Theater Review: The Berlin Circle
LA Weekly
May 26, 2000

Review by Sandra Ross
The Berlin Circle
The Cold War is defrosting at an accelerated pace in 1989 East Berlin, where the state-funded Berliner ensemble is now producing plays conceding the triumph of capitalism. In the audience for this particular performance is East German communist Party leader Eric Honecker (Tom Fitzpatrick), who enraged by the “bourgeois play” he’s just witnessed. A vomit-stained Heiner Muller (an oily John fleck) defends the turn taken by the renowned theater company (founded by Bertolt Brecht)—while simultaneously demanding additional grant money. But when Honecker and his infant son, Karl Marx, attempt to leave the theater, they’re confronted by an angry mob, which takes a break from dismantling the Berlin Wall to cart the newly deposed head of state off to jail. Baby Karl has bee left in the reluctant arms of advice-dispensing American Pamela Dalrymple (Megan Mullally)—clearly based on socialite/diplomat Pamela Harriman. The complicated, elliptical plot of Charles L Mee’s farce is loosely based on Bertolt Brecht’s The Caucasian Chalk Circle, which itself is loosely based on folktales about two women who each claim to be the mother of the same baby. Mee mercilessly skewers hollow rhetoric of all ideological shades, and in an auspicious inaugural production for the Evidence Room’s attractive new venue, David Schweizer’s witty staging is visually stunning (set design by Jason Adams and Alicia Hoge). Fleck and Mullaly are hilarious, as are Larry cox as tgghe narratopr and Colleen Kane as the au pair. Evidence Room, 2220 Beverly Blvd; Thrus-Sun., 8p.m.; thru June 25. (Sandra Ross)

 

Theater Review: The Berlin Circle
LA Downtown News

May 29, 2000

East Meets West…Berlin

Reviewed by: Victoria Looseleaf

Despite too many choruses of the Village People’s YMCA, the Evidence Room’s production of The Berlin Circle is a full-fledged, fabulous romp. That one of its main stars, John fleck (of the “NEA Four,” the quartet whose work was deemed obscene), portrays playwright/artistic director Heiner Muller, makes this performance particularly effective—and doubly ironic.

Consider Fleck/Muller’s final monologue wherein he blabs about the artist’s role in society, then throw in some guilt, the survival notion and the ubiquitous concept of political justice and you’ve got a helluva speech.

Oh, one more thing about Fleck: The guy is an undisputed genius, no matter the material, and he does not disappoint here. Fleck has honed a host of Fleckisms over the years—notably his accelerated vocal patterns whereby he seems to be gasping for air, simultaneously drawing the audience inward, finally bringing layers of insight, thought and—well, a lot of guffaws to the role.

Whew! That said, Circle is Charles Mee’s farcical reworking of Bertolt Brecht’s classic drama The Caucasian Chalk Circle. Consider, too, the final aria, as it were, “All You Need Is Love”, crooned in German, no less, and one might think Mee gives new meaning to the word farce. Mee can also write lines like, “Certainly the anus is a rivate place,” and the audience need not feel offended, but more, shall we say, sympathetic.

In any case, it’s 1989, the year the Berlin Wall came tumbling down, and Muller is directing a politically incorrect performance at Berliner Ensemble. Who should protest, but East German head of state Erich Honecker (a fine Tom Fitzpatrick).

Right. Then the wall falls, and an East German baby is abandoned by his mother and father (Honecker), only to be rescued by two women—she of the Chanel brigade—Pamela Dalrymple (based on the late Pamela Harriman, Megan Mullally does a stellar turn as the whoring socialite, although her high-toned accent sounds as if it’s been ripped from the throat of drag actor/playwright Charles Busch, which isn’t really a terrible thing), and Dulle Griet (kudos to Colleen Kane, who is exceptional).

Under David Schweizer’s usual frenetic direction, the 19-member cast comport themselves with vigor, including a couple of frugging soldiers. While some of the material would appear to be heavy, the play rolls along like a brightly verbose, well-oiled piece of machinery. There are sight gags aplenty, including pratfalls, a walk on a rope bridge, and a clutchless, engineless truck, courtesy of Jason Adams’ and Alicia Hoge’s set design.

This Circle is the inaugural production of the Evidence Room’s new space, and what a great space it is. With lots of bricks, high ceilings and a New York-loft feel to it, Holly Poe Durbin has made sure that her costumes mesh well, as does Rand Ryan’s lighting, which creates many a mood—from zany to philosophical.

Baby, baby, who’s got the baby might be the prevailing motif in this work that entertains and intrigues simultaneously. Larry Cox keeps things moving as a punked-out narrator and John Zalewskis’ sound design does the trick, the disco thing notwithstanding.

This is one circle that remains unbroken.

The Berlin Circle, at the Evidence Room.