GEORGIA IS ON MY MIND
Not THAT Georgia. The one located in the Caucasus Mountains in Eastern Europe at the edge of Asia. That’s where the play begins, but it’s not where it ends. If the audience follows Bertolt Brecht’s prescription, they consider the lessons of the comedy-drama and apply them to their own lives. This comprises the challenge of “Epic Theatre” as conceived by one of the most influential playwrights of the 20th Century. I have the good fortune to take in 
the masterpiece THE CAUCASIAN CHALK CIRCLE at the actor-driven, classical Antaeus Theatre Company headquartered in Glendale, CA. The only previous experience with a Brecht play for this critic remains – notably – the poster child for alienation, MOTHER COURAGE AND HER CHILDREN, so today offers a chance to delve into additional truths related to society’s ills along those lines. Corruption, violence, injustice, innocence – they’re all on the menu and I can hardly wait to dig in.
During a brief respite before the show, the word is passed that there will be a short delay before entering the theatre. The lobby is stuffed with humanity as the play’s “Prologue” interrupts our focus on the entrance to the playing space. It begins with a whimper and builds in intensity as the actors mingle with bemused and confused theatre patrons while displaying an agitated state. Before long the audience finds itself enmeshed in a dispute
centered in a war-ravaged village during the Soviet era (the play was written in 1944). Farmers are struggling with differing viewpoints about how to use their land in the aftermath of the destruction. How might a proper judgment be chosen as they move forward despite their passionate disagreements? Perhaps an instructive parable might be ripe for enactment. And so, the audience files into the theatre and the play begins (or is it already underway?).
Brecht bases the parable on a medieval Chinese play. Under considerable personal danger, a humble kitchen maid (Liza Seneca as long-suffering, devoted “Grusha”) rescues an abandoned infant {“Mykal”) during hostilities. When peace is restored, the aristocratic Governor’s wife (a selfish, fixated Claudia Elmore) returns to claim the child and a judge-by-accident (an amusing, seemingly erratic Steve Hofvendahl as “Azdak”) needs to render a judgment about parenthood. Thereby, society finds itself on trial as the audience considers its own culpabilities and sympathies (as do the actors themselves). The device of this high stakes decision not only appears in the Chinese version, but also in Brecht’s short story which preceded this famous work of German literature. In actuality though, it hearkens back to a slightly altered King Solomon biblical version. 
The kernel story unfolds within an ever transformative ensemble performance that consistently modulates its vocal dynamic along with its physicality. Actors change simple costumes (compliments of Angela Calin) in view of the audience within the confines of a swiftly altered environmental setting (credit Frederica Nascimento with assistance from the stark lighting design provided by Ken Booth) that continues the bare bones approach favored by the playwright. This allows performers to sidle in and out of the action, sometimes assuming the mantle of a new character, while at other times abandoning involvement in the stage action and observing the developments in audience mode themselves. At various times they become a meandering river or a bridge, while occasionally serving in a musician’s capacity. This cast has composed the musical interludes (mostly in minor keys) highlighting important issues as reflected in Brecht’s own lyrics.
Gabriela Bonet shines as the “Singer”, but also as “Jussup”’s mother and the animator of the doll representing Mykal. Speaking of the conniving, cowardly “Jussup” (Troy Guthrie), he
also portrays a sexually aggressive Sergeant with considerable aplomb. Likewise, count me a fan of the milktoast soldier (or “dickhead” in Alistair Beaton’s well-respected, contemporary translation) who finds himself the abused target of this sergeant; Turner Frankosky (“Shauva”) demonstrates the power of nuance with his right-on-target performance. On another level, Michael Khachanov succeeds in giving definition to the role of “Simon”, the soldier first attracted to Grusha, who wins her love and later must adjust to unexpected circumstances in her life.
Yes, this ensemble is a whirling flurry of activity, representing the highs and lows of the human condition and offering food for thought. Not only that, collectively they issue a call to action for any sideline sitters among us. Besides the seven actors already cited, the other stars of this 16 member ensemble include the following: John Apicella, Noel Arthur, Paul Baird, Connor Kelly-Eiding and Alex Knox. Also, Mehrnaz Mohammadi, Madalina Nastase, Janellen Steininger and George Villas. Fine work from all!
Were it not for the extraordinary direction of Stephanie Shroyer, this play could easily drift 
into sophomoric territory as a high-falutin acting laboratory. She elicits highly specific performances from her acting troupe, and melds those individual elements into a satisfying whole, suitably honoring the Brechtian tradition yet feeling fresh and invigorating at the same time. Well done!
Now it’s left to me to solve two pressing concerns. First, what stage magic was involved in the drawing of the large chalk circle so vital to the play? Next, in that once considered Broadway production of a few years ago, just what role was in store for the announced star Angela Lansbury? While these issues continue to ruminate, let me remind all that the run of THE CAUCASIAN CHALK CIRCLE at the Kiki and David Gindler Performing Arts Center of Antaeus Theatre Company in Glendale ends on August 26. Serious actors – especially – should not miss it.
pc: Jenny Graham
Theatre Curtain Calling… Reviewing the Situation
