Courage trumps cowardice

Posted 8/21/12

Fun and games aside, I have had a ridiculously busy week. While Mom was fond of saying, “You can rest when you’re dead,” I don’t think she believed that I should actually stop and drop while …

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Courage trumps cowardice

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Fun and games aside, I have had a ridiculously busy week. While Mom was fond of saying, “You can rest when you’re dead,” I don’t think she believed that I should actually stop and drop while working, so I see a day off in the not-too-distant future. Meanwhile, I was out and about with the Wonder Dog in tow every single day since the last issue of The River Reporter hit the stands and (go ahead, call me a crybaby) I’m tired.

Last Wednesday I had the good fortune to be in the Pavillion (www.bethelwoodscenter.org) for an incredible show, starring the Tedeschi Trucks Band, featuring Los Lobos and the North Mississippi Allstars. Fantastic. On Thursday, I caught The Who’s “Tommy” (see page 14) at the Forestburgh Playhouse. I was back in my seat at Bethel Woods on Friday for the sold-out Zac Brown Band concert featuring the wildly talented Drake White. For pics, visit www.Facebook.com/theriverreporter. I haven’t posted them yet, but will get to it soon, or die trying.

Prior to setting up camp for the day at the 2016 Riverfest (see page 17) in Narrowsburg, NY, I made reservations to see the highly anticipated production of “Courage” (www.nacl.org) under the Big Top at Apple Pond Farm, and gathered a bit of personal courage to schlep my exhausted self and follow the dog through the “Walk-in-Progress” that has been in the works for more than a year. Intrigued by the location, (www.applepondfarm.com), a “Renewable Energy Education Center,” and curious about what director Tannis Kowalchuk, composer Rima Fand and playwrights Melissa Bell and Mark Dunau had up their respective sleeves, I reminded myself that this new production is based on German dramatist Bertolt Brecht’s “Mother Courage and her Children.” It was written in 1939 and was one of nine plays by Brecht that addressed the “devastating effects of a European war and the blindness of anyone hoping to profit by it” (www.wikipedia.com). Brecht wrote the play in an attempt to counter the rise of fascism and Nazism. Kowalchuk’s unique concept and ability to be in touch with the Zeitgeist is ever-present throughout this amazing reinterpretation, now and forever known simply as “Courage,” thanks to the remarkable cast and crew that (IMHO) make this production a stunning testament to creativity.

With more than a dozen “creator/actors” involved, it would not be possible to name them all, but I would be remiss to not give special mention to Jessica Barkl (Yvette), Bradley Diuguid (cook), John Roth (General Public), Bryan Ritchey (Billy), Keith McHenry (chaplain/Hermes) and Kowalchuk herself (Courage), whose performance is remarkable, moving and inspired. This production would not be possible without incredible contributions from assistant director Mimi McGurl, costume designer Karen Flood, the technical savvy of Woodstock Stage and Screen’s Zoot and a host of others. Made possible through a variety of grants, the show is further enhanced by the NACL Theatre’s Stilt Corps, who struck fear in my heart, before causing me (and many others) to weep, as the story of Mother Courage searching for her son (with the “Young Billy” played beautifully by Simon Kowalchuk-Swartz) unfolded before our eyes.

Courage has another (adopted) child, Kyoko, who is by her side throughout, and as performed by Yurika Sase (who last mesmerized audiences in NACL’s “The Weather Project”), is incandescent. Emotion plays across this actor’s face with such intensity and purpose that it’s impossible to not be drawn into her character’s personal journey. She is joined by an amazing chorus of women “refugees,” and the show is further enhanced by accordionists Doug Rogers and Hannah Temple.

Zeitgeist or not, I don’t think even Kowalchuk knew that by the time “Courage” opened, Donald Trump would be running against Hillary Clinton for president of these United States, but one can’t help but draw comparisons to the present-day political climate and the “divided we fall” atmosphere from which the country is suffering. Maybe she did; maybe she’s just that good.

The fact that the audience walks through this production like refugees fleeing war was inspired, because it enabled us all to literally take the journey with the company. The story caused us, as a group, to be united in a way that would not have been possible simply sitting in a conventional theatre setting in the dark. “Courage” is remarkable, and I know that this is not the end but the beginning for this wildly imaginative production, which is clearly bound for glory.

Immediately after seeing the show, I jumped on the social media bandwagon and called it a “Once-In-A-Lifetime Theatrical Event of Epic Proportions” that has already caught fire here in the Upper Delaware River region. My fervent wish is that the rest of the world catches up with those of us fortunate enough to be the first ones on the block. Kudos.

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