Mother Courage and Her Children
by Bertolt Brecht
Directed and Designed by LON WINSTON
CAST MOTHER COURAGE. . . . . . . . . . . .Valerie Haugen
KATTRIN. . . . . . . . . . . . . . . . . . . . .Jennica Lundin
SWISS CHEESE. . . . . . . . . . . . . . .Charlie DeFord
EILIF. . . . . . . . . . . . . . . . . . . . . . . .George Soukup
CHAPLAIN. . . . . . . . . . . . . . . . . . . .Richard Lyon
COOK. . . . . . . . . . . . . . . . . . . . . . .Brad Moore
OFFICERS/PEASANT. . . . . . . . . . . Gary Morabito
YVETTE. . . . . . . . . . . . . . . . . . . . . Logan Walters
SERGEANT. . . . . . . . . . . . . . . . . . .Patrick Murray
PEASANT. . . . . . . . . . . . . . . . . . . . Lana Karp
SOLDIER . . . . . . . . . . . . . . . . . . . . Kelly Ish
KATTRIN. . . . . . . . . . . . . . . . . . . . .Jennica Lundin
SWISS CHEESE. . . . . . . . . . . . . . .Charlie DeFord
EILIF. . . . . . . . . . . . . . . . . . . . . . . .George Soukup
CHAPLAIN. . . . . . . . . . . . . . . . . . . .Richard Lyon
COOK. . . . . . . . . . . . . . . . . . . . . . .Brad Moore
OFFICERS/PEASANT. . . . . . . . . . . Gary Morabito
YVETTE. . . . . . . . . . . . . . . . . . . . . Logan Walters
SERGEANT. . . . . . . . . . . . . . . . . . .Patrick Murray
PEASANT. . . . . . . . . . . . . . . . . . . . Lana Karp
SOLDIER . . . . . . . . . . . . . . . . . . . . Kelly Ish
Costume & Prop Designer Judy Benson
Lighting Designer Brad Moore
Stage Manager Sharon Brady
REVIEW - TRTC’s ‘Mother Courage’ a lesson about war
by Trina Ortega, Reviewer, Valley Journal
In its trusted fashion, TRTC delivers a well-researched and well-done production of Bertolt Brecht’s “Mother Courage.” The set, designed by TRTC Artistic Director Lon Winston, is brilliant in its simplicity; it’s neither too much nor too little, which is one of many components that speaks to the playwright’s original intent. Brecht developed Epic Theatre, a genre that seeks to present theater that could be viewed with complete detachment. This, in turn, allows the audience to think objectively about the play’s message. Weighing both the lessons of the play and the painful circumstances in which the characters find themselves, I believe Winston accomplished what he set out to do: share the genre of Epic Theatre and also show the emotional side of the lead character Anna Fierling, better known as Mother Courage.
Brecht uses her as an example to convey his belief that during war people feed off each other to reach their own goals.
When actor Valerie Haugen sings a cappella blues in Thunder River Theatre Company’s production of “Mother Courage and Her Children,” you feel like a student held captive by an intense professor lecturing on how war can change or define a person’s morals and values. And while I felt mentally exhausted, I walked away from the play largely impressed by such a monumental undertaking.
Haugen’s Mother Courage is a cunning businesswoman, her mind always churning to work out the next deal, sell more wares, make the next buck. Her philosophy is set in the opening scene when she says:
“Stop all the troops, they can buy from Mother Courage. It’s to death they march for you, so they’ll need good boots to wear.”
She is sly enough to later get the chaplain (played by Richard Lyon) to chop wood for her and convinces a military cook (played by Brad Moore) enamored with her to stay and pull her wagon full of goods.
Her character is both arrogant and pitiful with her vulnerability showing only in spare moments when her children get hurt or die. One effective scene shows her in a silent cry after denying she knows a dead soldier — one of her very own sons.
It’s just enough to let you acknowledge the emotion but not too overwhelming to make you empathetic. Furthermore, those moments are not lasting, as Mother Courage gets back on her feet each time and
goes about her business of making money.
Other standout scenes are with Mother Courage, her mute daughter, Kattrin (played by Jennica Lundin), and a prostitute named Yvette (played impressively by Logan Walters). It is poignant when
Courage tells Kattrin, who is so desperate for romance, that the prostitute “disgraces herself for money, but you for nothing.”
The onstage portrayals by these three actors help drive home the point that Mother Courage is no different from a prostitute who is profiting from the war.
In addition to Haugen’s landmark performance as Mother Courage, TRTC accurately honors the Epic Theatre genre through the original music and sound.
Marie Gasau, who was the music director for TRTC’s “Fantasticks,” creates original music for this production, as well. Haugen, too, learned to play blues harp for the play.
