The Unicorn offers heartfelt politics in 'The Caucasian Chalk Circle'

By J Sydney-Leigh

The Unicorn Theatre is focused on making theatre accessible and exciting for young audiences aged 2-21. It therefore seems an appropriate venue in which to stage Brecht, who used theatre as a platform to politically educate and encourage critical rather than emotional reactions from the audience. This adaptation of The Caucasian Chalk Circle [billed for age 11+] is served well by a strong multi-rolling cast, who demonstrate evocative direction by Amy Leach amidst a beautifully fluid set designed by Hayley Grindle. The result is a timeless parable that uses beauty and energetic heart to drive home a political message that is as relevant now as it was for Brecht’s contemporary audience.

The rounded thrust stage of The Unicorn lends itself to audience interaction, and a democracy of opinion is formed from the offset as the actors address the audience directly, in place of the omitted prologue. We are questioned about our interest in politics, and offered certain facts; such as that the richest 1% of our population own 48% of the world’s wealth. Is that fair? Brecht’s anti-capitalist politics are clearly offered here, and despite the awkwardly scripted debate between the actors, the message is clear: the diverse social fabric that we live in is not conducive to rewarding the right people. To further the Brechtian story-telling style, we are offered narration from composer-singer Dom Coyote, whose original score has an Eastern flavour, and surges the audience with emotive harmonies.

We are ultimately engrossed in the ambitious tale of Grusha, the anguished young maid who rescues and nurtures an abandoned princely baby as the Georgian Government goes under siege. Bloodthirsty rebel soldiers stay hot on the heels of baby Michael, the Governor’s rightful successor, which forces Grusha to spend all her money and risk her life in a self-assigned mission to place him out of harm’s way. Kiran Sonia Sawar displays captivating resilience as this maid turned mother, learning to love him as her own. Ultimately, when the Governor’s widow returns after 2 years in hiding, a trial is held in order to determine which of the mothers has the ‘right’ to keep him. The audience has a clear investment in Grusha, who represents the ‘good’ against Michael’s materialistic and arrogant birth mother, played with fist-clenching contempt by Emily Wachter.

Chris Wright plays Jussup, an apparently dying man who Grusha is forced to marry to further disguise the baby’s true identity. When war is declared over, Jussup wakens from his deathbed as an abhorrently cantankerous man who demands of Grusha a hardworking and attentive wife. Mia Soterious offers a stand out performance as his mother, whose pity for Grusha can be felt even through her cruel demands. Tom Espiner plays the conniving ‘Fat Prince’ who leads the siege that brutally kills his Governor brother, and Leach’s decision to film the assassination on an iPhone brings the play into a modern context that is chillingly reminiscent of the Jihadist beheadings in current news.

Caleb Frederick offers one of the few ‘good’ characters as Simon, the charming solider who perseveres for Grusha’s affections despite returning from war to find his fiancé is caring for a child not his own. The right vs. wrong, good vs. bad binary oppositions that colour Brecht’s work come to a complex head in the role of unlikely Judge Adzak. Fantastically acted by Nabil Shaban, self-serving Adzak leads the pivotal trial to determine the fate of baby Michael. His alcoholism and greed for cash payouts lighten the mood of the second act, but we are endeared to his flawed character by his wise intuition that ultimately serves those most deserving of justice.

This is an important political play that will appeal to youth and adults alike, an important chapter in The Unicorn’s repertoire.

★ ★ ★ ★

The Unicorn presents ‘The Caucasian Chalk Circle’

by Bertolt Brecht

Translated by Frank McGuinness (this production excludes the prologue)

Directed by Amy Leach

Set and costume designer- Hayley Grindle

Lighting Designer – Joshua Carr

Composer, Musical Director and Performer – Dom Coyote

Sound Designer – Edward Lewis

Fight Director – Alison de Burgh

Puppet Design and Direction – Rachael Canning