THE REVOLUTIONISTS
“And a story… begins”
The Revolutionists is an inexplicably influential and engaging work driven by witty repartee and stirring declarations- from strong female figures that are fueled by justice, fighting the world of injustices surrounding them. This play yields a collection of very intimate, deeply emotional connections between characters, swirling narratives of their individual accounts knitted together to convey an incredibly revolutionary story.
This is a play that challenges its audience, full of stories that lead us to empathize with the voices being silenced. A country in war, in debt, and in huge distrust among its citizens. This is a tale that parallels our current world. I see the modern language as a beautiful device of this piece to more clearly and advertently portray its pertinence in our own familiar world, our lives, and our story.
This play is a comedy. No matter how gut-wrenching the circumstances, or how painfully prevalent the themes of this piece may be- it is a comedy. This is a statement mentioned explicitly for its production- fact that is incredibly important to its impact. Comedy can allow us to not only face the truth of insane circumstances and great injustices, but to take a step outside of it all. To hold these truths up to the light and have a sense of power over it, in the form of entertainment and release. Even just momentarily, maybe we are able to find a moment of relief in coping through humor at the futility of our circumstances.. and just maybe to give a sense of hope for our future.
-
Director: Mya Piccione
Stage Managers: Ivy Jones & Dan Klimczak
Lighting Designer: Tim Hanson
Costume Designer: Jason Resler
Scenic/Props Designer: Jen Kazmierczak
-
The Revolutionists is a new play about four very real women who lived boldly in France during the French Revolution’s Reign of Terror.
Playwright Olympe De Gouge, assassin Charlotte Corday, former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, loose their heads and try to beat back the extremist insanity in the Paris of 1793. What was a hopeful revolution for the people is now sinking into hyper violent hypocritical male rhetoric. However will modern audiences relate.
This grand and dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world.
It’s a true story.
Or total fiction.
Or a play about a play.
Or a raucous resurrection. . .
that ends in a song and a scaffold.
-