Uncomfortable but important
Review by Lauren Whalen
While Bertolt Brecht's plays have unique language and structure that require some getting used to, much of his work still carries a powerful sociopolitical message. Fear and Misery in the Third Reich is not an easy play in any way, particularly in today's tumultuous-at-best political climate. Brecht's series of vignettes following different characters as Germany approaches World War II is uncomfortable, sad and downright
Fear and Misery in the Third Reich doesn't have a straightforward plot. Rather, it's a series of scenes set in different parts of Germany in the 1930's. From a concentration camp where the internees are forced to sing while digging, to an upper-class home where a Jewish wife must make a difficult decision, Brecht chronicles the insidious nature of the Nazi party as it slowly but surely infiltrates Germany. No matter how each character feels about Hitler - and the reactions vary widely - there's no doubt his influence will change the country (and the world) forever.
How far has our society come since the era of Hitler? If the Trump presidency is any indication, not nearly enough. Brecht's play, translated by Eric Bentley, is a stark reminder that evil still has many forms, and when that form becomes political, all are vulnerable. Academics must guard scientific findings in hushed tones. Even while shelling out money for their own uniforms, loyal soldiers prey on the poor and mistreat their loved ones. And those at risk are worn down by sadness and anger. Sound familiar? It should.
Sobel, also Haven Theatre's Artistic Director, does well to present Fear and Misery at this particular place in time. Brecht's script warns contemporary audiences that history can and will repeat itself, and constant vigilance and resistance are the only means of survival. Yu Shibagaki's innovative scenic design incorporates shallow pits and benches for the audience to sit on, empty doorways and signs that serve as a roadmap to when and where we are. The effect is stark and disturbing, perfect for the Brechtian text. (I will say, though, that the seating is very physically uncomfortable for audience members, who may be well advised to bring their own cushions.) While Sobel's staging is thoughtful and Shibagaki's set excellent, however, the sound design (courtesy of Sarah D. Espinoza and Jeffrey Levin) is a bit overdone. Evil is clearly present in each and every scene and the audience doesn't need a horror movie-esque soundtrack.
Fear and Misery boasts a stunning cast, who navigate the difficult language and themes with ease. shines as a propaganda radio announcer and a nebbish but loving husband, and Amanda de la Guardia brings much-needed comic relief as an apple-munching citizen. Jessica Dean Turner plays multiple roles with power and intelligence, and Alys Dickerson is the ensemble's true star. One of the play's longest scenes features Dickerson onstage alone, making farewell phone calls with cultivated upper-crust bonhomie, on the verge of changing her life in a very frightening way. Fear and Misery in the Third Reich is a tragedy at heart, a moving portrait of good giving way to evil. As a history lesson and a warning for the future, it's completely worth seeing.
Fear and Misery of the Third Reich continues through March 11th at The Den Theatre, 1333 N. Milwaukee (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 3pm. Tickets are $18, and are available by phone (773-697-3830) or online through their website (check for availability of ). More information at HavenTheatreChicago.com. (Running time: 2 hours 30 minutes, includes an intermission)
Photos by Emily Schwartz
, Amanda de la Guardia , Alys Dickerson , Elizabeth Dowling, Simon Hedger, Niko Kourtis, Kyla Norton, Siddhartha Rajan, Alexis Randolph, Jessica Dean Turner
behind the scenes
(director), Yu Shibagaki (scenic design), Izumi Inaba (costume design), Claire Chrzan (lighting design), Sarah D. Espinoza (sound design), Jeffrey Levin (original music), Sasha Smith (movement design), Abhi Shrestha (dramaturg, associate movement director), Angela Salinas (production manager), Madisen Dempsey, Anna Sung-En Medill (assistant directors), Corbin Paulino (stage manager), Marika Mashburn (casting director), Bobby Huggins (technical director), Jenifer L'Amour Dorman (graphic design), Emily Schwartz (photos)
Tags: 18-0224, Abhi Shrestha, Alex Elam, Alexis Randolph, Alys Dickerson, Amanda de la Guardia, Amy Gorelow, Angela Salinas, Anna Sung-En Medill, Ben Kaye, Bertolt Brecht, Bobby Huggins, Chicago Theater, Claire Chrzan, Corbin Paulino, Daniel Chenard, Elizabeth Dowling, Emily Schwartz, Eric Bentley, Haven Theatre, Hilary Jimenez, Ian Maryfield, Izumi Inaba, Jeffrey Levin, Jenifer L'Amour Dorman, Jessica Dean Turner, Joe Bianco, Josh Sobel, Kyla Norton, Madisen Dempsey, Marika Mashburn, Niko Kourtis, post, Sarah D. Espinoza, Sasha Smith, Siddhartha Rajan, Simon Hedger, The Den Theatre, Yu Shibagaki
Category: 2018 Reviews, Bertolt Brecht, Den Theatre, Drama, Haven Theatre, Lauren Whalen
