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
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
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
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
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