Note: This theatre critique of 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 (Marat/Sade) is for my THEA170 class assignment.

Seeing two performances of Marat/Sade one week apart on the 1st and 8th of November really helped the play sink in. One of the first things I love about this play was the costume design. Having seen the sketches in the costume shop several weeks ago, it was amazing to see them physically implemented. Since the play within the play took place in an asylum, the resources were very limited. I love how the costumes and props were made from scrap papers and medical supplies: blue latex gloves as laces, syringes for headwear, marker drawings on white pants to imitate breeches, etc. While their T-shirts said ‘Charenton’ on the back, one of the the inmate’s had red crayon words written across, only to be covered by duct tapes halfway through the show. I guess that was a hint of oppression. Of all the inmates’ costumes, only de Sade’s coat was nice. He was, after all, the playwright, the one in charge of the play, and the one distracting Coulmier in the end. Since everything circles around him, his good overcoat also symbolises his power.

Note: This theatre critique of A Funny Thing Happened on the Way to the Forum is for my THEA170 class assignment.

On 19th of October, I saw the second show of A Funny Thing Happened on the Way to the Forum. Though titled as such, the play has little to do with ancient Rome. Put the characters and plot into different historical settings, the play would still make much sense. However, since it was inspired by several plays written in the ancient Roman, mainly Pseudolus (which was written before 191 B.C.), the historical element becomes indispensable.