Ghoulish German Drama Marat/Sade: Tony-Winning Tale of Human Suffering
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The last date listed for Marat/Sade was Sunday July 29, 2012 / 7:00pm.
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- Full Price:
- $45 - $97
- Our Price:
- $27 - $72
Hershey Felder has previously performed as George Gershwin, Beethoven and Chopin, and in Hershey… More
Quotes & Highlights
“Let the truly adventurous eat Marat/Sade. In what may be the year’s most felicitous blend of company, producer, and material, Thrillpeddlers and Marc Huestis offer an exuberant, exquisitely trashy, and note-perfect revival of Peter Weiss’s radical 1963 play…” — __”SF Bay Guardian":http://www.sfbg.com/2012/07/17/asylum-seekers__
“The 25-person ensemble isn’t just a backdrop; rather, the collective is the star of the show. Each member of the cast has a fully fleshed out relationship with every other member, creating a lively society-in-miniature.” —__”SF Weekly":http://blogs.sfweekly.com/exhibitionist/2012/07/marat_sade_thrillpeddlers.php__
“Written in the early 1960s, Marat/Sade remains a remarkably relevant work and retains an almost diabolical theatrical intensity that so dazzled early audiences…. and the production at Brava is an even more rare blend of artistry, dramatic connection, and showbiz pizazz wrapped up as a carefully planted sloppy wet kiss.” —Bay Area Reporter
“The acting and musical challenges of the piece are handled beautifully by the enthusiastic ensemble, and the leads are brilliant.” —Theatre Storm
“A must see” —Huffington Post
Listen to Judy Collins’ Marat/Sade , a medly of songs from the play.
Marc Huestis presents Thrillpeddlers’ _Marat/Sade _
written by Peter Weiss/directed by Russell Blackwood
The Persecution and Assassination of Jean Paul Marat as performed by the Inmates of the Asylyum of Charenton under the direction of the Marquis de Sade by Peter Weiss.
Almost fifty years ago, when Peter Weiss’ Tony- winning play and theatrical event premiered, voiced demanded change. Today with Occupy movement, once again the street are alive with youth questioning authority. Marat/Sade captures the politics of these exciting moments by harkening back to another tumultuous period—The French Revolution. The dialectics of personal and political change are seen through the eyes of its two protagonists: the infamous Marquis de Sade, after whom sadism is named, and a proponent of pleasure; and Jean-Paul Marat, the clarion voice of the people—now awaiting assassination in his bathtub at the hands of counter revoluntionary Charlotte Corday. With its bloody depiction of class struggle and human suffering, hope and disillusionment, Marat/Sade is a slyly humorous feast for the mind and eye and once again outrageously relevant.