Mother Courage and her Children

by Bertolt Brecht

trans. Tony Kushner

There was a time when I seemed to see a Brecht if not every week at least every month. But those were times when intelligent political theatre was part of the cultural fabric of the time. Perhaps this represents a tiny precursor to the dark days of Tory rule which we all expect. Then playwrights will not be embarrassed to be attacking a right wing repressive government, but be secure knowing the government really is the opposition. But hopefully we can have plays like this, ambiguous, subtle, questioning, frankly confusing plays. And may we have productions like this - so far over the top we probably saw it coming down the other side. No wonder it was weeks late getting up and ready, it is a monstrous production of huge enjoyment. I loved it, despite its flaws.

The Olivier stage is famously huge, and the design makes it look like an open film set. The technicians scurry about setting up the scene while the announcer makes rather good bomb blast noises into the mic. Nothing is hidden, the set tells you the that theatre is an open process. Nonetheless, Fiona Shaw's entrance, riding on top of her cart like Mad Max is pure theatre. Outrageous, obviously, and possibly wrong for character, but wonderful theatre. Part of this approach sees the musicians as either part of the scene, or they simply walk in to sing with the characters. Duke Special - a boy George look alike with outrageous dreads - is largely excellent in his music, if not perfect. The singing is not flawless either. Possibly a disaster or perhaps a masterstroke. Do we care if Mother Courage can sing?

With unflagging energy Shaw's Courage rampages herself and her cart through Germany with as much gusto as the armies she follows, always ready to do a deal, to buy and sell. The children, The strong, confident honest soldier Eilif, the simple Swiss Cheese and the mute Kattrin are slowly stripped from her. The death of Swiss Cheese should be the beginning of the end. Realising she had bargained to hard and lost her son there was a potential moment of redemption. But Courage mounted her wagon and took off again.

Set in the desperate Thirty Years' War even Courage's relentless energy, verve and self-belief is drained. When Kattrin is killed performing a moment of heroism it is all over. But Courage does not recognise it, and picks up her cart and moves never endingly into the night.

This is barnstorming Shaw, on stage most of the 200 minutes of the production, one moment in great coat the next in her bra, singing, screaming, rampaging or, just occasionally, aware of her losses and the inevitability of destruction. The great petit bourgeois business woman, whose main success is to do well enough to prevent herself and Kattrin become prostitutes (like the only well-dressed character, Yvette) only looks forward, and never back. Her companions do not last long as the war devours Europe, but mute Kattrin is wonderfully played by Sophie Stone and Peter Gowen's chaplain shares some of the best lines in a deeply personal playing of the part.

Whether it is in keeping with Brecht's view that his great play should turn into a gigantic rock circus is a valid question, answered perhaps in the programme where Brecht himself directs his Berlin Ensemble prior to the English tour in 1956 to offer 'pure pantomime'. His other pertinent quote, 'writers can't write as fast as governments can whip up wars' gives us another way to look at this mercantile view of wars (or as Amanda put it, Courage is the Military-Industrial complex)

It may all be too much for you, or the singing may not be good enough, or the music too loud, or Courage too joyous in her capitalism or too exultant in her successes. But it is a bloody good three hours of entertainment and surely you will not emerge without an opinion. In the end it was wonderful entertainment with lots to talk and think about. Not perfect, but the essence of what I simply love about theatre.

Download the music from: Http://www.dukespecial.com/

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