The Caucasian Chalk Circle

Written by Bertolt Brecht & revised by Eric Bentley
Presented by Hydeware Theatre

Somewhere between Karl Marx and Groucho Marx lies Azdak, the brilliant comic creation in the final acts of “The Caucasian Chalk Circle.” Azdak is a populist and a con man whose concern for the poor and the downtrodden is only rivaled by his concern for saving his own hide. Azdak talks his way into a judicial appointment where he often presides over disputes between the haves and the have-nots. He blatantly takes bribes from the wealthy and feigns judgments in their favor; then, through feats of rhetoric and double-speak, judges in favor of their impoverished opponents.

When a violent coup leads to the beheading of the governor, his wife is so concerned with her own neck that she abandons her infant son. Grusha, one of her many maids, acts against the advice her fellow co-workers give and passes the son off as her own in order to save his life. When the governor’s wife returns years later to claim her son, her fate as well as that of Grusha collides with Azdak.

Hydeware Theatre’s mission statement says they’re “dedicated to the pursuit of radically revised theater.” They seek to change the way audiences see and experience theater. Sometimes these innovations can overwhelm a play that’s better performed in a straightforward manner. The use of slide shows brought narrative momentum to a screeching halt and almost sunk their otherwise charming production of “Stop Kiss.” But, sometimes it works, such as in their current production of Bertolt Brecht’s “The Caucasian Chalk Circle.”

Working with a nearly bare stage, director Ember Hyde makes up for her lack of a set with a translucent screen that comprises the back wall. Four dancers (one male, three female) perform behind the screen before a spotlight, creating a shadow play that interprets the events on stage, provides background action, and depicts off stage events. Brecht, who rejected realism and never wanted us to forget we were watching a play, would have been proud.

Where director Ember Hyde’s last production, “Stop Kiss,” had a competent cast and a problematic presentation, “Chalk Circle” has a much smother presentation with a less competent cast, particularly with regard to the supporting players. The main characters are all done justice; Margeau Baue Steinau grounds the production as The Singer, who narrates the tale, Emily Piro is charming and believable as Grusha, and Robert Ashton is a solid Azdak, even if he plays it a little straight. But with a cast of 18 actors playing (by my count) about 55 roles, perhaps Hyde was unable to give the many less experienced actors the time and attention they needed. As it stands, many of the supporting actors spend a lot of time and energy on stage trying to convince us they’re acting. The range in talent and ability is such that the play loses focus at points and has difficulty finding a rhythm.

In the end, Hyde’s superior visual story telling, the strength of the lead actors and the power of Brecht’s parable makes this worth watching; even if the rough patches sometimes feel like community theater at professional theater prices.

“The Caucasian Chalk Circle” continues through May 3rd at The Ivory Theatre. For more information: www.hydewaretheatre.com

David Noble Dandridge can be reached at radicalwraith-theatre@yahoo.com