BACK
STAGE WEST
April
02, 1998
BRECHT
ON BRECHT
at
the Odyssey Theatre
Reviewed
by Rob Kendt
As
an introduction for the uninitiated to the writings, theatre, and ideas of the
German poet/playwright Bertolt Brecht, Brecht on Brecht, George Tabori's 1962
"collage" of scenes, songs, poems, and journal entries, is fair
enough. It samples many major Brecht plays--Mother Courage, Galileo, The Resistible Rise
of Arturo Ui, The Private Life of the Master Race--and touches on a few
of his most enduring social and aesthetic concerns, all the while providing a
rough biographical sketch, especially of his formative years in frustrated
exile from Nazi Germany.
But
it's worth carping that such a sketchy, fragmented enterprise is essentially
un-Brechtian in that it can't sustain any one dialectical argument for any
length of time, or work through the knotty sociopolitical contradictions that
were his great subject; instead, Brecht on Brecht is expressly designed
to whisk us fleetly from moment to moment, impression to impression, and to
gracefully mix dark and light, heavy and flip.
Perhaps
director Ron Sossi, in this new revival to celebrate the centenary of Brecht's
birth, has left some rough edges showing to keep it more "Brechtian,"
though they look more like telltale signs of under-rehearsal. Across Lawrence
Miller's plain black multi-leveled set, eight actors--four men, four
women--pace and declaim their Brecht bits, some on book, some off (some
confusedly in between), some with effectively telling understatement, though
most with a desperately punched-up, actory emphasis, as if they were
auditioning for a two-liner on Ally McBeal.
After
an interminably rambling first act, the second act gains footing and focus
midway through, unsurprisingly, when Brecht's story takes him to Hollywood. And
while only Jack Axelrod and Erin Noble manage to put across coherent
evening-long performances out of bits and pieces--and Noble does a searing turn
in the climactic near-monologue The Jewish Wife--none of the performers
is denied a shining moment. For Greg Mullavey, it comes in a humble plea for
posterity's understanding, "To the Next Generation"; for Tom Lillard,
in the lovely "Marie A. Song"; for Robert Thaler, in the rueful,
meditative "Fourth Psalm, Part I"; for big-voiced Camille Saviola, in
a flawlessly droll rendition of "Solomon Song" (the Blitzstein
version); for steely-voiced Maureen Teefy, in a pair of songs, "Surabaya
Johnny" and "Song of a German Mother," and for Sheelagh Cullen,
in a loving description of an actor choosing the right hat for the role.
But
there are many low points here, as well: pseudo-German accents that vary widely
in quality, cutesy piano flourishes by John Jay Espino, rambling staging that
wanders in and out of Marc Rosenthal's lighting, a dull array of street clothes
that evoke a church pot luck. We look forward more hopefully to the Odyssey's
June production of The Good Person of Setzuan as a better
introduction to a playwright whose work unfortunately seems to require one.
"Brecht
on Brecht," presented by and at the Odyssey Theatre Ensemble, 2055 S.
Sepulveda Blvd., W. Los Angeles. Mar. 28-May 10. (310) 477-2055.