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Troubled times: Presentation of "Johanna" by Brecht at Schauspielhaus Düsseldorf

"The play "'Saint Joan of the Stockyards'" is not a significant work in the canon of Brechtian literature. It lacks the comedic elements and dramatic violence typical of a gangster story, and is also devoid of the provocative songs characteristic of the genre."

, and ASMedia

2025 August 29 . 11:51 PM

2 min read

Time of deepest shade: Staging of Brecht's "Johanna" at the Schauspielhaus Düsseldorf

Troubled times: Presentation of "Johanna" by Brecht at Schauspielhaus Düsseldorf

In the heart of Düsseldorf, the Gründgens Platz comes alive with the powerful narrative of Bertolt Brecht's "Saint Joan of the Stockyards". This timeless play, premiered in Hamburg in 1959, transposes the story of Joan of Arc to a 20th-century industrial, working-class context.

The play centres around Joan, a strongly idealistic young woman who fights against the exploitation and brutal conditions within Chicago's meatpacking industry stockyards. She challenges capitalist greed and the dehumanizing forces of industrial capitalism, advocating for workers' rights and social justice. However, her noble crusade ultimately ends in defeat and tragedy.

Caroline Cousin brilliantly portrays Johanna, who comes to "upright the people once again in dark times of bloody confusion". Johanna's origin and identity are unclear, with possibilities including a messenger of humanity, Mauler's bad conscience, or an angel in a bloody cassock.

The play is a didactic drama about the ruthlessness of capitalism, with Mauler, the "Meat King", portrayed as omnipotent. Mauler becomes richer through refined purchases and sales, and secret information about customs developments. He dictates new conditions, cuts jobs, and pays less, calling it reform.

Moritz Klaus plays "Broker" Slift, who is interested only in driving up prices. The "Broker" Slift drives up prices for Mauler, while "The Meat" is represented by eight extras in pink foil suits. Mauler wears a red coat, symbolising his power and authority.

The set design features a gray backdrop with steam rising, depicting a timeless hell. Man is portrayed as a poor creature sliding through tubes, wriggling in cages, and hanging from hooks. This stark imagery underscores the brutal reality of the stockyards and the dehumanizing effects of industrial capitalism.

Roger Vontobel's direction highlights the political and social dimensions of Brecht’s work, emphasising the play's critique of capitalism and labor issues as inherent to the stockyards setting. His staging would typically underscore Brecht’s method of alienation (Verfremdungseffekt), encouraging the audience to think critically about the systemic issues embodied by the story rather than purely empathising with the characters.

The next performances of "Saint Joan of the Stockyards" at the Düsseldorf Schauspielhaus are on May 8th, 27th, June 4th, 21st, and July 1st. Keith O'Brien continues to provide a soundtrack that dynamically drives the long didactic monologues forward, adding depth and emotion to this thought-provoking production. Great applause for the ensemble and direction of the play has been echoing through the theatre, making it a must-see for anyone interested in Brecht's epic theatre principles and the critique of capitalist exploitation.