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War is like love. It finds a way. Why should it ever end??
- Chaplain, [tag]Bertolt Brecht[/tag]?s Mother Courage

[tag]Berkeley Repertory Theatre[/tag]?s production of Brecht?s [tag]anti-war epic [/tag]finds dry humor in such statements as it tells the story of peddler Anna Fierling, [tag]?Mother Courage[/tag],? who sells to whichever side is near during the Thirty Years War. Without sentimentality, Brecht uses Courage and her children to demonstrate that war destroys all human virtues including bravery, honesty, and kindness.

Yet we are distanced from any sense of loss in the destruction. Director Lisa Peterson?s vision of the piece stays true to Brecht?s by eschewing emotionalism. The result is an entirely intellectual pursuit that leaves one cold.

Ivonne Coll in the title role has a strong physical presence but falters through the text and lacks connection with her children and the audience. Although Coll shows polish in her execution of the songs, her emotional investment is clear only fleetingly at the death of Courage?s middle child. Much more moving, though perhaps against Brecht?s design, is Katie Huard as Courage?s mute daughter, Kattrin. With impassioned facial expressions and physicality, Huard conveys great depth as the young woman whose kindness will lead to her doom.

As the prostitute Yvette and later as a farmer?s wife, Katie Barrett positively shines. She displays tremendous versatility in the distinct roles, moving effortlessly from embittered siren to simple peasant. Barrett?s ballad in the second act is a highlight. Also engaging is Patrick Kerr as the Chaplain. Much of the humor in the production comes from Kerr?s divine wit and somehow childlike features.

The remainder of the cast is strong enough with a particularly good turn from Marc Damon Johnson as he transforms into numerous distinctive characters. Local audiences will enjoy seeing David W. Collins in the show?s ensemble. Collins makes his Actor?s Equity Association debut on the heels of performances in Solano College Theatre?s Sweeney Todd (Anthony) and You?re a Good Man, Charlie Brown (Snoopy).

As one would expect of Berkeley Rep, the production values are excellent. Rachel Hauck?s scenic design is inventive, the bare stage forming a great blackboard on which the performers chalk words, dates, and images. The lighting design by Alexander V. Nichols enhances every scene whether it calls for stark realism or the flash of cabaret. While the costumes are well-crafted, David Zinn has employed the tired convention of utilizing bits and pieces from a variety of time periods, netting an impression of form over substance.

The most wondrous discovery here is the original score by Gina Leishman. Reminiscent of Kurt Weill who composed Threepenny Opera with Brecht, Leishman?s music employs piano, accordion, tuba, and drums to create rich and often dark accompaniment to the songs of the piece. If a CD were available, it would be a welcome purchase to save nearly three hours slogging through the rest of the play.

Perhaps it is partially attributable to the new translation by David Hare, but despite some good performances and solid production values, this Mother Courage doesn?t resonate. Mother Courage plays through October 22 at Berkeley Rep?s Roda Theatre. For tickets or info, call 510-647-2949 or visit berkeleyrep.org.

[tags]theatre review, theater review[/tags]

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