Review: Bertolt Brecht’s “Baal”

Going On a Tear With Bertolt Brecht


EP Theater presents:

by Bertolt Brecht
directed by A.J. Ware and Hunter Kennedy
through October 3rd (ticket info)

reviewed by Paige Listerud

One thing you can say about EP Theater’s production of Baalthey do nothing by halves. They flounder and flop like a fish out of water in the first act, only to snap into riveting concentration and power with the second.

Written in 1918, when Bertolt Brecht was twenty years young, snapping a whip against his thigh as he accosted women in the streets, Baal clearly shows Decadent and Aesthetic movement influences—the dark side of 19th century Romanticism. Its action is raw and scandalous; its language is thickly poetic – so thickly poetic that character motives can be obscured. So if the actor hasn’t made clear choices about what the words mean, there’s no way the audience will ever deduce it. It’s a production you can both love and hate, kind of like the eponymous character himself.

But, in the final analysis, what’s not to love about two bad-boy artists tearing through women, booze, money, towns, and finally each other–violating every convention, assaulting morality to the last breath? It’s been quite while since I’ve witnessed dramatic characters with this much absolute thinking and vehement passion. That’s what makes it so groovy. The addition of The Loneliest Monk, a Chicago rock-art duo, playing a live original score, creates the perfect unifying and satisfying bohemian touch.

What’s not so groovy is the monstrously amateurish first act. “We tweaked and tweaked and tweaked the writing to get it to the point it is now,” says Executive Director, Jason Ewers. “There were scene sections we just didn’t know what to do with. But what attracted us to this early Brecht work was just how raw it was.”

Perhaps then, that obnoxious term, work-in-progress, still applies here. The actors still have to gain better mastery of Brecht’s language. Some actors do not have the heft and projection to deliver it, while others attempt to build dramatic tension by shouting lines. The ensemble cast is cohesive and meaningfully responsive to each other, but work on clarifying and personalizing the subtext to all that heavy-duty poetry remains the bulk of unfinished work for the first act.

Thank goodness the difference between first and second acts is like night and day. Thank goodness A. J. Ware and Hunter Kennedy’s direction brings on full-bore pansexuality, as well as the physical and emotional devastations of amoral excess. Baal and Ekart are a fabulously doomed couple, even if Baal is the more fabulously doomed of the two.

Finally, it needs some nudity. Seriously. That’s not a prurient suggestion. Okay, it is. But is it in keeping with the spirit of Decadence.

One can shake ones’ head in astonishment at the way this particular show swings from depths to great heights, but no one can deny EP Theater’s ability to take risks. Its capacity for daring and risk wins it respect, even with this significantly flawed and unfinished production.

Rating: ««

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