The Resistible Rise of Arturo Ui

Reviewed by Holly Bartges

It’s mind boggling how something so unfunny can actually be very funny.

Jessica Robblee (Flake) & Jim Hunt (Sheet) in The Resistible Rise of Arturo Ui. Photo by Erin Preston

Bertold Brecht’s The Resistible Rise of Arturo Ui opened at Countdown To Zero under the imaginative direction of Brian Freeland and a highly qualified imaginative cast. It’s a hoot and a holler with a parenthetical thoughtful pause thrown in for good measure, underscored by haunting reminders of a time not so very long ago.

It has been said the best way to tame tyrants is to laugh at them.

Written in 1941, the German on-the- edge playwright Bertolt Brecht, mimics the rise of Adolph Hitler through the life of Arturo Ui, a 1930’s Chicago gangster who lost his celebrity grip, hungering for power.

Taking advantage of desperate people in a desperate situation, Hitler oiled his way to supreme control.

Because of the Holocaust, Hitler has been labeled Satanic and the Anti-Christ, forgetting it was the people who handed power to him on a silver patter. Yes, they were desperate economically, and poor people will do anything for money. We don’t have to go very far to see that.

Could it happen again? Unfortunately, when people give their power away whether it is personal or political, anything can happen.

Arturo Ui demonstrates the possible probabilities.

The stage for Arturo Ui occupies the majority of the Bindery. The audience at one end is greeted with a vast open space with make-up tables and props at the opposite end. Lights hang from the rafters with long ropes to switch them on and off by the actors. The overhead lights provide bright spots and eerie affects.

Five actors play 28 different roles and do so with efficient justification. There is no confusion as to who is playing whom.

Clever, sly, personable, confident, dapper, sophisticated, Arturo Ui comes to life with the able assistance of Josh Hartwell. A wily snake in the grass, Arturo knows when to patiently hang back, hang loose before pouncing on his prey.

Combing slapstick, vaudeville, calculated, comedy, the cast works in hysterical synchronization along with comic book type exaggeration.

At the very beginning, Jim Hunt as the Announcer sets the place in time with a lone bright spot casting weird shadows. The rhyming of the lines adds punch and spice to robotic characters.

Brian Freeland directed this memorable piece with astute understanding and Freelandesque creativity.

As the Chicago based play progresses, huge sheets periodically unroll from the rafters. Because of the lighting and shadows, they are at first difficult to read. Per chance could they have something to do with parallel issues to Hitler? They do indeed. But it isn’t until the sheets unroll halfway through the production did this become clear. It would be helpful, if somehow spots could highlight the narration beautifully written on the sheets without disturbing the otherwise stark lighting. Then again, maybe it is intended to not see the writing on the sheets, not be able to read them, and project the thought perhaps they do indeed have something to say about Hitler and parallel activities.

The basic story concerns the fictional Chicago mobster Arturo, his crafty over powering of the cauliflower racket, and his heartless disposition of the opposition. The characters sharply reflect Hitler’s real life situation.

Arturo’s henchman, Ernesto Romo, frightfully played by Terry Burnsed stands side-by-side Hitler’s Ernest Rohm, The Cauliflower Trust represent the Prussian Junkers. The fate of Cicero represents the Austrian Anschluss. Ken Witt’s Giuseppe Givola, the horticulturist, represents Paul Joseph Goebbels, Hitler’s minister of propaganda.

Hunt’s wheel chair-bound Dogsburough gleaning power of his own uses a sock puppet for his son. The conversations between Dogsburough and the son are riddled with laughter along with spinal shudders.

Along with Roma, Burnsed plays four other roles. Hunt fills the shoes for eight characters. Jessica Robblee takes on nine characters plus a slew of dummies she hysterically brings to life. Witt bounces back and forth between five roles. Every actor gives every character a strong commanding place under the spots.

When Brecht was in exile in Helsinki waiting for a visa to enter the United States, he wrote this play in 3 weeks. Recht never intended a German version of the play to be produced. His sights were aimed at the American audience. He literally took his life in his hands writing the script. Hitler, at the time was very much in power. The United States had not yet entered the War.

Brecht just doesn’t play with a satirical allegory; he goes deeper into the human psych quoting Shakespeare relying heavily on Richard III.

At the same time Arturo charms the socks off of the desperate people being eaten alive by the Cauliflower Trust, he brutally and maliciously exterminates anyone who stands in his way.

The court scene with Hunt as the Judge, and Burnsed’s Hook on trial for arson, curdles the blood while laughter rumbles through the audience. Honest comedy always carries with it truth. Burnsed’s pathetic reactions hold stunning truth in his comedic gestures. There is nothing funny about tortured prisoners, a subject particularly close to home these days. Burnsed combines the two elements in a masterful presentation. Of course, he’s guilty in spite of his poor eyesight, A Woman played by Robblee who also plays the Prosecutor and Defense Council, insists she recognizes the defendant because he has a suspicious look.

The Resistible Rise of Arturo Ui is a smashing first class production that defies normal theatrical output. It is a definite must see. Do not think twice about calling for reservations. The sharp, smart artistic cast, the nontraditional stage presentation, the enormous creativity, and the political ramifications all speak for this funny, poignant magnificent piece to be seen by everyone.

Can it happen again? It can and will unless all of us remember whether with laughter or tears or both. History tends to repeat itself when humanity forgets.