Critics have given mixed reviews to the Off-Broadway revival of the 1962 revue Brecht on Brecht: A Celebration of Life Lived in Defiance, presented by Theater Breaking Through Barriers in a limited engagement that runs through November 20. The show explores the political and social issues that Brecht faced throughout his life: as an artist fleeing the Nazis and as an exile living in America. Originally produced by TBTB soon after 9/11, the company has revived the show to offer hope for today’s uncertain times.
The creative team includes Bertolt Brecht (words), Kurt Weill and Hans Eisler (music), George Tabori (adaptation), Nicholas Viselli (direction), Dionne McClain-Freeney (music direction), Bert Scott (sets, lights), Courtney E. Uruyo (costumes), Eric Nightengale (sound), and Samuel J. Biondolillo (projections). The cast features Fareeda Ahmed, Scott Barton, Stephen Drabicki, Ann Flanigan, Anita Hollander, Dionne McClaine-Freeney, Anne Marie Morelli, Sean Phillips, and Pamela Sabaugh.
The cast of Brecht on Brecht.
New York Theater (Jonathan Mandell): TBTB presents a fascinating collage — more like a barrage — of the poems, stories, songs, plays, parables and sayings by the prolific and consequential German theater artist Bertolt Brecht … [which] can feel overwhelming. … But in other ways, the TBTB production of Brecht on Brecht goes far beyond most theater in orienting the audience. The actors one by one describes what they look like and what they’re wearing, and the entire show is accompanied by open captions. … One leaves the show wondering why every theater doesn’t take these simple steps toward greater accessibility.
Theatermania (Zachary Stewart): Does Brecht have something to tell us? Oh boy, does he. … But the show is never completely satisfying as either bioplay or theatrical revue. … Audiences with no prior knowledge of Brecht will feel hopelessly adrift through large parts of this remounting. This is despite a sharp, energetic staging from Viselli. … An ensemble of nine performers of various abilities and disabilities cheerfully obliterates the notion that you have to be completely able-bodied in order to appear in musical theater. … None of it fully compensates for the show’s Brechtian muddle, though it does make 100 minutes go by pleasantly enough.
Theater Pizzazz (Samuel L. Leiter): Those familiar with the 1962 version, as recorded on vinyl, will be disappointed to find that it has been considerably revised here. … While the company is a bit uneven, all are spirited, and several possess strong singing voices. Viselli, making much use of a rolling piano, keeps them moving. This revival, in fact, is surprisingly physical, but even those with mobility issues handle it well. … For all its earnestness, its pertinence, and the exertions of its enthusiastic company, you may find yourself experiencing the verfremdungseffekt of being cerebrally estranged rather than emotionally involved. Somehow, I don’t think that’s what TBTB had in mind.
Theater Scene (Darryl Reilly): “Mack the Knife,” rendered by a kinetic ensemble as a rousing production number on a stage bare except for a piano and chairs, is a highlight of Theater Breaking Through Barriers’ resounding revival of Brecht on Brecht. … Viselli’s physical staging crackles with force and exhibits visual flair with numerous arresting stage pictures. … Brecht’s excoriation of capitalism and middle-class morality could seem pertinent to many today. Theater Breaking Through Barriers’ passionate presentation of Brecht on Brecht preserves his sensibility while providing a welcome platform for its cast of charismatic disabled performers.