Brockley Jack 23 February – 12 March. Reviewed by Claire Roderick
Watching Bertholt Brecht’s The Caucasian Chalk Circle isn’t everyone’s idea of a jolly night out, and some productions have run the risk of getting lost up their own backsides trying to stay true to the convoluted story. So Lazarus Theatre had a lot to do to impress me. Walking into the theatre and seeing a space filled with stacks of plastic chairs and boxes made my heart sink, but then a lovely lady offered us biscuits, and things started to look up. It took about 3 minutes for me to be completely swept away by the show, and the collaborative storytelling kept me enthralled throughout.
Set at the end of WWII in Soviet Georgia, the play begins with a conflict between two rival farm collectives over a valley left abandoned by the Nazis. A storyteller tells the parable of the chalk circle to help resolve the conflict. In the parable, a coup in the city of Nuhka results in the governor’s wife abandoning her infant son. Grusha, a servant girl, saves the baby and takes him to safety in the mountains. She is engaged to Simon, a soldier who had to accompany the fleeing aristocrats, but has promised to return. Grusha eventually reaches her brother’s home, and after a long illness is forced to marry a dying man to end the stigma of single motherhood. Her husband’s miraculous recovery when peace is declared causes problems when Simon finally finds Grusha, and soldiers arrive to take the baby back to his mother in Nuhka. Grusha returns to stake her claim of motherhood in front of incompetent judge Azdak, who eventually implements Solomic law and the trial of the chalk circle. Simple!
Frank McGuiness’ earthy translation is wonderful, and designers Sorcha Corcoran, Stuart Glover (lighting) and Neil McKean (sound) have brilliantly embellished and enhanced the story, never allowing the effects to overshadow the cast. Colour changes, constant circling movement and shifting props that usually make me tut and roll my eyes just WORKED in this production. Ricky Dukes has created something magical. The songs by Robert Locke are perfectly judged and fit seamlessly in the narrative flow. When Azdak returns to Nuhka to turn himself in, the music, lighting and movement create a sinister air tension under the hedonism that really draws you in. The rickety bridge scene is also a standout – such a simple concept, but wonderfully effective, and wonderfully performed.
The entire cast have no downtime during the play and their energy and commitment is uplifting. Rob Peacock does seem to act mostly with his groin, but this works hysterically for the characters he plays.
I just wish I’d seen Brecht performed like this when I was younger. This is the first time I have enjoyed the play rather than just endured it. This is brave and inspiring theatre at its best.