Suzy Goes See
March 27, 2018
Venue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Mar 21 – Apr 28, 2018
Playwright: Bertolt Brecht (translated by Tom Wright)
Director: Kip Williams
Cast: Mitchell Butel, Peter Carroll, Tony Cogin, Ivan Donato, Anita Hegh, Brent Hill, Colin Moody, Monica Sayers, Hugo Weaving, Charles Wu, Ursula Yovich
Images by Daniel Boud
A gangster film is projected on screen, as we witness it being shot on a sound stage. The action happens across not two, but three platforms. We watch a film, the making of the film, and a theatre production, all simultaneously and frantically taking place before our eyes. Bertolt Brecht’s The Resistible Rise Of Arturo Ui is concerned with artifice and image, written at the time of Al Capone and Bugsy Siegel. Director Kip Williams’ decision for a multimedia presentation may seem initially, to be little more than gimmickry, but his profusion of Brechtian devices transcend academic tribute, proving themselves relevant and ultimately, highly effective.
Brought up to date by Tom Wright’s very shrewd adaptation, Arturo Ui’s story is now unquestionably of our time. A criminal hungry for attention, he stops at nothing to satisfy an interminable and narcissistic urge for notoriety. To make his presence a permanent fixture, Arturo takes on political ambitions in order that his influence may turn pervasive and inescapable. We can think of more than a few public figures who operate in a similar vein. It is a witty and wise transposition, taking Brecht’s meditations on the Hitler phenomenon and applying them to the current state of our world. Retaining the spirit of epic theatre, Wright’s work is dark but rarely pessimistic. A parable and cautionary tale, it demonstrates human nature at its worst, but is deliberate with its manipulations of our autonomy as audience and citizens. It always reminds us of our capacity to resist and reverse the actions of those with an appetite for destruction.
Williams’ production is sophisticated, often extravagant and flamboyant in its attitude and accompanying style. Its theatrical grandness is alluring; we find ourselves seduced by its many clever manoeuvres, and are surprised by our unequivocally political response to its ideas. The show knows what it wants to do, and achieves it well. Sections of dense dialogue might be lost, when we get distracted by the very busy stage, but the simple overall point of it all, is clear and powerful under Williams’ interpretations. The director’s ability to shift our attention between screen and stage becomes impressive, once we get over the shock of the unusual. Once we stop questioning the validity of the complicated form being presented, the efficacy at which information is being conveyed, through its complex amalgamations, is quite astounding.
The set takes the shape of an efficient film studio that accommodates complicated camera work whilst prioritising direct audience access, designed by Robert Cousins with appropriate restraint. Nick Schlieper’s lights are attractive and suitably dramatic, conspiring closely with cinematography to provide stunning live visuals with some very advanced video technology. Justine Kerrigan’s adventurous and imaginative cinematography is quite an amazing thing to behold. Also deeply satisfying is Stefan Gregory’s music, inspired by early genre films, and assisted by excellent sound engineering, to offer great drama and intrigue, electrifying from prologue to epilogue.
Hugo Weaving’s performance as Arturo Ui exhausts the gamut of emotions, as well as all the superlatives a critic is tempted to use in describing his brilliance. If there is ever perfection in art, Weaving embodies it here. The man is in charge every second, and we are putty in his hands, hopeless and lost in whatever he wishes to impart. His skill is second to none, and his mesmerising charisma is bewildering. It is hard to come close to the standard that he sets, but others in the cast too, are truly remarkable. Peter Carroll in particular, contributes extraordinary incisiveness as Dogsborough, depicting the blurred lines of good and bad with wonderful flair and persuasiveness.
If we see the natural world as an organism with tendency for chaos, and humankind’s insatiable need for creating order, in our own image, a kind of violation, then man’s obsession with power is an abomination. Arturo Ui goes against everything that we want to think of as good and right in the world, in his continual seizure of power and domination over every being, but it is likely that the only language he and his ilk understand is power, and to rival them requires that we take mirroring actions. Pacifism and the qualities of integrity that it encompasses, may be a more idealistic way of approaching peace, but in The Resistible Rise Of Arturo Ui it is hard to not see these romantic notions as ineffectual or much worse, calamitous. It is time perhaps to find better ways to fight fire with fire.