Master class in acting
O’connor shines in Brecht’s biting satire
POWERFUL, relevant, disturbing and performed in a distinctive style (with a capital “S”), The Resistible Rise of Arturo Ui showcases an astonishing central performance by Townsville actor Brendan O’connor in what can only be described as his best yet.
Part incisive political commentary and part history lesson, this 1941 “parable play” is a potent and biting satire on the rise of Adolph Hitler and the Nazi Party in 1920s Germany and is just as relevant as when it was written.
Director Terri Brabon has translated and adapted this work to masterfully convey Bertolt Brecht’s “epic theatre” by combining German Weimar cabaret (complete with original music) with a cartoon-like performance style. The result is astonishing and will leave you stunned.
The initial farcical (and funny) elements of the production lure you into contemplating an unsettling period of history. Starkly prompted by projections of photos and contemporary newspaper headlines, it is a direct commentary on the rise of Hitler and its chilling aftermath.
Of course, the parallels with Putin’s invasion of Ukraine are disturbingly apparent, and it is not too difficult to see elements of every dictator in it – Mugabe and Ceausescu spring immediately to mind.
Equally disturbingly, the intrusion into current politics of the “if you’re not with you’re against me” notion, which threatens the very essence of democracy is part of the stinging message of the play.
Without stating it overtly – I understand the Brecht Foundation would not allow her to – Brabon has set this version firmly in Australian gangster land of the 1930s. The accents, language and slang is quintessentially Aussie, but combining it with the German cabaret style only serves to reinforce the message that perhaps the themes are much closer to home.
The play is held together by Brabon herself in the role of an MC (evoking Marlene Dietrich and the musical Cabaret). This device provides a direct link between the audience and the performance
and effectively stimulates Brecht’s belief that theatre must activate the audience to action.
Of course, in customary Theatreinq fashion, the acting ensemble is united, energetic, sharp and disciplined, and they grasp the caricature aspects of their characterisations with gusto and intelligence. Of particular note were Michael Sams, Robert Street, Paris Walsh and Ashleigh Dodson.
However, if ever there was a role that demanded an actor to plumb every aspect of his experience and training then
this is the central role of Arturo Ui (aka Hitler). Many a prominent actor has been conquered by the exacting nature of it, but Brendan O’connor emerged unquestionably as the victor in the role of a man we have come to know as the vilest of 20th century villains.
O’connor whines, wheedles, manipulates, threatens and berates. He is at times extremely funny, but at an instant sharply turns that humour into something sinister. Just as Hitler rose to power, we see Ui use every weapon in his arsenal – lies,
murder, arson, manipulation of the political and court system – to transform from a small-time hood into a chilling, charismatic orator. This is a tour-de-force performance.
Just as his performance will remain with you long after the curtain has fallen – so will the MC’S final line: “We must not allow history to repeat because the bitch that bore him is back on heat.” Es lebe Theatreinq!
The Resistible Rise of Arturo Ui continues until May 21 at Theatreinq’s Clubhouse Theatre.
Book at theatreinq.com