Are there writings so dangerous that the powers that be are right in deciding their authors “must be silenced”?

“Quills,” the latest production from Mad Horse Theatre imagines events two centuries ago in an insane asylum that happens to incarcerate a notorious literary rascal. Despite its historical trappings, Doug Wright’s highly entertaining 1995 play holds contemporary relevance. And the 2 ½-hour production now running in South Portland contains many big laughs to go along with a certain squirm factor.

The Marquis de Sade, the historical figure portrayed in this play, scandalized his era with writings that tested or just plain leapt over the boundaries of acceptable literature. Weird and often violent sexual practices were his specialty and he greatly enjoyed describing them, thereby challenging the conventional morality at which he scoffed. But was he only a witty pornographer or a real threat? And was he so dangerous that he had to be stopped at any cost from further opening his “Pandora’s Box” full of corrupt ideas?

Stacey Koloski directs a nimble cast of Mad Horse regulars and guests, outfitted in formal and flouncy period costumes (by Michelle Handley), for a production that is both thought-provoking and very funny. No character quite comes out with clean hands in the end. The fun is in how their flaws are unmasked.

As de Sade, Mark Rubin gives his mischievous “genius” the requisite menace of one who appears unbound by any sense of decency or respect for authority. His locutions may represent ideas yet too radical for the times and his arguments confound others to the point that his elimination seems the only way to shut him up. Is he a true devil or an advocate, albeit an discomforting one, for freedom of expression? In a powerful performance, Rubin’s libertine wants it all but loses more than a little along the way.

Josh Brassard plays Doctor Royer-Collard, a chief physician more interested in siphoning off asylum funds to keep his promiscuous wife happy than in improving the asylum. Brassard, with facial expressiveness, occasionally allows the audience a comical peek behind the facade of this cuckolded schemer.

Tyler Costigan and Marie Stewart Harmon in Quills. The play imagines Marquis de Sade’s life when imprisoned in an insane asylum. Photo courtesy of Mad Horse Theatre

Tyler Costigan has a dual role as Monsieur Prouix, a slippery dandy who falls “victim” to Madame Royer Collard, and Cleante, a creepy inmate. Subtle comic twists highlight both characterizations.

Janice Gardner storms on and off stage as Renee Pelagie, the Marquis’ wife, who is more concerned with her own status in high society than with the wellbeing of her spouse. Laughs were plentiful as Gardner drilled into her character’s manipulative narcissism.

Nate Stephenson takes on a central role as the Abbe de Coulmier, a fretful man of the cloth who, in advocating for a humane, less punishing treatment for the inmates, debates religious and moral issues with both the doctor and the Marquis. Stephenson’s subtle performance provides a grounding for a cast of characters who are all confined in one way or another.

Marie Stewart Harmon gets to jump between social classes in dual roles as the flirtatious laundress Madeleine Leclerc and the lusty Madame Royer-Collard. Whether as an innocent seduced or a seducer unbound, Stewart Harmon adds a wicked spirit to the proceedings.

Set and sound design by Connor Perry and Joshua Hsu, respectively, add detail to this play that hilariously asks some important questions.

Steve Feeney is a freelance writer who lives in Portland.

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