Brecht’s Chicago in the East Village
At P.S. 122, Lear deBessonet’s production of Bertolt Brecht’s second great play, Saint Joan of the Stockyards (Die heilige Johanna der Schlachthöfe, 1928), featuring an inspired live score (Greek chorus?) by country/blues woman Kelley McRae and her band and telling choreography by Tracy Bersley. The producer is Karina Mangu-Ward and Helen Shaw is the dramaturg.
Space, production, players, and all the other elements combine to create the real deal, Brecht’s Verfremdungseffekt. Can’t think of a better introduction to the work of this genius. Ralph Manheim’s translation translates Brecht into a fine American muckraker without neglecting the exceptional historical/philosophical/theological chops.
From the program:
“So what is being discussed in the play ‘St. Joan of the Stockyards’ is not the inner being of religion, faith, the existence of God. It is rather the approach of religious persons, the talk of God… talk to the effect that God need have no function whatsoever in social matters, and that those who believe in such a God are called to accomplish nothing in particular.”
-Bertolt Brecht
Actors: Kristen Sieh (Joan); Richard Toth (Mauler); Kate Benson (Mrs. Luckerniddle, Ensemble); Mike Crane (Slift, Ensemble); Jessica Green (Martha, Little Joey, Ensemble); Jonathan Co Green (Cridle, Gloomb, Ensemble); Peter McCain (Snyder, Ensemble); Nate Schenkkan (Graham, Ensemble)
Running through 1 July, by special arrangement with Culture Project’s Women Center Stage.
tags: bertolt brecht
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