Bertolt Brecht was one of the most influential writers and theatrical theorists in the history of western theater. His major concept, which he called Epic Theatre, was based on the theory, as he stated, “that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage.”
This Epic Theatre concept is the basis for understanding, appreciating and gaining from his play Mother Courage and Her Children, now on stage at Ensemble Theatre.
This concept is further understood by realizing that Brecht also believed that “Art is not a mirror to hold up to reality, rather a hammer to shape it.” That a writer needs to not only reflect what is happening in the society, but also to take a stand as to what to do about it.
Mother Courage and Her Children was written by Brecht, but has been translated and reinterpreted by modern playwright Tony Kushner, noted for such influential and prize-winning Angels in America, which is built on the Epic concept.
In this and Brecht’s other writings, such as The Threepenny Opera (1928) and The Life of Galileo (1943), he set forth to criticize the flaws of capitalism, ranted against the futility and ridiculousness of war, and proposed courses of action to change our flawed world.
Mother Courage and Her Children was Brecht’s reaction to the rise of Hitler. His social and political views forced him to flee Germany during the Nazi years, go to and from various European countries, and eventually come to and then leave the United States when he found himself under surveillance by the FBI.
Many of his beliefs were handed down from his devout Protestant grandmother and mother, who not only taught him the ways of the Bible, but that of the “dangerous image of the self-denying woman.” This is a recurring theme in his drama, especially in Mother Courage.
Mother Courage and Her Children, which many theatrical scholars believe is Brecht’s greatest work, centers on personal survival, the role of motherhood, the evils of profiteering, the cruelty and futility of war, religious hypocrisy, and the dangers of capitalism.
The plot centers on Mother Courage who follows the troops during the Thirty Years’ War, selling goods and services, often putting her livelihood above the needs and wants of her three children, all of whom become the casualties of war and profiteering.
The Ensemble production is creatively co-directed by Rebecca Moseley & Ian Wolfgang Hinz. The duo chose to stage the play in a runway configuration, in which the audience is on both sides of the stage, forcing attendees to not only see the action of the actors, but the reactions others viewers. This carries out Brecht’s concept of insuring that audience members be aware that they are watching a play, and that they have an obligation to use the information that is being shared with them to go back into the world and take action.
The cast of local performers, who are onstage for the entire performance, often sitting within the audience or perched on various parts of the set, is headed by Laura Rauh, as Mother Courage. She gives a mesmerizing performance. She controls the stage with her emotional involvement in creating a self-denying strong woman who knows what must be done to survive and does it.
Strong performances are also given by Dan Zalevsky, as the the Chaplain and Leah Paige Smith as Yvette, a prostitute who, like Mother Courage, also knows how to survive.
As her children, Kierstan Kathleen Conway is convincingly pathetic as Katrin, the disfigured daughter; Michael J. Montanus well-develops the role of mentally challenged Swiss Cheese; and Santino Montanez (Eilif) is effectively strong as the son who goes off to war. Others in the well-honed cast are Joseph Milan, Kyle Huff, Emily Terry, Arianna Starkman, Kelly Dunn, Mattie Blick, Jabri Little and Kennan Carosielli.
Katie Wells and Rebecca Moseley’s costumes, Ian Hinz’s lighting and Rebeca Moseley’s props and sound all add positively to the production.
Capsule judgment: Theater lovers, rejoice! At two hours and 30 minutes Mother Courage and Her Children is a long sit, but a well worth investment of time when realizing that you are seeing one of the epics of Western culture’s theatrical cannon which is getting an impressive staging.
The show runs through February 25 at Notre Dame College’s Performing Arts Center. For tickets and more information go to ensembletheatrecle.org/mother-courage.
Next up at Ensemble: The world premiere of The Prospect of Equality Ruth Bader Ginsburg’s story by Rachel Zake.
[Written by Roy Berko, member: Cleveland Critics Circle, American Theatre Critics Association]