Marat/Sade at RBP Rorschack

Chicago Tribune - Somewhat Recommended

"...Robbel's production, despite some fine performances (particularly Vincent Lonergan's de Sade and the quartet who perform the Brechtian choral numbers), never particularizes the story for our own historical moment, where apathy and alienation are at least as problematic as fear of official repression and reprisal. History certainly repeats itself, but the devil is in the telling details, each time. Right Brain's "Marat/Sade" doesn't drive the dagger in deep enough to reveal the gross anatomy of our own diseased body politic."

Chicago Reader - Highly Recommended

"...Nathan Robbel's direction is the second bit of brilliance here. He provides an exquisitely paced set of explosions, building to a grand, chaotic display, like the fourth of July. And the large ensemble constitutes brilliant bits three through 30. Mild and grave, an impassive sponge for horror, Chad Gowen Spear makes an near-iconic Marat. And Richard Peaslee's songs—"We want our rights, and we don't care how"—are as chilling as ever."

Centerstage - Highly Recommended

"...The play is filled with lengthy political and ethical dissertations, contrasted with acts of violence and depravity. This controversial, unrelenting depiction of class struggle (very topical given today’s political turmoil) is meant to shock and prompt discussion without providing answers. The play owes much to the theatre of Bertolt Brecht and Antonin Artaud’s Theatre of Cruelty as it steps in and out of its own reality, often using thematic songs sung and played by members of the multitalented ensemble. Because Weiss’ controversial drama is so difficult to produce and sports such a large cast, this is a rare opportunity to experience a play that must be seen, not read, in order to appreciate the power of excellent theatre."

Time Out Chicago - Somewhat Recommended

"...That back-and-forth about the oppressed and the oppressors draws some strength from current parallels to Occupiers and the one percent. But Robbel doesn’t address the distracting point-of-view problem in Weiss’s text: Aren’t Marat’s arguments supposedly written by De Sade, his philosophical opponent? At least the cast’s renditions of the play’s numerous Brecht-like songs are lovely."

Chicago Stage and Screen - Recommended

"... In the great Chicago tradition, the ensemble is pretty strong and extremely dedicated. There is a fine quartet of lead singers who keep everything moving and on key, but their uncredited choreography is too cute and distracting. Everyone throws themselves into the work with unqualified abandon, nude scenes and all. And it ends with an awe-inspiring final brawl."

Huffington Post - Recommended

"...Novelty aside, Marat/Sade is a fascinating piece of fictionalized history that takes the tale of Jean Paul Marat, a radical, highly outspoken journalist who became a primary voice for the working class during the French Revolution, and presents it as a warped pageant play, as adapted and directed by the infamously controversial Marquis de Sade, by a group of his fellow insane asylum inmates. The setup is a sort of 19th century PR stint by the asylum to solicit donations from us, the attendees. Yet, the asylum directors soon learn that that the chickens rule the roost."