Brecht on Brecht
Brecht on Brecht
72

Brecht on Brecht NYC Reviews and Tickets

72%
(21 Reviews)
Positive
62%
Mixed
33%
Negative
5%
Members say
Thought-provoking, Relevant, Ambitious, Entertaining, Disappointing

About the Show

PTP/NYC (Potomac Theatre Project) presents a theatrical collage culled from the writings of Bertolt Brecht. 

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Member Reviews (21)

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72
Ambitious, Confusing, Thought-provoking, Relevant, Slow

See it if Brecht's political polestars & poetry in an asymmetrical collage Prose proves dense out of context but songs are better known glorious gems

Don't see it if Hurt by the fact that despite the high energy of the young ensemble, no one is a capable singer or can deliver the needed political punch

94
Ambitious, Political, Searing, Personable, Resonant

See it if you would like to hear how relevant a famous voice from theater's past can sound in our own dark days.

Don't see it if you are looking for a full play & a revue just won't do. Read more

Critic Reviews (15)

Lighting & Sound America
August 3rd, 2018

“The cast is nimble, bright-eyed, and technically skilled...but their collective pleasant, amiable, and at times positively ingratiating manner seems to emanate from a different universe altogether...It's hard to focus on the words, with all the presentational stage business...‘Brecht on Brecht’ offers many pleasures, as long as you understand that occasionally its acting style is out of sync with its terrible, commanding words.”
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TheaterScene.net
July 25th, 2018

"Perhaps unavoidably, 'Brecht on Brecht' often comes across as a series of highly polished auditions, eliciting the hope that, say, someone will actually cast Bryan and Hamel in a full production of 'The Threepenny Opera.' But it's also a stark reminder that many of Brecht's preoccupations should still be ours."
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T
July 21st, 2018

"The members of the cast do not trust their material...There is little need for histrionics but an overwhelming need for vocal range, rich modulation, and pristine interpretive style – all oddly missing in the performances...Overall, the young cast seems unable to identify with the depth of despair that defines the fiber of Brecht’s weltanschauung...These are dark times. The center is not holding. Perhaps this is not the time for clowning around."
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StageBiz.com
July 20th, 2018

"A monumental work...An adrenaline fueled musical ride through some of Bertolt Brecht’s most powerful observations on social and political fall out...Every fragment, poem, scene, interruption, song in this 'epic theater' piece goads us into becoming present and engaged...Petosa has injected a heightened pace into the work that feels like the surge of energy felt in a mass protest...The ensemble is riveting...They are so vibrant and insanely talented."
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Show Showdown
July 30th, 2018

“Petosa chose to present this piece as Story-Theatre-Meets-'Godspell,' with red noses, zooming shopping carts, and other cheerful accouterments. Much of this direction worked...but it didn't quite fit with the stories being told. Another problem is that some of the performers just aren't up to the high-level singing and acting required...Yet there is much here that is worthwhile...Brecht's writing is razor-sharp, insightful...And the cast does acquit itself well on many pieces."
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Off Off Online
July 21st, 2018

"Petosa has assembled a likable cast of four central performers...The cast’s youth and likability, however, are sometimes a detriment to the show. On occasion they minimize the incendiary call-to-arms Brecht’s words can provoke...There are moments of profound insight into Brecht’s approach to theater and the significance of science...As the periodic musical numbers reveal, the piece is at its most successful when it slows down and shines the spotlight on individual performers."
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Show Showdown
July 27th, 2018

“An engaging yet uneven presentation...At times, the show seems overly frenetic with a false frivolity. When the cast enters and tosses their music on the floor and dons clown noses the pace of the show races unnecessarily so. Then, suddenly, the action falls as a more quiet pieces like 'Nanna's Lied/Songs About My Mother,' begin without real transition. The hyperactivity dilutes the fire of Brecht's activism."
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Stage Voices
July 28th, 2018

“The performers do not seem to be coming out of deep, radical experience. ‘Brecht On Brecht’ demands a knowledge of harsh life, his canon, as well as the ability to give oneself over completely to the discordant material...The young, well-trained cast...excel most in musicality and they are clear in voice...But the edge is largely missing. No matter the quality of the ensemble...there is a difference between the singer’s voice and an actor’s art—and adapting both...is no small challenge.”
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BroadwayWorld
February 8th, 2017
For a previous production

"Brecht's art is focused on his experiences in Berlin, his flight from Nazism, and his life as an expatriate in America at a time of political and social upheaval...The actors are all accomplished singers, but the songs, limited in number, take a backseat to Brecht's spoken words which are presented in a hyper-theatrical style...When they speak or sing the playwright's powerful words, it feels as though they are aimed right at us...This is history that we do not wish to repeat."
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B
February 7th, 2017
For a previous production

"A smart and trenchant collage of excerpts from writings by German playwright-poet Bertolt Brecht...Between the songs and the spiky script, 'Brecht on Brecht' feels at times like a small-scale companion piece to another politically charged, German-textured show...'Cabaret'...Resonates in a Trumpian context as something of a call to arms, albeit one issued in the bitingly sardonic and cryptic Brechtian voice."
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Boxing Over Broadway
February 7th, 2017
For a previous production

"At times it can be a bit chaotic, sometimes reminiscent of a beatnik coffee house poetry session, a bit madcap, and always engaging...While the dialog can be provocative, different conclusions can be drawn from it. Brecht wanted his spectators to grapple with the ideas, not just sit and take them in...It is not the type of theatre most people are accustomed to. It is, however, an experience that should be taken in."
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Boston Theatre Wings
February 25th, 2017
For a previous production

"The German visionary’s powerful insights about the insidiousness of anti-Semitism and fascism and the need to act against them resonate with new timeliness...Brecht’s unflinching writing can resonate even today without direct contemporary references. Still, the vibrant New Rep staging does well delivering the playwright’s activist attitude...Petosa skillfully summons performances at once persuasive and engaging."
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On Boston Stages
February 9th, 2017
For a previous production

"A pastiche of plays, poems, writings, and songs of the German playwright, poet, and theatrical director who advocated for the common man against the abuses of the ruling class...This work is a bit of a mish-mash, but it does feature a quartet of fine performers with winning voices...'Brecht on Brecht' is entertaining, but it left us seeking more context on the material being presented, so we might know a bit more why he did what he did when he did it."
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T
February 16th, 2017
For a previous production

"A very entertaining, often moving, and frighteningly timely kaleidoscope of Bertolt Brecht and his writing...His poems and prose, with a few minimal updates in this production by Jim Petosa, are eerie reverberations into the past that resonate with the present political climate...Unnerving parallels can be drawn from the material to America today, which is uncomfortable...If theater is about illumination, a small glimpse into the dark night of the soul, 'Brecht on Brecht' is a triumph."
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The New England Theatre Geek
February 7th, 2017
For a previous production

"A captivating show...It runs a range of humor to serious and back again. It’s a clever, well compiled show that offers many chewy, delicious monologues and songs to its artists...Petosa gives life to what could easily be a stand and sing concert show...It’s a socio-political panto for the adults...Brecht’s musings on religious hypocrisy, unlawful politics, war, and other topics are still as relevant as they were when he wrote them...It’s a wonderful production."
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