The Mother of Us All

The Jean Cocteau Repertory has outdone itself as it begins its 35th season with its world premiere production of Marc Blitzstein’s translation of Bertolt Brecht’s Mother Courage, featuring original music by Paul Dessau. This sharply told story of a mother trying to save her children from the ravages of war in the 17th Century seems particularly timely today because the play’s dark story all-too-accurately reflects our current state of affairs in Iraq.

The Cocteau has often taken on major works but with minor casts, lessening its ability to do its plays justice — but that’s not a problem this time. Yes, some of the players are less than ideal, but its key actors make this powerful play of ideas come to life through the emotional reality of their portrayals. In the title role, Lorinda Lisitza is a revelation, bringing a ferocious humanity to her performance. Not only is her acting riveting, she sings powerfully and with intensity, displaying a deep understanding of the lyrics. In addition, you will enjoy the work of Seth Duerr, who wisely underplays his relationship with Mother Courage, and there is a wonderful performance by Sara Jeanne Asselin as a mute daughter who speaks volumes with her own courage.

Despite a small budget, Roman Tatarowicz’s set design and Viviane Galloway’s costume design make important contributions to the success of the show, but pay special attention to Giles Hogya’s lighting design; it’s stunning! Finally, congratulations to the inspired direction of David Fuller, who managed to put this major production up on this otherwise modest stage.

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This Gardener Flowers

The end of the summer finally brings us a major motion picture with some guts. The Constant Gardener is a smooth blending of thriller, love story, and political statement, made all-the-more powerful by virtue of Ralph Fiennes’ Oscar-worthy performance as an English diplomat of reserved nature who is moved to action by the sacrifices made by his impassioned wife, played by Rachel Weisz. The story, based on the novel by John LeCarre, takes place largely in Africa where a pharmaceutical company, protected by the English government, may or may not be performing illegal and dangerous research on Africans suffering from AIDS. Fiennes must sort out everyone’s motives: Is his wife having an affair with not one, but two of his colleagues? Is she a dangerous hothead or is she onto a discovery that will bring down great men in power? Fernando Meirelles directs this impressive movie with a fluid use of cinematic tools to go back and forth in time, and between reality and memory. At the center, though, are the acting chops of its leads, both of whom bring a forceful credibility to their characters.

It’s plenty encouraging to see Michael Showalter, who performed for eight years at Fez with his comedy troupe, Stella, making his mark in the movies with the comedy The Baxter, which he wrote and directed. And not only does he star in the film — as the guy who never gets the girl (aka the Baxter) — but he’s wonderful in it as well. Theater lovers will get a particular kick out of this sweet-natured movie because of all the familiar faces in the cast, including Peter Dinklage as a gay wedding planner, Marylouise Burke as a café owner, Elizabeth Banks (who just starred as Cherie in the Williamstown revival of Bus Stop) and Michelle Williams as the objects of Showalter’s affections, Justin Theroux as Banks’ ex-boyfriend, plus Zak Orth, Haviland Morris and Paul Rudd in supporting roles.

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The Bewitching Mr. Wallowitch

Legends rarely come at affordable prices, but on most Friday nights, you can bask in the acerbic glow of singer/songwriter John Wallowitch as he puckishly performs at Danny’s Skylight Room — and still have enough money left over to buy some of his CDs. Wallowitch continues to be a master of contemporary satire; his hilarious song about Osama Bin Ladin living the high life while hiding in New York is — oh so ironically — one of the few successful works of popular art to have come out of 9/11. You can be sure that Wallowitch will perform a somewhat different selection of songs every Friday night because he has such a rich storehouse of creations to draw upon.

He’s also sure to have a talented guest star to perform several songs. The night we attended his guest was Mary Liz McNamara, and this turned out to be a genuinely poetic pairing, despite the fact that they are not so much separated at birth as separated by centuries. In fact, you also shouldn’t miss any chance to see McNamara sit behind a piano and sing her own songs. Wallowitch and McNamara; we’re talkin’ the cream of the cabaret crop.

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[To contact the Siegels directly, e-mail them at siegels@theatermania.com.]