Theater review: Strong performances master nuances of Brecht's 'Puntila'

As usual, Homer said it best: "To alcohol! The cause of -- and solution to -- all of life's problems."

The great Simpson's wisdom seems on point in any discussion of "Mr. Puntila and his Hired Man Matti," one of Bertolt Brecht's most acute observations on class and capitalism. Frank Theatre opened a new production Friday in another of those "found spaces," the city of Minneapolis Public Works yard. While the vibe is aptly industrial, the heat is regulated and there are indoor bathrooms. What more can you ask of a theater?

This rambling comedy is named for a wealthy Finn who -- when sloshed on aquavit -- expresses an omnipotent love for humanity. Workers bask in his garrulous and generous nature; women accept his vulgar invitations to wed. When the stinging sun of a new day dries out his bonhomie, Puntila becomes a caustic and brutish scold, reneging on his goodwill.

Brecht, who wrote this play while exiled in Finland in 1940, props up Puntila as a boorish caricature of the land-owning set. Whim and mood define the characteristics of this impulsive man of privilege. Matched against Matti, his chauffeur, Puntila enters into a dialectic on the treatment of humanity by the upper class.

Brecht's intentions are best expressed at the play's conclusion when Matti leads the chorus: "Masters and servants will be of one mind when men and masters are all of one kind."

Director Wendy Knox put actor Grant Richey to the task of animating Puntila. Richey's rubber-faced mien and shambling comportment capture the necessary Brechtian exaggeration. Further, Richey shades the portrayal with some honest -- if delusional -- introspection that tightens up the reality. He loses some steam, as does the production as it stretches deep into the second act, but he rebounds at the end. Knox loves Brecht, but a pair of shears would have helped get us to that conclusion sooner. A section of Finnish folk tales offers an irresistible invitation to daydream.

As Matti, Carson Lee's calm strength contrasts well with Puntilla's bombast. Matti is, after all, purposely the one character who takes on dimension -- "the human being."

Brecht needs big performances rather than intimate character portrayals, and Knox's production gets that done. Emily Zimmer is a brittle mix of fragile privilege and gritty determination as Puntila's daughter, Eva. Patrick Bailey fusses his way through the role of Eva's intended, a lightweight government attaché. The chorus is strong, with Cheryl Willis a fine example of vaudevillian panache.

Jake Endres kicks in songs and soundscapes that drive the show, and Kathy Kohl's costuming -- as always -- articulates each character.

Graydon Royce • 612-673-7299