate with the student reviewer or someone with that attitude than someone who would be totally against the kind of polities we were trying to put forward in Marat-Sade...
...Marat/Sade moves through different contexts of reality. It is a play about a play in which psychotics (Marat is played by a paranoiac who is in turn played by John Mckean) act out Sade's own recreation of the Revolution. Occasionally one can get lost somewhere in between the levels. To this, Bernstein has added a particular jolt by having William Liller, Master of Adams House, play Coulmier, Master of the Charenton asylum. Liller is a natural...
...most exciting thing about the production was the way it approached the metaphysical interplay of Marat and Sade. They are treated almost as pure dialectical forms (the lack of personality, in the two helps here). The struggle of the two theses moves with the dialogue into the minds of each member of the audience. They wage war; the dialectical revolution, spoken of in the play as "the revolution which burns up everything in blinding brightness, will only last as long as a lighting flash...