Conventionally, thinking about theatre brings to mind posh sensibilities, stuffy dialogue and, more often than not, appeals to good taste. Le Mort is anything but a conventional theatre performance.

This is not a criticism, but a qualification.

The level of depravity to which the story descends is unyielding to the point of comedy. Indeed, at many points during the performance, it seemed as though the audience was unsure of whether it should laugh or gag.

Throughout the course of Le Mort, the audience will witness full frontal nudity, suggestive action with garden gnomes, canned beans disguised as vomit, chocolate sauce disguised as diarrhea and all manner of degenerate sexual content.

The play is adapted from the novel of the same name by French eroticist writer Georges Bataille. Having not read the source material, it was unclear how true the performance stays to the original.

The play begins with the death of the main character’s lover, Marie. Driven to temporary madness, Marie goes on a bender of epic proportions, cleverly demonstrated during the show by the use of a number of alcoholic glasses and a blue liquid that looked oddly like the fluid which hairdressers use to clean combs.

To say that Marie goes off the deep-end is an understatement. Seemingly stripped naked by the loss of her love – both literally and figuratively – her pain causes a night’s loss of inhibition.

Along the way, the audience is subjected to a number of Marie’s sexual exploits at the hands of a variety of bar-goers, typified during the performance by various hats.

Speaking of which, if asked at the beginning of the performance if you wish to wear one of the hats which lead actor Mia van Leeuwen hands out, be prepared to become involved in the performance.

Van Leeuwen does a masterful job of portraying the anguished Marie, displaying a lot of courage by appearing both semi and completely nude at various times throughout. Her ability to alternate between appearing both vulnerable and in control is a highlight.

Yet, it was certainly hard to go beyond the constant attempts to shock the audience, which could be seen as a distraction to the storyline. However, my guess is that offense is the point of the performance. If so, the goal was reached in abundance.

If you are a fan of good taste, steer clear of Le Mort. Yet, if you are partial to dark humour and good-natured perversity, Out of Line’s latest production is right up your alley.

Published in Volume 64, Number 13 of The Uniter (November 26, 2009)