The bluesy a capella songs not only help to explain what’s going on, they purposely interrupt the flow of the onstage action and serve as a reiteration of the lessons to be shared. While Haugen’s powerful delivery in song is attention-getting, it’s not necessary that every word linger on your mind.
The melodic “lectures” offer a chance to reflect on how our own human nature can be pathetic at times, particularly in war or in our drive for wealth. For instance, Mother Courage curses peace and rejoices
when the “war’s back on;” the chaplain relies only on what “sounds good” during wartime instead of providing heartfelt encouragement to the people; and a cook expects his lover to abandon her only daughter.
Winston aimed to create just the right balance of detachment and engagement to uphold Brecht’s concept of Epic Theatre. His company does the playwright justice and keeps the audience intrigued in
the story about a mother/businesswoman, her three children and survival and success during the Thirty Years War.
It also makes one reflect on why humans engage in war in the first place and what becomes important during times of crises.
“Mother Courage” is a rare chance for Valley residents to “experience,” as Winston says, intelligent theater, even if not for enjoyment but for the lessons to be learned. 
by Trina Ortega, Reviewer, Valley Journal
In its trusted fashion, TRTC delivers a well-researched and well-done production of Bertolt Brecht’s “Mother Courage.” The set, designed by TRTC Artistic Director Lon Winston, is brilliant in its simplicity; it’s neither too much nor too little, which is one of many components that speaks to the playwright’s original intent. Brecht developed Epic Theatre, a genre that seeks to present theater that could be viewed with complete detachment. This, in turn, allows the audience to think objectively about the play’s message. Weighing both the lessons of the play and the painful circumstances in which the characters find themselves, I believe Winston accomplished what he set out to do: share the genre of Epic Theatre and also show the emotional side of the lead character Anna Fierling, better known as Mother Courage.
Brecht uses her as an example to convey his belief that during war people feed off each other to reach their own goals. When actor Valerie Haugen sings a cappella blues in Thunder River Theatre Company’s production of “Mother Courage and Her Children,” you feel like a student held captive by an intense professor lecturing on how war can change or define a person’s morals and values. And while I felt mentally exhausted, I walked away from the play largely impressed by such a monumental undertaking.
Haugen’s Mother Courage is a cunning businesswoman, her mind always churning to work out the next deal, sell more wares, make the next buck. Her philosophy is set in the opening scene when she says:
“Stop all the troops, they can buy from Mother Courage. It’s to death they march for you, so they’ll need good boots to wear.”
She is sly enough to later get the chaplain (played by Richard Lyon) to chop wood for her and convinces a military cook (played by Brad Moore) enamored with her to stay and pull her wagon full of goods. Her character is both arrogant and pitiful with her vulnerability showing only in spare moments when her children get hurt or die. One effective scene shows her in a silent cry after denying she knows a dead soldier — one of her very own sons.
It’s just enough to let you acknowledge the emotion but not too overwhelming to make you empathetic. Furthermore, those moments are not lasting, as Mother Courage gets back on her feet each time and
goes about her business of making money.
Other standout scenes are with Mother Courage, her mute daughter, Kattrin (played by Jennica Lundin), and a prostitute named Yvette (played impressively by Logan Walters). It is poignant when
Courage tells Kattrin, who is so desperate for romance, that the prostitute “disgraces herself for money, but you for nothing.”The onstage portrayals by these three actors help drive home the point that Mother Courage is no different from a prostitute who is profiting from the war.
In addition to Haugen’s landmark performance as Mother Courage, TRTC accurately honors the Epic Theatre genre through the original music and sound.
Marie Gasau, who was the music director for TRTC’s “Fantasticks,” creates original music for this production, as well. Haugen, too, learned to play blues harp for the play. The bluesy a capella songs not only help to explain what’s going on, they purposely interrupt the flow of the onstage action and serve as a reiteration of the lessons to be shared. While Haugen’s powerful delivery in song is attention-getting, it’s not necessary that every word linger on your mind.
The melodic “lectures” offer a chance to reflect on how our own human nature can be pathetic at times, particularly in war or in our drive for wealth. For instance, Mother Courage curses peace and rejoices
when the “war’s back on;” the chaplain relies only on what “sounds good” during wartime instead of providing heartfelt encouragement to the people; and a cook expects his lover to abandon her only daughter.
Winston aimed to create just the right balance of detachment and engagement to uphold Brecht’s concept of Epic Theatre. His company does the playwright justice and keeps the audience intrigued in
the story about a mother/businesswoman, her three children and survival and success during the Thirty Years War.
It also makes one reflect on why humans engage in war in the first place and what becomes important during times of crises.
“Mother Courage” is a rare chance for Valley residents to “experience,” as Winston says, intelligent theater, even if not for enjoyment but for the lessons to be learned.