Caucasian Chalk Circle

Lion Dancers and drummers greeted the opening night audience for Bertolt Brecht’s The Caucasian Chalk Circle, presented by Black Swan State Theatre Company, in collaboration with the National Theatre of China. A play based on an ancient Chinese legend, retold by a German playwright and performed by Australian actors in a fusion of Brechtian and Chinese style, this international fusion made for a fascinating production.

As the audience enters, the actors are ‘warming up’ dressed in theatre blacks and Black Swan t’shirts - very Brechtian in convention (perhaps almost contrivedly so), it sets the tone for a production that draws on the best of Brechtian traditions, as the ensemble of a dozen actors transformed into their various roles.

Wonderful ensemble work throughout, with wonderful characterisations and excellent use of song - supported by Musical Director Dr. Clint Bracknell vocally and on guitar. Alex Malone is a wonderfully complex and loveable Grusha, and her performance throughout it captivating. Our other protagonist of sorts, Azdak, is very nicely played by Geoff Kelso, in a quintessentially Australian portrayal. All performances are strong, although I was particularly struck by Caitlin Beresford-Ord’s haughty Governor’s wife, Adam Booth’s determined but incompetent Iron Shirt, Kylie Farmer’s bossy Mother-In-Law and Luke Hewitt’s pompous Fat Prince and unscrupulous lawyer. Felicity McKay was lovely as she manipulated the puppet form of young Michael. Lynette Narkle one of several indigenous performers - added an element of Aboriginal story-telling to her role as the singer. Kenneth Ransom’s grumpy Old Man brought a comic touch to a dark moment. Handsome James Sweeney added depth to the small but pivotal role of Simon, Alison Van Reeken’s pious Sister-In-Law was a highlight as was the comic relief of Steve Turner’s Nephew. These actors all use mask well, and performances use them to their best advantage.

The Chinese costuming (Zhao Yan) and masks (Professor Zhang Huaxiang) were a beautiful element, giving a wonderful sense of place and time. Richard Roberts set design is also aesthetically striking, drawing on Chinese tradition and culture. Mark Howett’s supportive lighting design, is emotive and at times quite striking.

The first act, while quite long, moves at an impressive pace, with constant variety and surprise. The second act lags slightly in comparison, but remains very watchable and has some wonderful moments. I was surprised that not everybody returned after interval - perhaps it is a little challenging for the casual theatre-goer.

Caucasian Chalk Circle is a rare treat for lovers of theatre, a wonderfully directed show with influences from a variety of traditions. A fabulous opportunity to enjoy one of the world’s most famous plays in a well-considered, expertly finished production.

Kimberley Shaw

Photographer: Philip Gostelow