Bertolt Brecht’s The Resistible Rise of Arturo Ui, written in 1941, has not aged well. Brecht himself never saw a production of his allegory about the rise of German National Socialism, and what improvements he might have made in rehearsal cannot be known, but John Doyle’s version at Classic Stage Company seems a heavier slog than usual for a play already rife with didacticism, pretentious faux-Shakespearean speeches, and characters baldly modeled on Adolf Hitler and his cronies.
As audience members enter the Atlantic Stage 2, where the Potomac Theatre Project’s production of Brecht on Brecht is playing, they may be under the impression they have entered a quaint concert salon. There is a grand piano prominently positioned just off center stage, four music stands at the edge of the playing space, and the floor is covered with luxurious Oriental rugs. When the show begins, four ingratiating young performers carrying sheet music primly assume their positions behind the stands.
It’s a turning point in American history when a candidate for President suggests, ominously, that should the election not go his way, he will not go quietly into the good night of a peaceful transition of power. Bertolt Brecht’s sprawling farce The Resistible Rise of Arturo Ui is a piercing look at the rise of a thug and petty tyrant whose lessons will not be lost on viewers in this election season. Written in a mere three weeks in 1941, the play is Brecht’s effort to radically deflate the mystique, worship, and awe that despots typically inspire. Joseph Goebbels, the Nazi Minister of Propaganda, viewed his creation of the myth of the Führer as his greatest achievement, an achievement that made possible Adolf Hitler’s consolidation of power even as he was curtailing civil liberties and murdering real and perceived threats to his power. Brecht’s weapon of choice: humor!