We have seen La résistible ascension d'Arturo Ui

Even though the play hasn't been frequently staged, The Resistible Rise of Arturo Ui stands out as one of the texts that permeates 20th-century theatrical culture. This is due, if only, to its epilogue, marked by the line, "The womb is still fertile, from which the foul beast sprang." It depicts the terrifying rise of Nazism in 1930s Germany, transposed to the Chicago of gangsters, with Arturo Ui at its head, who will insidiously destroy the organization to eliminate all those who stand in his way and seize power. Following Jean Vilar in 1960, Georges Wilson, Heiner Müller, Jérôme Savary in 1993 with Guy Bedos in the title role, and more recently Dominique Pitoiset, Katharina Thalbach presents us with a production that entered the repertoire of the Comédie-Française in the spring of 2017. This production marks a return to her roots for the daughter of Sabine Thalbach, who began her career with Brecht's Berliner Ensemble in Mother Courage. She offers an ascent of Arturo Ui that scrupulously respects Brecht's intention, who explained: "It is necessary to use masks, accents, and gestures specific to the models, but to avoid pure cross-dressing, and the comedy must not be devoid of terror. What is needed is a visual representation at the most vibrant pace, with well-arranged group tableaux in the style of stories at an annual fair." Brecht's intention is evident even in the didactic panels that heavily punctuate the play, emphasizing the parallel with the rise of Nazism. But the real interest of Katharina Thalbach's staging likely lies elsewhere, in the spiderweb that crystallizes Arturo Ui's terrifying strategy and the play's enduring modernity. It's a web the actors climb, where balance becomes precarious and a fall is no longer out of the question. A superbly executed idea by the actors of the Comédie-Française.