It’s always a challenge for artists — whether they are in literature or performing arts — to put their work before an audience. Unlike so many other disciplines, art is so subjective that it’s easy for an audience to misunderstand, misinterpret.
That’s why Tom Kuhn’s work – specifically the translation of “Roundheads & Peakheads” by Bertolt Brecht – deserves special consideration.
Kuhn’s interpretation of Brecht (1898 to 1956) – the noted German poet, playwright and theatre director who wanted to use the theatre for social causes – gave others an opportunity to build upon the original, such as in this daring multi-media presentation.
Brecht’s anti-Nazi tale “Round Heads and Pointed Heads,” written sometime in the early 1930s, tells the story of a country’s rulers who maintain control by pitting those with “round heads” against those with “pointed heads.” When it was released, the play reportedly received somewhat mixed reviews.
Taking his cue from this country’s economic and social unrest, Kuhn retells the story in modern lingo and song as set in the kingdom of Yahoo. Once again, animosity is encouraged between the two different sets of “heads” but there’s little doubt this is at least semi-modern-day battle.
Playing on a mainly black-and-white two-story set that has an amazing versatility — everything from a “Laugh In”-type peephole where various characters can pop up to sing and talk, to a wall that serves as a movie screen — the stark background is a contrast to the brightly colored attire of the actors. Whether clad in bright pink and green as they rap or swirling, multicolored skirts as they bound about the stage, the downtrodden often make their statements of unrest, activity and even animosity through attire.
In contrast, the black-and-white-clad ruling class — and even the thugs throughout the production — are as one-dimensional as their clothing.
If there’s one downside to the production, it’s that Kuhn seems to hit the audience on the head with his message of oppression, again and again. In fairness to him, though, it seems Brecht’s original play delivered the message in much the same way.
But there’s no mistaking what might have been dreary German theater with Kuhn’s modern interpretation, which he literally jazzes up with some new music, including “Money Calls to Money,” and various films to advance the story.
As if that isn’t enough, several members of the 10-person cast, each of which plays multiple parts, also take turns singing. Catherine Deadman as prostitute Nanna and Kathleen Gonzales as Madam Cornamontis are particular standouts.
Make no mistake, “Roundheads & Peakheads” — and for that matter, much of Brecht’s work — isn’t for everyone. But for those who want to explore a different interpretation of the work of the German master, this production more than satisfies.
If you go
“Roundheads & Peakheads”
When: Various times through March 15
Where: Atlas Performing Arts Center, 1333 H Street NE, Washington
Info: $10; catalysttheatre.org
