A Man’s a Man
The Odyssey Theatre Ensemble celebrates its 40th anniversary with a new production of Bertolt Brecht’s A Man’s a Man. When it first opened in 1968, Brecht’s wartime theme was front and center. Now, despite the fact that there is yet another war raging, the play has taken on an even more populist patina. The searing indictment of a modern lack of self-identity becomes all the more telling with the casting of associate Artistic Director, Beth Hogan, in the role of Galy Gay – the man in question.
The play itself is more of a spoof; an cartoonish depiction of one person’s manipulation by the system. It’s message deserves shouting to the roof tops, especially in the midst of this country’s tightened security amid economic melt-down. For that reason, and also for the fact that Brecht has seldom of late been produced outside of academe, I assigned the play to one of my literature classes. One student’s insights were beyond my expectations. Jeff Levinson wrote such an enlightening review that I would like to acquaint you with some of his thoughts on A Man’s a Man:
“Let's begin” (he says) “with the very first thing one usually sees upon taking their seat before the stage -- the set. The scenery was very stylized. It consisted of a large cyclorama that had a vague landscape painted on it. Stage right was a gigantic, multi-story red building which we would later learn was a pagoda. There was also a large boxy structure that resembled a railway car which it indeed proved to be. The set was really quite well done, I thought. Everything was real enough to be there for the actors as well as the audience, but also remained stylized enough in a way that it gently reminded you that this was a very different world you were watching. This kept very much in line with Brecht's ideas about how an audience should not be made to believe in the characters but instead to view them a simply an account of events to be watched with critical detachment.
“The performances were all compelling and entertaining, but one alone truly stood out from the rest. And that was that of the actor cast in the role of Galy Gay. See, not only was this actor a master at her craft, but this actor was cast not only against type, but against sex! The lead role! The protagonist! Was played not by a man, but a woman! The diminutive Beth Hogan did a simply stupendous job. Here, was a astounding bit a casting. One that few readers would ever imagine either. Ron Sossi, the director, notes that they did so further explore the inconsistencies in the play's text... A most interesting idea. And it really did give one pause. It also really made a person stop and think, to question one's own ideas about just what makes a man a man and a woman a woman.
“To witness a play is to be surrounded by it, overwhelmed by it, to become almost lost in it as you surrender yourself to it so that it can take you on its emotional journey. The power of LIVE theater is not to be underestimated. Gone are all worldly distractions! No phones will ring. (Hopefully...) Nobody is going to drop by unannounced and tear your away from your reading. Instead the play is there before you! Full of life! Alive! The sheer energy alone is palpable.
“As I drove home I did ponder a couple of points. And that is that the playwright truly does have to trust so completely in the people that will eventually put on his plays. He has to hope that they "get it." For in the end the collaborators do have amazing power over the final result of the productions. Surely there have been examples where things have gone horribly awry and the collaborators have unfortunately sabotaged a brilliant bit of writing with thoroughly bad creative decisions. But every playwright must realize in the end that the risk is well worth taking, for when it works -- as it did indeed with the Odyssey production of A Man's A Man, the results are purely magical.”
It is reactions like Levinson’s that remind those in the theatre that, despite the dwindling audiences, the soaring costs and the difficulties of gathering more than one or two people together to create life on stage, the wonder of live performance continues to amaze. After forty years, the Odyssey can be proud. The old gal still has IT!
A Man’s a Man closed on December 21st after a long run at the Odyssey Theatre Ensemble, 2055 S. Sepulveda Blvd., Los Angeles 90025. Next up: Taking Steps written by Alan Ayckbourn opening on January 10, 2009. Call the box office at (818) 955-8101 for more information.