To Float on the Wayward Wind

31 October 2013 Duchess Theatre 4/5 Under Jonathan Church’s direction, Henry Goodman embodies Arturo Ui, crafting a performance of Bertolt Brecht’s allusion to the rise of Hitler with uncannily focused energy. Even if it strays from Brecht’s original intentions and only truly blossoms in the play’s final moments, the production’s genius is its subtlety as it proceeds from unsettling comedy to dark poignancy. Design by Simon Higlett and lighting by Tim Mitchell engage partially with Brecht’s philosophies, using a runway, tableaux on stage, and sparse set to remind the audience of being in a theatre performance. Sometimes this technique lacks a clear purpose but eventually draws the audience powerfully into the performance by designating swaths of seats as either Chicago or Cicero. Unfortunately, the absence of the signboards Brecht envisioned, which list the precise historical connections between the play and Nazi Germany, undermines the performance’s relatabilit...