by Antony Steadman

A play about the final days of the Marquis De Sade? We know immediately that the piece will be sexually charged, confrontational and debauched. Yes it is all these things, and so much more. Whilst the piece is not immediately loveable, it is certainly enjoyable on a more challenging, thought-provoking level. Chris Baldocks direction is bold and daring. Whilst some of the more intimate scenes are played at opposite ends of the space, creating distance from the audience, the overall design of the show (conceived by Baldock) creates a large playing space in which our asylum inmates can play and move. The cavernous space of the Art House Meat Market creates some issues with some dialogue being lost in the reverberation around the large space. These issues are minor, considering the ingenuity of the production.

Once again, like in his production of Equus, Chris Baldock has created a Greek-Chorus like ensemble. Equus had horses, this time we have the lunatics of Charenton. His knack for ensemble work and creating moments that are unscripted really make the piece take flight. Each member of the lunatic ensemble do not let their characters waiver for a second, even when they are not centre stage. They create an eerie presence throughout.
The opening moments of the show perfectly strike the balance of what is to proceed for the rest of the piece.

As Dr Royer-Collard, Adam Ward gives a suitably pompous performance. He has a balance between malice and humour. His booming voice fills the space every time he speaks.

Andrea McCannon’s absorbed performance as Renee Pelagie draws many laughs. She is strong and consistent throughout.

Lauren Murtagh’s Madeleine LeClerc is not as naive as she could be. Murtagh grounds her character in a knowingness that borders between coquettish and almost worldly. Her act 2 monologue is a highlight.

Dylan Watson tends to underplay the melodrama as Abbe de Coulmier, which creates a notable difference between himself and the rest of the asylum. This is not necessarily a bad thing in terms of the tale being told.

Jordan Armstrong brings a strong presence to the role of Monsieur Prouix, the Architect. His scene with Andi SnellingsCollard is a comic highlight. Both fully commit to the scene, and the result is quite funny.

Adrian Carr‘s Marquis is flamboyant and showy. He balances this with his silent performance for most of act 2 (after the Marquis has had his tongue removed). No easy feat to be silent and naked, but Carr’s presence that he has created earlier in the piece certainly makes sure the audience know he’s there.

The melodramatic feel of the piece is a smart choice. One that once again, director and cast should be commended for.
The play certainly raises many questions about sex, religion, politics and (in)sanity. It is an important piece about the nature of humans.
Yes it is challenging and thought provoking. Yes it is disturbing. Yes it creates an emotional response from its audience. It may take a while for it to sink in, but once it does, it stays with you.