The Resistible Rise of Arturo Ui by Bertolt Brecht, translated by George Tabori

The Cauliflower Trust in Chicago is in need of help and turns to a racketeer by the name of Arturo Ui to begin a “protection” campaign. Through his unique approach to theatre, Brecht uses this simple story to inspire critical thinking about and a reconsideration of Hitler’s rise to power. The questions are intense, but the work remains boldly theatrical and entertaining.

The Resistible Rise of Arturo Ui is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.

www.concordtheatricals.com

As we move into the November elections, we are reminded that history, possibly, and perhaps horrifyingly, could repeat itself. Born in Germany and forced to flee from his homeland at the rise of Adolph Hitler’s power, Bertolt Brecht’s plays and poems are filled with warnings of those who look to rewrite the past, ban books, control the press, and seize power by force, intimidation, and the spreading of outrageous lies.

Brecht’s theatre was not intended to be naturalistic or comfortable to watch. The language is uncensored, the music raw, the characters over-the-top . . . for who would believe people so obviously ridiculous or vile. Influenced by early Hollywood movies, Brecht was markedly drawn to Charlie Chaplin’s The Great Dictator and Howard Hawks’s 1932 gangster movie Scarface, starring Paul Muni and newcomer George Raft. Raft would emerge as one of Hollywood’s quintessential gangsters. While Brecht’s Threepenny Opera was already lauded in Germany, even before the rise of the Nazi Regime, Arturo Ui, written in 1941, was never performed in Brecht’s lifetime. The title of the play implies the essential truth revealed at the heart of all of his works: the rise of anyone who tries to seize total control is, in a word . . . resistible.

I would like to express my sincere gratitude to Gad Guterman, Rayme Cornell and the entire Sargent Conservatory faculty and staff for giving me the opportunity to direct this important work. Other thank you’s go to Philip Boehm at Upstream Theater, William Roth at St. Louis Actors’ Studio, Teresa Doggett at Union Avenue Opera, Robin Nunn and Production Support Services, and most especially to Assistant Director Zak Stefaniak and this team willing to create this powerful piece.