Focus Birmingham

Having read a number of differing reviews during the week leading up to this audio-
described production, I was increasingly unsure about what exactly to expect from
Peter Weiss’s controversial play, first performed by the RSC in London in 1964. The
subject matter of The Marat/Sade is summed up by its full title – ‘The Persecution
and Assassination of Marat as performed by the inmates of the asylum of Charenton
under the direction of the Marquis de Sade’ and this production directed by Anthony
Neilson could, for some, be shocking with graphic depictions of perverted sexual
activity and scenes of torture and violence. Although set in 1808 less than 20 years
after the French Revolution and only 15 years after Marat’s death, this production is
characterised by a contemporary setting with reference to more recent revolutions,
including this year’s ‘Arab Spring’.

Arriving at the RSC Theatre in time for the 11.15 am touch tour, describers Julia
Grundy and Ellie Packer, escorted fellow visually impaired patrons and those
accompanying them, onto the stage, which was covered with a black padded material.
The setting – the asylum – was a bare, minimalist space and we were shown a number
of revolving metal turnstiles (with very sharp prongs) around the stage, through
which characters could enter and exit. In the ever helpful pre-show notes (prepared in
advance for people to study on-line or listen to on CD and then tune into ‘live’ for a
final reminder 15 minutes before curtain-up) these 2 and a half metre high turnstiles
were described as giving the impression of horizontal prison bars. Above these
gleaming metal turnstiles was the Musicians’ Gallery, which as well as housing the
musicians with their array of instruments, some of Middle Eastern origin, such as an
oud – also had seats on which guests of the Asylum’s director sat, and on occasions
to which an inmate climbed up. The Marquis de Sade himself moved between the
gallery and the stage, during the 2 and a half hours of stage action depending when he
had to take part in the inmates’ play him.

In the centre of the padded stage we were invited to inspect the only piece of
furniture, an enormous grey rectangular metal bath, in which Marat often sat to
relieve his skin disease, and a shelf placed across it allowed him to work on his lap
top whilst soaking in water, which was represented by pages of white paper with print
in French on them. We were told that mobile phones would be a constant presence
throughout the play, and the Asylum Director seemed to be able to calm the behaviour
of any unruly inmate by ringing that individual’s phone. All the patients – a diverse
group – were dressed in variations of the same white, semi-transparent, uniform
consisting of a shirt and baggy trousers for both men and women, with a trouser leg
pocket in which each patient had their mobile phone. Thanks to the comprehensive
notes we also learnt that the play’s Narrator called The Herald whizzed round the
stage in an electric wheelchair wielding a big stick with which she used to keep
the ‘cast’ in order.

In view of the subject matter and disturbing behaviour depicted, the describers
certainly faced a challenge in describing some aspects of this lewd activity – which, I
must say, they didn’t shy away from doing!

The next RSC audio described performance will be the Christmas production
of ‘Robin Hood’ on either the evening of Thursday 15 December 2011 or the
afternoon of Saturday 7 January 2012 and information on concessionary tickets,
the touch tour and how to book headsets can be obtained from the box office on
0844 800 1110.