Charm, wonder, beauty... not words often
associated with Bertolt Brecht. More often dour, didactic,
dull. The Young Vic's revival earlier this year of
The Good Soul Of Szechuan impressed
some but left many doubting whether there was continuing dramatic life
to such works after the dismissal of communism as a global
ideology. On that occasion I rallied to the case for the defence,
but now the belated British première of his final play is, alas,
all of those D-words I mentioned and more. Edward Kemp's
translation and Anthony Clark's production are as lively as they can
reasonably be, but really, Hampstead's selling this show on the basis
of its humour and vivacity amounts almost to fraud.
In a fictitious China, the emperor struggles in vain to hide his
monopolistic abuses from the people by enlisting the “Teliu”s
(official, state-sanctioned intellectuals) to come up with a specious
excuse for the artificially engineered cotton shortage. The winner will
receive the hand in marriage of his daughter Turandot, who as it
happens gets turned on by any signs of deep thought more complex than
those of a concussed wasp. Meanwhile Gogher Gogh, a mobster on the run
from former colleagues, inveigles his way into the palace and takes
over the imperial government, with no noticeable change for either
better or worse.
Gerard Murphy's Emperor is amusingly ineffectual, but Chipo Chung as
Turandot is an airhead whose repertoire of arousal grows quickly
stale. Between the uselessness of the Telius, the imperial
pocket-lining and Gogher Gogh's own kleptocracy there seems no
coherence to the targets. Amazingly for Brecht, one gets no sense
of the play's actual
politics.
(The popular revolution is always offstage, never given any
characteristics except in Clark's staging by the significant waving
about of a Little Red Book.)
Most dispiritingly, even the actors seem insufficiently interested in
the words. They pre-empt their cues, and may even fail to remember
basics about the play; at one point on press night, Col Farrell (alas,
this long-time stalwart comedy character actor can no longer be “Colin”
since the advent of the Irish screen star) declared, “The Telius should
be driven out of Fr— er, China.” Why, then, should they expect us to
pay any attention either?
Written for the Financial
Times.