London: 1933 AND ALL THAT to 27 April

1933 AND ALL THAT
Presented by La Dual Band
Devised and orchestrated by Mario Borciani
Starring Anna Zapparoli

Arcola Theatre to 27 April
Mon - Sat 8pm

1h 50 mins. One interval.

TICKETS 020 7503 1646
Review Danny Braverman 2 April

Anna Zapparoli's Brechtian cabaret entertains in parts, but lacks consistency and shape.Anna Zapparoli and her family take some bold risks presenting this vehicle for her talents. They rely heavily on Ms Zapparoli's supposed magnetism, as she is supported by husband Mario Borciani as deviser-in-chief/Musical Director, another Borciani (Benedetta) as lighting designer and her son Beniamino Borciani as an additional performer. Unfortunately, this brave stab at bringing to life the world of Brechtian cabaret doesn't quite come off and is, at its worst, awkward and self-congratulatory.

The show is billed as an evening with Brecht, Weill and friends and is an eclectic mix of songs taken from the Berlin cabaret tradition. These are presented in more or less chronological order - culminating in the work of the artists in exile in the USA.

This is the first mistake in the show's conception, as the songs in the second half are not nearly as interesting as the earlier works and the show becomes less interesting as the evening progresses. Kurt Weill in particular, tended to more derivative and schmaltzy work with his American collaborators Allan Jay Lerner and Ira Gershwin. The last Brecht song in the show typifies the difficulty of adhering to the chronological convention; Freedom and Democracy, with new music by Mario Borciani, is a dreary polemic, lacking the irony and finesse of the earlier Brecht/Weill collaborations that enliven the first half.

Anna Zapparoli herself is an accomplished performer who delivers some of the songs with perspicacity and wit. Her rendition of Brecht's The Legend of the Dead Soldier is particularly good and has a compelling stillness. Sadly, clarity is lacking in some of the more frantic up-tempo numbers in a space lacking the necessary intimacy. Her attempts at developing a convivial relationship with the audience are a bit embarrassing and in the end I couldn't help but make negative comparisons with more charismatic specialists of the cabaret genre. It probably didn't serve Zapparoli to invite a comparison with Marlene Dietrich towards the end of the first half.

On the positive side, there are moments that effectively demonstrate the spirit of Brecht's theory. The use of simple props and signs elegantly shows the distancing effect (verfremsdungeffekte) that was central to Brecht's aim to engage the critical faculties of his audience. Most commendably, Anna Zapparoli never loses sight of the importance of entertaining her audience - a vital component of Brecht's theatre that is often bemusingly overlooked by over-earnest interpreters of his work.

For the many students of Brecht who find his theory impenetrable, this production will be a very useful and lively study aid. For the rest of us, some interesting moments don't quite make up for the show's general lack of shape.

Carlo Battisti: Drums
Mario Borciani: Piano and Musical Direction
Stewart Curtis: Clarinet, Flute, Tenor and Soprano Saxophone
Sandro Dandria: Double Bass
Anna Zapparoli: Vocals
Beniamino Borciani: A Small Person

Lighting Design: Benedetta Borciani, Martin Goodman
Lighting Operator: Benedetta Borciani
Ship Builder and Prop Finder: Marco Marelli

2002-04-04 09:08:34