As someone still just becoming familiar with theater, especially with the classics, I was intrigued by the buzz on The Foundry’s recent production of Bertolt Brecht’s Good Person of Szechwan. Based on superficial acquaintance, I admit that I have long thought of Brecht’s work as being too didactic, or self-consciously arty, or (egad) too hyper-political to be actually enjoyable.
But the word on The Foundry’s new production, based on a translation by John Willett, directed by Lear DeBessonet and starring the gender-bending performer Taylor Mac, was so good – and tickets were so hard to get when it ran at La Mama last winter – that when I saw it was opening at the Public Theater, I jumped on the chance to see it. Twice. I may go a third time.