BRECHT ON BRECHT” OPENS AT ATWATER PLAYHOUSE ON APRIL 27
WHAT: “Brecht On Brecht.” A theatrical entertainment.
WHO: Based on the writings of Bertolt Brecht. Conceived by George Tabori from various translations. Arranged and directed by DAC member Alistair Hunter. Musical director Gayle Bluemel. Presented by The Other Theatre Company. Produced by special arrangement with Samuel French, Inc.
WHERE: Atwater Playhouse, 3191 Casitas Ave. #100, Los Angeles, CA 90039. FREE parking lot.
WHEN: Opens Saturday, April 27, 2013. Runs through Sunday, June 9. Dark on May 12, 24, 25, 26. Show times: Fri. & Sat. at 8, Sun. at 2.
ADMISSION: $25. Students and seniors, $18.
RESERVATIONS: (323) 960-1054.
ONLINE TICKETING: www.Plays411.com/brecht
When the world was silent, Brecht spoke.
Bertolt Brecht (1898-1956) was a staggeringly prolific playwright (54 plays), poet, lyricist, screenwriter, and theatre director. He is popularly identified as a champion of the workers and oppressed people. An enemy of Hitler, he ranked number five on Hitler’s death list, causing him to flee his native Germany first for Scandinavia and later the United States, where he resided in Santa Monica for six years. Although never a member of the Communist Party, he was a Marxist, which brought him to the attention of the House Un-American Activities Committee (HUAC). He completed testimony before the Committee one day before his exit from the United States, for which he was roundly criticized by the Left. He attained Austrian citizenship and returned to his native Germany, where he directed the Berliner Ensemble until his death in Berlin at age 58. His extraordinary output, incisive wit, powers of observation of the human condition and political consciousness have influenced makers of theatre, film and pop culture ever since.
“Brecht On Brecht” is a multimedia revue focusing on the work of the youthful Brecht, featuring poems, songs and excerpts from some of Brecht’s greatest plays, including “Fears and Mysteries of the Third Reich,” “The Resistible Rise of Arturo Ui,” and “The Threepenny Opera” (from which the pop standard “Mack The Knife” is derived). It is, if you will, a greatest hits collection of the young Brecht. It also includes snippets of his testimony before the HUAC. He is toying with them, even if he ultimately feels compelled to somewhat cooperate with them.