Sap

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Writer Rafaella Marcus comments, Seeing the reception to SAP's Edinburgh run was one of the most moving experiences of my life, and I'm thrilled that we now get to bring the show to audiences across the UK. The opportunity to tour and share ideas nationally is an essential part of our cultural lives and I'm grateful to every venue that has opened their space to this strange, mythic play. I can't wait to share the extraordinary talent of our cast and creative team in new theatres, with new people, and I hope anyone who needs to sit with the play's story of liberation, power, and transformation will be able to do so. Rafaella Marcus has produced such a beautiful and complex script, conversational, poetic, funny and emotional, all in the space of an hour. The actors are incredible at bringing it to life in a way that makes it feel a real privilege to be a part of the audience. Rafaella Marcus’ script is bursting at the seams with beautiful imagery and metaphor. Her protagonist is instantly likable and painfully relatable in her awkwardness and charming candor as she navigates her relationships, her work and her feelings of displacement. The plot is reminiscent of its source material, but stands strong as an independent piece of writing, throwing it’s themes into present day and in the context of today’s social climate regarding the queer spectrum. Bisexuality is often dismissed or erased in theatre, so to be able to witness a piece of writing that is so honest and empathetic to its subject matter is gratifying.

Fresh from a critically acclaimed run at Edinburgh and with The Plaines Plough, Marcus’s debut is also a Soho Playhouse winner of Excellence in Theatre. Sap is an enlightening, thought provoking drama that explores with maturity the nature of trust, truth, control and cohesion as well as the complexities of contemporary relationships. Breffni Holahan in Collapsible by Margaret Perry at the Edinburgh fringe in 2013. Photograph: Murdo MacLeod/the Guardian

Tour Dates

EK: I learned so much about theatre producing with that series. Audio has to work a bit harder to reach people. We had to be really careful of what we commissioned and the development process on each of those pieces, because at every stage it could lose its resonance. I was much more on point than I had ever been in the hurlyburly of producing fringe theatre. I had more time and focus. The signs of trouble set in when her new girlfriend says that she will not date a bisexual woman, and Daphne chooses to hide her sexuality. Marcus has Daphne play this as a convenience, a white lie that she will eventually confess to – until her girlfriend and her one-night stand are revealed to have a connection to one another. Rafaella Marcus is a 2021 MGCFutures bursary winner and JMK Award Finalist, whose work focuses on bringing marginalised voices to the stage, especially women. SAP is produced by 11-time Offie-nominated Atticist, whose previous production Life According to Saki won the Carol Tamber Best of Edinburgh Award, and by Ellie Keel, the Founder Director of the Women's Prize for Playwriting, who this year was shortlisted as Producer of the Year in the Stage Awards, and has added SAP to her roster of hit shows including Collapsible by Margaret Perry, HOTTER and FITTER by Mary Higgins and Ell Potter, and Reasons You Should(n't) Love Me by Amy Trigg. The production is designed by by Rūta Irbīte with lighting design by David Doyle, Composition and Sound Design by Tom Foskett-Barnes, and Movement Direction by Jennifer Fletcher. Tour Dates A modern tale of coercion and abuse at the expense of a bisexual woman echoes the ancient myth of Apollo and Daphne.

Sap is a loose adaptation of Ovid’s Metamorphoses, a tale of Apollo and Daphne – where Apollo’s obsession becomes increasingly intense and concerning. In the original tale, Daphne’s parents turn her into a plant whenever Apollo comes close. However, in Rafaella Marcus’ debut play Sap at Summerhall, this is reimagined metaphorically and the tale itself is grounded in modern sensibilities. From Atticist and Ellie Keel Productions, this hit play is a queer urban fable about bisexuality and what we allow people to believe, in a world where The Song of Achilles meets Killing Eve. Drawing inspiration from the myth of 'Daphne and Apollo', SAP is a contemporary, fast-paced thriller about passion, power, and photosynthesis.Jessica Clark plays this Daphne with a frantic edge – the character’s need to please makes words catapult out of her before she has time to think them through. Clark also does a remarkable job of finding light and shade in a text that is dense but has might. Centring on the experiences of bisexual women, who are significantly more likely than heterosexual and lesbian women to be abused by their partner, it blends the past with the reality of the present. Peppered with artful what-could-have-been moments and self-aware sides, this mammoth story is squeezed skilfully into 70 minutes – and for the most part, it drives. I have been in several meetings recently with theatres who have expressed an interest in my work and those conversations have come down to me being asked “Do you have a great producer we could co-produce with?” or “Do you have connections with other theatres we could co-produce with?” or “Do you have a celebrity who you have a good relationship with?” I have accidentally built this lifeline of writing so it’s something that I am able to take into other mediums within a creative industry. I work other jobs so I can exist in this industry, where there are not enough jobs for the number of people who want to be in it, essentially.

Similarly, her bisexuality, which is arguably the catalyst to further problems, is a fight between her natural and taught instincts. Her attraction to men is almost an animalistic urge, as opposed to women, a softer, more comforting love. She jokes about going out for ‘ladies night’, when her friends say she can’t decide that beforehand, otherwise that would make sexuality a choice. The way she describes her attraction is notably less eloquent than other moments- its chatty and familiar. Whilst it makes sense to her, it’s confusing to be able to express it outwardly. She’s not a scholar, she’s just trying to tell us what she feels in a way language cannot. Maybe if she was able to, the rest of the story wouldn’t happen. We’ll never know. At the end of the performance, the actors were presented with a Lustrum Award given by Summerhall’s founder and owner Robert MacDowell to shows he particularly admires across the Edinburgh Festivals. RAFAELLA MARCUS’ DEBUT DRAMA TAKES AN ANCIENT STORY AND MAKES IT BOX FRESH’ – Lyn Gardner, The Stage Rafaella Marcus is a 2021 MGCFutures bursary winner and JMK Award finalist. Her work as a writer & director focuses on new writing and bringing to the stage marginalised voices, especially women. She is currently developing new self-penned play Sap, and writing new audio drama for Big Finish TBA. A white lie Daphne told to her partner about not being attracted to men spirals out of control, and is used against her. The play becomes frantic, with Daphne, to no avail, trying to untangle herself out of the situation she has found herself into. Nature is used as a metaphorical device in Daphne’s monologues as she suffocates from the situation. Sap is difficult to watch in terms of subject matter, but it’s also difficult not to take your eyes off it in terms of performance. On the reflective floors, Clark and Marcus both present sensitivity in their characters but easily provide the dramatic intensity some of the scenes demand.Rafaella Marcus’ Sap is loosely based on the myth of Daphne and Apollo; the show centres around Daphne, a bisexual woman living in the contemporary world. Daphne meets a guy she describes as ‘exactly what you think of when you think of just a guy’, and they have a one-night stand. She then meets and falls in love with a woman and fails to tell her about her sexuality due to the opinions the woman possesses about bisexuality. There’s more to the story than this, but I’m leaving it at that, so as not to spoil the plot. There is a tough truth with theatre and art in general that it has never been able to wash its own face, or exist as a purely commercial venture. It has actually always required more money going into it than will come out. So art must be subsidised to exist, which means that decisions to cut government funding for art are ideological.