Before waxing ebullient over this outstanding production, I shall state at the outset that there are technical aspects that may grate. The lighting is haphazard; granted, there did not seem to be a single theatrical lighting instrument in the air above the odd assortment of polygons comprising the stage and seating in the Viaduct Theater, but the actors could have occasionally found their light better, and some of the spill could have been focused on the stage rather than the audience, or masked. There is no amplified sound; at times the actors voices are overbalanced by the live instruments.
I beg of youlook past these technical shortcomings (which in a more well apportioned theater would have been attended to) and go see this absolutely fantastic retelling of a masterpiece of modern theater. Under the direction of Jonathan Berry, the ensemble sings, dances, mugs, and interacts with reckless abandon, transforming the dilapidated barn of the Viaduct into the steps of a palace, the cold agricultural villages of the Caucasus, a precipitous gorge, and a veritable weapon of storytelling. Brechts tale cracks like a whip in their hands, and each of the 12 actors takes their turn to wield it. Though some have more lines than others, all play each moment for everything its worth; their nuanced, wordless choices are delightful. Particular accolades should be launched toward Yosh Hayashi, who steps up to the difficult role of Azdak and positively knocks it out of the park.
But all are to be praised. Had I another 600 words I would name them and talk of each particular moment where they brought a delighted grin to my face or silenced me with a moment of grim reality. All the words in the world, though, cannot replicate the experience of seeing this show. Go, please. Buy tickets for you and your friends. This production deserves to make money and be seen.
Reviewed by Centerstage!
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