The Suit and Peter Brook

I can’t remember when I first learned of director Peter Brook and his work. Maybe it was reading The Empty Space in college, maybe it was before then, but after coming back from my year abroad in London (where is name was certainly thrown around frequently), I dug into his history of work, reading Conference of the Birds, scouring the internet for images and details of his past productions, all because I had become obsessed with ways to combine multiculturalism and theatre. To this day, I have a hard time finding a way to combine the two in a new way, but that’s another story. I always thought it would be sooooooo incredible to work with Peter Brook on these daring productions and admired him for being so incredibly prolific. As you can imagine, I was thrilled by the opportunity to see The Suit while it was here visiting UCLA on it’s world tour, directed by Peter Brook himself.

The Suit, From the Afridiziak Theatre News website

The Suit, From the Afridiziak Theatre News website

As was expected, the story was beautifully put together. Scenes weaved in and out very organically, the use of the fourth wall was very appropriate to the type of show/story, and the performances were extremely focused and strategically nuanced. The three actors, Jordan Barbour, Ivanno Jeremiah, and Nonhlanhla Kheswa, gave masterful and captivating performances. The music was a absolutely a fourth character, playing almost constantly. The musicians (a guitarist, a trumpeter, and a guy switching between an accordion and a piano) deserve just as much praise as the actors.

I would go on and on about what made it so fantastic, but I’m not trying to write a review, AND they’ve moved on to a different city and I don’t want to tease you. What I wanted to explain about the impact of this show is that as I move more fully into the film/tv realm (never letting go of theatre, though!), The Suit was a great reminder of powerful it can be to experience a show that’s best and only possible incarnation is live performance. To film this piece would strip it of all that makes it so lovely– the amazing flow of energy in and out of scenes, the feeling that you get hearing these instruments played live as if just for you, the palpable connection between audience and storytellers, the way that subtle emotions make you lean in to read the feelings on an actor’s face… It just felt special. And that, my friends, is what I love about theatre. No matter what caliber of venue, company, or production you are partaking in, a well-executed piece of theatre will feel like you have experienced something unique and personal– like that performance was made solely to feed the souls of the folks who came that particular evening.

Thank you, Mr. Brook, for reminding me of this, for directing another show at 89 years old, and for creating such a wonderful celebration of my favorite art form.

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