Odyssey Theatre Ensemble presents a play in two acts by Rainer Werner Fassbinder, translated by Denis Calandra. Directed by Ron Sossi.
Cast: Beth Hogan (Geesche), Tom McCleister (Miltenberger), Christopher Gerson (Michael), Gene Dynarski (Timm), Barry Cutler (Zimmerman), Nancy Solomons (Mother), Georgia Simon (Luisa), Carl J. Johnson (Father Markus), Joe Pecchio (Bohm), Richard Eden (Johann), Gregory Clemens (Rumpf).
Rainer Werner Fassbinder (1945-82) is best known in this country for being the bad boy wunderkind of the 1970s New German Cinema movement ("The Marriage of Maria Braun," "The Bitter Tear of Petra von Kant"). In Germany, he was equally controversial for his many stageworks. "Bremen Freedom" investigates one of Fassbinder's favorite themes: the oppression of women by society. Under Ron Sossi's sparse and insightful direction, the West L.A.-based Odyssey Theatre Ensemble offers a morbidly droll chronicle of the dehumanization of a middle-class housewife, highlighted by a chilling portrayal by Beth Hogan.
The play is based on actual events that occurred in the 1830s, when a woman named Geesche Gottfried killed 15 people and was beheaded in the last public execution in Bremen. As realized by Fassbinder, Geesche (Hogan) is totally repressed in her efforts to find happiness and fulfillment as a woman in a male-dominated society. Totally subjugating herself to her brutal first husband, Miltenberger (Tom McCleister), she leads a life of total humiliation. Upon his death, she enthusiastically gives herself over to love and adoration of her second husband, Michael Gottfried (Christopher Gerson), only to be rebuffed for her boldness and lack of propriety.
Michael's rejection renders Geesche so demented and drained of human sensitivity, she embarks upon a life of eliminating all the people who try to control and oppress her, including Michael, her two children (unseen), her father Timm (Gene Dynarski) and brother Johann (Richard Eden). What becomes horrifically comical and ironic for Geesche is that when she has eliminated her latest oppressor there is always someone to take his place.
Sossi allows the assault on Geesche's senses to unfold in an almost lighthearted manner as a series of colorful folk parade in and out of her life. Sossi's efforts are aided greatly by the widely spaced set design of Victoria Profitt, which enables the characters to literally rush at Geesche with the urgency of their individual agendas. Complementing this mood is the atmospheric lighting design of L. Scott LeGrand and a compelling but uncredited sound design.
Hogan offers a tour de force performance as this bright and sensual woman who is literally forced by the world around her to obliterate all compassion from her soul in order to fulfill herself as a human being. As she does combat with the society around her, Hogan's Geesche travels the emotional gamut from utter despair to the heights of ecstasy, finally evolving to a state of disinterested tranquillity as she calmly informs her best friend, Luisa (Georgia Simon), that she has just poisoned her coffee.
The production features an outstanding supporting ensemble, highlighted by McCleister's brutish Miltenberger, Gerson's intimidated Gottfried and Dynarski's overbearing father. Also to be noted are Barry Cutler's hilarious outing as Geesche's post-husband lover, Zimmerman, and Eden as her brother, Johann, a testosterone-driven soldier who attempts to overpower her and take over the family business.
Set, Victoria Profitt; lighting, L. Scott LeGrand; costume, Roslyn Moore. Opened, reviewed March 29; runs through May 11. Running time: 2 hours, 10 mins.
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