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1979

Marie and Bruce

Written by Wallace Shawn

Play Details

Context

Artistic Director 
Max Stafford-Clark

Dates Performed

Friday 13th July 1979
Jerwood Theatre Upstairs

Play Details

Synopsis

A city apartment, suffused with tension. Marie stares daggers at Bruce as he obliviously sips his morning coffee, unaware of the storm brewing.

Marie and Bruce, a married couple on the brink of collapse, navigate a single tumultuous day in their fraught relationship. As they move from their apartment to a party and finally to a restaurant, Marie’s simmering resentment boils over into biting remarks and caustic humor. Bruce, seemingly oblivious, makes fumbling attempts to connect, further highlighting the chasm between them. Their interactions, peppered with dark humor and raw honesty, reveal the profound disconnect that has grown over years of miscommunication and unspoken grievances.

Wallace Shawn’s Marie and Bruce is a searing examination of a dysfunctional marriage in crisis. Through razor-sharp dialogue and unflinching character portrayals, Shawn dissects the minutiae of everyday life to expose the deep-seated animosities that can fester in long-term relationships. The play’s dark humour serves as a vehicle for exploring weighty themes of alienation, resentment, and the breakdown of communication. As the day unfolds, trivial moments accumulate to paint a devastating portrait of a couple trapped in patterns of mutual misunderstanding and frustration.

Shawn’s masterful balance of comedy and drama creates a work that is at once wickedly funny and profoundly unsettling, forcing audiences to confront the uncomfortable truths that lurk beneath the surface of intimate relationships.

Director(s)

Les Waters

Cast & Creative

Cast

Philip Donaghy

Cast

Stephanie Fayerman

Cast

Robert Hamilton

Cast

Annie Hayes

Cast

Paul Jesson

Cast

Paul Kember

Cast

Robin Pappas

Designer

Peter Hartwell

What our readers say

 

What is it like reading this play now?

Reading the play today gives a mixed feeling of being current yet remote. While the language is modern, some outdated terms stick out. The play’s use of misogynistic language is striking for 2023, but it doesn’t glorify it as some older plays might. Its predictions about a machine-dominated workplace seem amusingly on-point now.

What does it tell us about the past and the present? 

This play feels so utterly trapped in the now. The past hangs over the characters like a mist, while the future looms ahead with false hope and grim uncertainty. All the characters have is right now and right now, they’re all miserable. It’s existential angst and fearful inertia held together by a socially-imposed veneer. Whether 1978 or 2023, it’s dishearteningly familiar.

What plays does it speak to/influence?

It certainly owes something to Who’s Afraid of Virginia Woolf. The character of Marie is very reminiscent of Martha in the violent, yet entertaining way she speaks. It also reminds me of Noel Coward and Oscar Wilde in the way in which sarcasm, insults, and the notion of polite society clash and mingle.


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