Caucasian Chalk Circle – review

Caucasian Chalk Circle. Photograph: James Delaney

Would Bertolt Brecht have approved of this setting for his 1948 work? While a religious building might seem in conflict with the German dramatist’s Marxist allegiances, Shoreditch Church is actually an apt venue for his biblical style parable about a child called Michael who is born into virtual royalty but brought up by a servant, Grusha, who must make sacrifices for the boy.

The epic play lasts more than two hours and you have to endure the uncomfortable pews until the end to find out what the chalk circle of the title refers to.

However, the scene in question is worth the wait as it is moving and played with passion by this terrific New Rep Company cast, many of whose members are fresh out of drama school.

There is a standout performance from Lydia Grant as Grusha, who seems choked up with genuine emotion as she is told by Michael’s biological mother, the governor’s wife (Cecilia Colby), that she can no longer keep the son she raised.

The actors almost all play multiple roles and belt out rousing songs and marches that fill this ancient, crumbling building and keep you humming for days afterwards.

Brecht’s signature mix of imaginative vitality and proletarian accessibility is much in evidence, and there is a delicious earthiness to one of his most well known characters, the corrupt, drunk, maniacal
judge Azdak who must adjudicate in the dispute over Michael’s maternal origin.

The play is set amid a war along the Silk Road, and apparently it was based on an ancient Chinese story, but its folky themes have echoes in many cultures.

Brecht is not the most fashionable of playwrights these days, but this production, directed by Graham Hubbard, is a worthy salute to the artist who was born in Bavaria fled to the United States and died in Communist East Germany, and who, despite his atheistic grave, clearly read his Bible.

Caucasian Chalk Circle
Shoreditch Church
Until 30 September.