Bertolt Brecht was one of the outstanding playwrights during the 1900’s and early 20th century. He was the composer of the still popular “Three penury opera” in the 1920s. He moved to Scandinavia in 1933 and continued to write (Mother Courage) until the Nazi invasion of Scandinavia when he came to America.
This play (The Resistible Rise of Arturo Ui) is built around the scandals in Europe following World War I as Hitler was coming to power but written as happening in and around Chicago.
As portrayed by the actors there were numerous loud arguments and fights between the various German and Austrian social and economic elements such as the Eastern Aid Scandal (noted as the Chicago Dock Scandal in the play), the Reichstag fire (noted as the warehouse firm in the play) and the Prussian Junkers stock scandals (noted as the California Trust Scandals in the play).
The problem with this is that these scandals are no longer taught in the schools. So it is difficult for the audience to relate to the historical facts about the problems of Europe between WWI and WWII unless you are of the age group of the grandparents of the students on stage.
The play was acted well with Rachel Tierney as Arturo, Ui played (Adolph Hitler) and Aurelius Craig as young Dogsborough (German presidents).
Paul Von Hinderburg, Meghan McClosky (Old president von Hinderburg), Jack Moriarity and Jaden and Jaden Wrabley as Butcher and flake (Franz von Papa), Ava Staropoli as Givola(Joseph Goebbels ), Aurelius Craig as Giri (Herman Goring), Soren Sheckells as Roma (Ernst Rohn) and Fish (Magnus Van derhubba), and Jack Moriarty as Dullfleet (Engelbert Dollfur)
Other actors who filled in on numerous parts were Lucy Madron (Announcer/gaffles/hook/pastor/ensemble), Grace Paulson (Clark Raggo/Judge/Bowl). Evan Vaughn (Goodwill/Bodyguard/Ensemble) and Trinity Wilson (Announcer/Caruthuns/DeckDarsy/Mrs. Betty Dullfleet).
Play writer Bertolt Brechts theatrical innovation are the concepts of “epic theater” and were adapted from cabarets, Elizabethian plays and other” non-naturalistic” forms. Audiences are “supposed to hear the story, maintain their capacity for reason rather than surrendering to the sense of destiny a well-made play provokes. “
“Brecht wanted his audience to evaluate characters” choices and to wish they made better ones.