STAGE REVIEW : Sitting Down to Brecht Fest : ART’s Production Proves the Revolutionary German Writer’s Work Has Lost None of Its Bite

“Brecht on Brecht,” at the Alternative Repertory Theatre through March 14, is a journey into the mind and mission of the revolutionary German writer via selections from his poetry, songs, essays and plays.

Performed by a company of five, the piece is basically a 90-minute choral recitation. Yet between the power of Brecht and the imagination of director Barbara Covington, ART’s production tells a thoughtful and textured tale of human struggle.

Compiled by George Tabori, the selections from Brecht’s writings express a bitter tenderness for the human condition that has lost none of its bite in the half century since Brecht first emerged as a theatrical visionary. Tabori has juxtaposed them with taped excerpts from Brecht’s interrogation before the House Committee on Un-American Activities, to compose a portrait of the author as a living argument for the importance of artistic free speech.

Brecht strove to reconfigure theater as a transformational societal force by distancing the audience from the emotional catharsis of the performance, so as to inspire viewers to consider and act upon the ideas of the play outside the theater, within the context of daily life.

The subtle triumph of ART’s production lies in the directorial and design efforts to adhere to that vision.

Gary Christensen’s makeup paints the actors’ faces as grotesque and colorfully patterned masks. Karen J. Weller’s sharply silhouetted costumes are painted as well. These effects heighten the actors’ impact as symbolic voices and also add a good deal of visual interest to the performances.

The small playing area is lit with equal drama by David C. Palmer, and director Covington’s kinetic staging makes good use of the space and of many archetypally “Brechtian” elements, such as the signs which come together for the symbolic finale.

The staging during the opening minutes, as the performers act as their own audience, is more alienating than perhaps even Brecht had in mind. But the piece opens up to include the paying customers when it reaches the section on theater, in which the playwright’s wry sense of humor bubbles up to dispel the threat of didacticism.

Faced with the tough assignment of representing aspects of Brecht’s character, or of the character of mankind in general, the actors bring energy and feeling to their performances as The Optimist, The Pessimist, The Angered, The Wise and The Activist.

Jack Thomas has the most accomplished stage presence, but the piece relies on a company working together, and Kathryn Byrd, Dawn Decker, Iqbal Theba and Stefanie Williamson all contribute strongly.

Ironically, for sheer emotional impact, the company’s recitations pale beside the recorded HUAC sessions. Brecht’s articulate self-defense has a compelling, suspenseful immediacy so involving that it flies in the face of his own theatrical edict against identifying with the protagonist.

However, it makes an effective counterpoint to the live performance, and humanizes this resounding portrait of a giant of modern art.

‘Brecht on Brecht’

The Alternative Repertory Theatre’s production of a piece compiled by George Tabori from the writings of Bertolt Brecht. Directed by Barbara Covington. With Kathryn Byrd, Dawn Decker, Iqbal Theba, Jack Thomas and Stefanie Williamson. Scenic design by D. Silvio Volonte. Lighting design by David C. Palmer. Costume design by Karen J. Weller. Sound and makeup design by Gary Christensen. Thursdays through Saturdays at 8 p.m. and Sundays at 7 p.m. through March 14 at 1636 S. Grand Ave., Santa Ana. Tickets: $12.50--$15. Information and reservations: (714) 836-7929.