“From the first it has been the theatre’s business to entertain people, as it also has of all the other arts. It is this business which always gives it its particular dignity; it needs no other passport than fun, but this is has got to have. We should not by any means be giving it a higher status if we were to turn it e.g. into a purveyor of morality; it would on the contrary run the risk of being debased, and this would occur at once if it failed to make its moral lesson enjoyable, and enjoyable to the senses at that: a principle, admittedly, by which morality can only gain….The theatre must in fact remain something entirely superfluous, though this indeed means that it is the superfluous for which we live. Nothing needs less justification than pleasure.” —Bertolt Brecht, A Short Organum for the Theatre (trans. John Willett)
I love Brecht.
It felt appropriate to include the quote above in the blog post about this episode—an interview with directors Eric Powell Holm and Katie Melby (who also stars as Jimmy Gallagher in the show), and producer Kelly Klein (who portrays Willie) of BREAD Arts Collective‘s Rise and Fall, their take on Rise and Fall of the City of Mahagonny—because in my opinion, they’ve succeeded in getting to the heart of Brecht’s moral lesson, while at the same time making a highly pleasurable, superfluous piece of theatre that’s a great way to enjoy a Sunday night on a Lower East Side bar.
Listen in as Katie, Eric, and Kelly discuss creating their production with the people in the collective around them, why this is the perfect show to do in a bar, why you might want to under-rehearse, reading the room, and what to do if someone calls the bar-phone in the middle of your bar-show.
“This shit will live or die on its punk rock spirit. We have to go fast, and hard, and truthful, and we must not give a fuck—that’s the only way this play will work.”
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Listen in as Christine Hamel and Jake Murphy, members of the cast of PTP/NYC‘s new production of Brecht on Brecht, discuss how they found their version(s) of the George Tabori collage, “balancing the dark and the light” of the opposites inherent to Brecht’s theories, relevance, audience reactions to Epic Theatre, how the production has changed in the 18 months between presentations, and speaking truth to power in 2018.
