Written in 1939 after the German invasion of Poland, Bertolt Brecht’s “Mother Courage and Her Children” is one of the great works of 20th century theater, a massive political drama about the senselessness of war.
Amid the seemingly endless Thirty Years’ War of the 17th century, Mother Courage is a peddler of supplies futilely attempting to profit off the war while keeping her adult children safe amid the bloodshed.
It can be a tricky text to pull off, however, as demonstrated by the sluggish Ubuntu Theater Project production at Mills College in Oakland, where the company is in residence this year.
There are a lot of interesting touches in director Emilie Whelan’s staging, which uses a fairly recent 2006 translation by playwright Tony Kushner. Brecht’s introductions summarizing what’s about to happen in each scene are read in scratchy recordings on tinny loudspeakers as the ensemble gathers around to listen raptly.
Most of the action takes place on the audience floor of the theater, with onlookers seated around the perimeter on all sides, while the raised, red-curtained stage is only occasionally used for dramatic effect. There’s no set to speak of, aside from a rough bandstand with speakers hung on a pole above, and the large ramshackle wooden platform that serves as Mother Courage’s wagon.
Usually a dynamic performer, Mime Troupe veteran Wilma Bonet seems like a perfect choice for the lead, but her weary Mother Courage is charismatic but often hard to hear even in the intimate seating. On opening night her delivery was halting, seemingly stumbling on lines in a way that exacerbated the already slow pace of the production.
Kenny Scott is belligerent as son Eiliff, itching for conflict, and Kevin Rebultan exudes sweet, good-natured innocence as younger son Swiss Cheese. Rolanda D. Bell is particularly touching as mute and fearful daughter Kattrin, her final scene easily the most powerful moment in the production.
Kimba Daniels has amusing swagger as Yvette, who makes her way through the conflict as various officers’ girlfriend, while Shane Fahy’s subservient, mealy-mouthed Chaplain and John Mercer’s cynical Cook are mostly defined by amiable weariness. Regina Morones, J Jha and Dominick Palamenti shift capably between many parts with only minimal costume changes, from frightened peasants to leering soldiers and everything in between.
The play’s many songs, with music composed by sound designer Eric Shultz, are usually sung by grabbing a mike and singing as tunelessly as possible, an aesthetic choice so consistent that when a performer occasionally sings on key it seems like it must be a mistake. Some of the later songs borrow melodies from patriotic ditties like “Yankee Doodle” and “The Star-Spangled Banner.”
The instrumental accompaniment is interestingly varied. Early on and for a long time, members of the ensemble rudimentarily play various instruments, so that it’s almost startling when assuredly polished accordionist Diana Strong enters the scene, paired with some dynamic bass playing by actor Rebultan.
Naked, bare-bones theatricality is to be expected in pretty much any production of “Mother Courage,” but there’s a looseness to the entire proceeding here that might be intended to evoke the chaos of war but often comes off as meandering and listless. That certainly blunts the impact of the play’s depiction of war’s brutality, but it also really makes you feel deep in your bones the seeming endlessness of this conflict dragging on and on.
Contact Sam Hurwitt at shurwitt@gmail.com, and follow him at Twitter.com/shurwitt.
‘MOTHER COURAGE AND HER CHILDREN’
By Bertolt Brecht, translated by Tony Kushner presented by Ubuntu Theater Project
Through: March 3
Where: Lisser Hall at Mills College, Kapiolani Road, Oakland
Running time: Three hours and 15 minutes, one intermission
Tickets: $15-$45; www.ubuntutheaterproject.com