Am-dram group declares production ‘Brechtian’ after nobody can be bothered to build a set

THE Fabricated Players have announced that their forthcoming production will employ a radical Brechtian aesthetic after nobody volunteered to spend six weekends building the set.

Director Nicola unveiled the concept shortly after set manager Graham asked who was available on Sunday morning to construct a full Victorian drawing room and received no replies to his WhatsApp message.

Nicola said: “We originally planned detailed period scenery with French windows, a fireplace and working doors.

“Then I started thinking about Brecht.”

The production will now take place on a completely bare stage, with all scenery represented by handwritten signs.

A chair will be labelled CHAIR.

A doorway will be represented by a piece of paper reading DOOR.

The elaborate Victorian fireplace originally included in the design has become Graham holding a sign saying FIREPLACE while looking resentful.

Nicola said: “By exposing the theatrical apparatus, we prevent the audience becoming passive consumers of illusion.

“Also, we don’t have to build anything.”

The decision has saved the society approximately £3,000 and an estimated 400 hours of Brian swearing at MDF.

Other technical limitations have subsequently been incorporated into the artistic concept.

The lack of period costumes is now a deliberate rejection of theatrical naturalism.

Actors carrying their scripts reflects the alienation of performer from character.

And the fact that nobody has learnt the scene changes represents the instability of bourgeois society.

Graham said: “Basically, every time something goes wrong Nicola says ‘Brecht’.

“It’s brilliant.”

The society has become increasingly enthusiastic about the approach.

When the lighting team revealed that two lanterns were broken, Nicola described the resulting darkness as “confrontational”.

When Margaret forgot her lines, this became an intentional rupture of narrative continuity.

And after Brian accidentally walked across the stage carrying a Tesco bag, Nicola asked him to do it every night.

She said: “It reminds the audience they are watching a constructed theatrical event.”

Brian said: “I was getting my sandwiches.”

The actors have also been instructed not to disappear into their characters.

This has proved particularly useful for Derek, who had not been doing so anyway.

Nicola said: “Derek’s emotional detachment is textbook Verfremdungseffekt.”

Derek said: “I don’t know what that means.”

Nicola replied: “Exactly.”

Tickets are £18.

Audience members questioning why they are paying £18 to watch six people standing in an empty room will be told that their discomfort is part of the experience.