“Mother Courage and her Children,” written in 1939 by German playwright Bertolt Brecht has been a challenging play for me, and having seen it prior to this Trap Door Theatre production, I wondered why, along with “Threepenny Opera” (1928), it is so popular among theater companies and actors.

But I figured if anyone could make this thing work, it would be Trap Door, and I am delighted to report that they have, in the production which opened this week at their magical space on Cortland Avenue. Directed by Max Truax in a translation by Eric Bentley, “Mother Courage” is accessible, intelligible, entertaining and compelling.

Holly Cerny gives a tour de force performance as Mother Courage, on stage continuously and called to sing, dance, and haul a canteen wagon. Her character is based on a real-life operator of a canteen supplying soldiers in the 30 years war in Europe in the 17th century. More than 4.5 million soldiers died in the prolonged religious conflict, but for Mother Courage and her young adult children, the war means their livelihood. Her two sons, Swiss Cheese (Rashaad A. Bond) and Eilef (Bill Gordon) are conscripted, further entrenching Mother Courage in the battles.

Eventually as peace dawns, Mother Courage is distressed that her means of income will be ended. She has lost a son who was court-martialed for stealing army funds at her behest. Another dies after killing a leader whose death reignites the war. In other words, she is a contemptible character - but the audience bears witness to this chicanery without empathy for Mother Courage or her brood, an approach in this style of Epic absurdist plays that Brecht intended.

Instead, Brecht is asking the audience to hear a statement about war, and the economics that underpin the interests of participants. All this, with song and dance - more macabre than delightful; and sung with the wry humor of cabaret. All the cast is notably good in adopting the non-naturalistic style Brecht intended: Kevin Webb is the cook; Joan Nahid as Mother Courage’s mute daughter Katrin; Caleb Jenkins as the Chaplain; Nena Martins as Yvette; and Tricia Rogers as a Soldier/Officer. We connect with these characters as totems for the forces of war they represent.

Set design by J. Michael Griggs, lighting by Richard Norwood, sound design by Dan Poppen, props by David Lovejoy and music by Jonathan Guillen combine to give an expressive force to the production. Periodically, supra titles let us know where we are in Mother Courage’s adventure - a really good touch, though they were sometimes obscured by the actors on stage. Perhaps they could be placed higher on the backdrop.
Trap Door Theatre, squeezed behind a Mabel’s Table restaurant at 1655 W. Cortland in Chicago (near Ashland Avenue), has over its 30 years taken on the most venturesome and challenging absurdist plays, and that makes it a true treasure. “Mother Courage and her Children” runs through February 24 at Trap Door Theatre. 

*Extended through March 9th