When one produces a standard work in the theatre canon, it is always with the intention of finding a new way in, of opening fresh or particularly relevant doors for the audience. Such an approach encourages the actors and designers to take chances, and gives the audience the expectation that it is worthwhile seeing the same play more than once over the years. Familiar as I am with Brecht’s work, I have never seen a staging of this play before; although I have seen the television production of Meryl Streep rehearsing the title role for Broadway, and I have seen numerous production stills of various interpretations. I certainly approached this production with high expectations; and in many ways, I was not disappointed.<\/p>\n
As the script ages, expository details such as costumes, set, sound, lighting and actors’ gestures and expressions become increasingly necessary to clarify or illuminate aging words or moribund phrases or political concerns. Program notes give background. All this is in aid of educating the audience so that the text can work on its own terms.<\/p>\n
With that in mind, I was really impressed by the costume design and execution for this production. Peasant costumes were so natural and had an amazing ability to drape in such a way that virtually any moment could have been captured by a painter as a dramatic, carefully designed instant. In contrast, the military uniforms and a rumpled rigidity that expressed the grotesquerie and dispassionate force of war.<\/p>\n
The set operated on several levels, both subliminal and real: the mirror-like stage floor surface gave the action and epic other-worldly aspect which was particularly evident around the wagon. The wagon deserves comment: it was intriguingly detailed yet spartan in its execution, stating with absolute clarity Mother Courage’s situation on the edge of destitution. The use of seven pianos as a major set element was a powerful device that established walls, a funeral cort\u00e8ge, and was reflected in the structure of the barn in which the pathetic Katrin meets her heroic but ignoble end. The movement and use of the pianos was striking and often symbolic, in keeping with the music that is so stirring in this play.<\/p>\n
I was particularly struck by Geordie Johnson as a cook. His “Solomon” song lifted the whole production into Brecht’s uber realm. He sang with emphasis and precision in a superb baritone that really sounded the way you expect a Brecht production to sound.<\/p>\n
I was really puzzled by Tanja Jacobs’ Mother Courage. There were so many times that she sat or stood passively while other actors held the stage, and occasionally she seemed completely domitable. Although at times she took command of the stage, she never seemed to take chances with the role. Maybe internalizing the character was the chance she was taking. It just did not work for me. I did not care about the character. We have to care about Mother Courage\u2014or what is the play about?<\/p>\n
Jani Lauzon was very effective as Yvette Pottier. This may be one of the problems with the production: Yvette was played as a stronger character than Mother Courage. In the scene in which she negotiates the purchase of the wagon, she is the strong character without breaking a sweat. I hate to suggest she tone down the role, as I thought she played it perfectly.<\/p>\n
The final moments of the production, with the entrance of the marching soldiers and the drums was striking and effective. There were many really effective elements in the production that were the product of co-ordination of the ensemble and the designers and artists. Altogether impressive.<\/p>\n
Once again, the company performed wonderfully, especially Matt Miwa, who had to step into the role of Swiss Cheese in place of Nial Patrick McNeil.<\/p>\n
I hope the 40th Anniversary English Theatre Acting Company continues, as the quality of production has been very high indeed. It is important that we see works of this stature in our National Theatre, just as it is important that we see groundbreaking new works by Canadian playwrights. I congratulate Peter Hinton on his vision and enterprise; I earnestly hope that he will continue in this direction.<\/p>\n
Performance viewed: January 23 7:30 pm running time: 3 hours, 3 minutes including 20 min intermission<\/p>\n
The National Arts Center English Theatre Company presents
\nBertoldt Brecht’s Mother Courage and her Children
\nin new version by Peter Hinton<\/p>\nCast List<\/strong>
\nTanja Jacobs: Mother Courage
\nMichael Blake: Eilif
\nWaneta Storms: Katrin
\nMatt Miwa: Swiss Cheese
\nRichard Donat: Chaplin
\nGeordie Johnson: Cook
\nJani Lauzon: Yvette Pottier
\nRandi Helmers: Drunk Soldier\/OldWoman\/Wife
\nKris Joseph: Swedish Soldier\/Soldier in Fur Coat\/Lieutenant
\nRon Kennell: Recruiting Officer\/The Man with the Eye Patch
\nJohn Koensgen: Protestant Sergeant\/Old Colonel\/Peasant
\nJulie Tamiko Manning: Wounded Woman
\nMatthew Tapscott: Armourer\/Scrivener
\nJeremiah Sparks: Catholic Sergeant
\nNisha Ahuja: Yvette’s Servant
\nAlex McCooeye: Young Soldier
\nMembers of the Company: Musicians\/Soldiers<\/p>\nCreative Team<\/strong>
\nPeter Hinton: Director
\nAllen Cole: Music Director and Arranger
\nPaula Danckert: Dramaturgy
\nStephen Ouimette: Assistant Director
\nTeresa Pryzbylski: Set and Costume Design
\nJock Munro: Lighting Design
\nTroy Slocum: Sound Design
\nDavid Dean: Company Historian
\nJohn Koensgen: Fight Captain
\nDavid Petersen: Assistant to Mr. McNeil
\nMichael Hart: Stage Manager
\nJane Vanstone Osborn: Assistant Stage Manager
\nSamira Rose: Rehearsal Assistant Stage Manager
\nSt\u00e9fanie Seguin: Rehearsal Assistant Stage Manager<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"At the National Arts Centre, Ottawa, a new version by Peter Hinton. Performance reviewed: 7:30 pm January 23, 2010 Continue reading