Four Walls And A Roof theatre review: Chilling commentary on censorship
Exposing the harrowing similarities between historical and modern-day state repression, Four Walls And A Roof veers closer to a lecture than political theatre
In 1947, German playwright Bertolt Brecht was brought before the House Un-American Activities Committee on suspicion of communist beliefs. The following day, he left the country, forced into exile again over a decade after fleeing Nazi Germany. Four Walls And A Roof is a chilling history lesson, revealing countless similarities between the censorship of the 20th century and that of today.
This is a very pertinent story for theatre-making duo Lina Majdalanie and Rabih Mroué, who themselves emigrated from Beirut to Berlin. They offer satirical commentary and make a few explicit references to Palestine, but much of the piece is simple communication of historical fact. It’s terrifying to realise that an unadorned historical account is all it takes to reveal the extent of modern repression.
In true Brechtian fashion, Four Walls And A Roof holds its audience at arm’s length. This is not a show to be immersed in, often resembling a lecture more than a traditional play. Its only emotional beats are courtesy of Henrik Kairies, whose renditions of Brecht and Hanns Eisler’s songs provide moments of melancholic reflection. Not all of the commentary lands, such as one point about the word ‘homeland’ that doesn’t withstand critical examination, but Four Walls And A Roof certainly succeeds in getting its audience thinking.
Four Walls And A Roof, Studio Theatre, 16 & 17 August, 7.30pm; picture: Jess Shurte.