The Coronet Theatre’s Stranger Than the Moon offers a poetic and contemplative exploration of Bertolt Brecht’s restless mind, one of the giants of 20th-century theatre. Directed by Oliver Reese, the production dives headfirst into the fractured psyche of the German soul—seduced by its own intellectual sharpness yet shattered by the horrors and absurdities of the human race.
The show opens with the haunting refrain, “I live in dark times,” establishing a tone of existential unease. From there, it weaves a musical tapestry of Brecht’s own poems, songs, biographical notes, and video, exploring themes of absurdity and survival. This reflective approach, while intellectually engaging, sometimes falters, leaning into cerebral abstraction at the expense of theatrical dynamism. Brecht’s characteristic playfulness is conspicuously absent, replaced by a cool detachment that risks alienating the audience.
The performers’ precision, however, is striking—a testament to the ensemble rigor for which Brecht’s Berliner Ensemble is renowned. Katharine Mehrling delivers a multifaceted and commanding performance, bringing much-needed energy and a touch of Brechtian epicness. Paul Herwig is equally compelling, though non-German speakers may find it challenging to absorb his full range as the dense text leaves little time to balance subtitles and performance.
Ultimately, Stranger Than the Moon offers moments of intellectual pleasure and tantalizing glimpses into Brecht’s world, supported by sharp performances and Adam Benzwi’s strong musical direction. Yet, its lack of theatrical vitality and cohesive narrative structure hinders its ability to achieve the evocative resonance it strives for. It captivates the mind but struggles to reach the heart.
Reviewer: Klervi Gavet
Reviewed: 4th December 2024
North West End UK Rating:
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