Word: brecht
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Dates: during 1960-1969
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AFTER THE RAIN is an eggshell of a play from an egghead playwright. John Bowen borrows and embalms theatrical modes and ideas from Bertolt Brecht, Aldous Huxley, George Orwell, and Peter Weiss and colors them in a fashionable shade of apocalypstick. As the tyrannical leader of a Noah-like band of survivors from the flood of 1969, Alec McCowen is convincingly diabolical as he plucks open the soul of a power maniac...
...Among those who never received its accolade: Kafka, Tolstoy, Brecht, Chekhov, Conrad, Joyce, Twain...
...works have since the days of Brecht and Weil, "A Day in the Life" provides a strange, new, jolting way of looking at the familiarities of modern life, so habit-forming that they are no longer disillusioning...
...dystrophy. It is supposed to be a cage of pipe that with the help of movable clothes racks and imaginative props can smoothly transform itself into the show's nine sets. The rearrangement of schematic sets by openly visible stagehands is a standard cliche of modern direction, especially for Brecht, where we're all supposed to be aware we're in a theater. But Mayer has put too many realistic props in his settings, and too many crossbars in his machinery. The first few of the ten-minute set chages are uproariously funny as everything topples into place. Composer Burg...
...Jungle of the Cities should be more than a well-acted mood piece with occasional flares of brilliance. It is regrettable that the Agassiz company saw fit to drop their imaginative critical judgment and stand with unquestioning awe in the temple of Brecht. The Goodhead himself probably thumbs his nose in the Holy of Holies...