Through May 3, 2009
Reviewed by Chris Gibson
Philip Boehm has a knack for translating and interpreting challenging and classic works. And, as an audience here in St. Louis, we benefit greatly from these intriguing excursions into foreign territories. Woyzeck continues this trend, with Boehm offering up this tragic, and very Germanic, tale of murder and insanity as a kind of dark carnival ride. The cozy confines of the Kranzberg's black box theatre provides an intimate setting for this harrowing and compelling work.
Franz Woyzeck is a poor soldier in 19th century Germany who seems to be suffering from some sort of mental disorder. He provides what he can for Marie, the mother of the child he's fathered, and seems completely oblivious to her blatantly promiscuous behavior. When her dalliance with a drum major is cryptically revealed to him, Woyzeck loses his grip on reality and brutally murders her. As if to mirror the original unfinished work, no tidy conclusion, or sense of closure is presented here.
J. Samuel Davis is simply riveting as Woyzeck. You can sense his instability from the moment he speaks, and he's a compelling and pitiful figure despite the violent act he finally commits. The always solid Brooke Edwards lends Marie a confident air that will betray her in the end. Peter Mayer brings passion and strength to his role as the Drum-Major.
Steve Isom impresses and amuses as the Captain, a paranoid and anxiety-riddled man of wealth and power, who is just as unhinged as Woyzeck, but suffers from none of the same problems due to his position. John Bratkowski brings a peculiar quality to his role as the Doctor, a Caligari-esque figure who's studying and advising Woyzeck.
A very talented ensemble includes: Patrick Siler tapping out martial beats on his snare drum; Joshua Cook adding atmosphere on accordion; Lavonne Byers as a trained horse; Emily Piro as a monkey and a fife player; Bobby Miller as an obnoxious drunk; and Jef Awada as Woyzeck's fellow soldier.
Philip Boehm's direction is inspired. The action flows smoothly from scene to scene without interruption, and there's an intensity that crackles throughout. Though most of these characters are only thinly sketched at best, they still leave a lasting impression. Michael Heil's set makes the most of the narrow strip between the seating. The effectively symbolic structure representing Woyzeck's home at the center is open by design, but barred like a cage or prison cell. Steve Carmichael's moody lighting scheme heightens the tension.
Upstream Theater's haunting version of Woyzeck continues through May 3, 2009 at the Kranzberg Arts Center. Call 314-863-4999 for more information or go online to www.upstreamtheater.org.
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